POPULISM AND SPECTACLE

Abstract

In On Populist Reason Ernesto Laclau proposes that the reputedly ‘empty’ rhetorical excess of populism constitutes the ontological and aesthetic ground on which the existence of an entity called ‘the people’ depends. This essay considers the tensions and affinities between the particular set of aesthetic relations that Laclau attributes to populist rhetoric, on the one hand, and the set of apparently techno-economic relations that Guy Debord describes as the logic of spectacle in The Society of the Spectacle, on the other, arguing that Laclau's conception of populism compels us to recast the ontological problem of the relation that Debord describes between the social and the spectacular in expressly aesthetic terms. Beginning from this premise, the essay contends that the ‘empty’ aesthetic conventions likewise associated with spectacular entertainment – and in particular, the staging of the relation between audience and onstage spectacle that defines the variety showcase aesthetic in this account – enact a set of tropic relations that constitutes the audience as a generalized figure of ‘the people’ in much the same terms as Laclau's rhetoric. Tracing this aesthetic logic through an especially charged performance from the history of blackface minstrelsy, the essay concludes by considering how such a staging of the relation between populism and spectacle might challenge the dominant models for understanding what constitutes ‘popular’ aesthetic form within Cultural Studies, and in the process, afford new critical insights into the formal dimension of Laclau's political logic.