The Entrepreneurial Actor
Researchers often assume that social advocates are goal-oriented operatives. Yet the scenarios in the introduction could suggest that housing advocates in Los Angeles were sometimes confused, petty, even incompetent. We would expect leading advocates to use easily accessible reasoning, like appeals to compassion, for people who need housing and health care. Leaders with widely appealing rationales should entice more people to join the cause. We would expect advocates to be happy when the powers that be see the problems the same way they do. And we would expect that advocates want to keep relationships with their allies strong and positive so that they keep working together to achieve whatever participants consider success. There is power in relationships as well as rationales.
Studies that rest on assumptions like these imagine the social advocate as what I will call an entrepreneurial actor. They think of actors, individual or collective, who take initiative proactively, using their skills to launch collective efforts, convince people to join up, and take risks to win their ends. In this view, social advocates are like savvy business entrepreneurs.
More and less explicit notions of the entrepreneurial actor animate many studies of social movement activity. In fact, the term âsocial movement entrepreneurâ helped destigmatize collective action participants in the eyes of social scientists a half century ago.2 Previously, scholars had imagined the participants as not patient or reflective enough to translate personal grievances into calmly stated claims, and communicate those through the normal channels.3 The image of the entrepreneur seizing opportunities to turn grievances into powerful campaigns dignified extrainstitutional, collective action as rational and political, not just a collective behavioral meltdown.4 As sociologists Patricia Ewick and Marc Steinberg (2019, 22â23) argue, the predominant view of social advocates in contemporary research is that of actors who carry out preplanned strategies that drive consistently toward preplanned goals. They execute plans instrumentally in hopes of (uncertain) success, taking the kinds of risks entrepreneurs take.
Some social movement studies depart markedly from the entrepreneurial actor model, and I have benefited greatly from their insights.5 Some conceptual statements open up room for social advocates whose moral understandings as well as emotional or self-expressive motives matter alongside entrepreneurial ones.6 And to be clear, not all studies that lean on the entrepreneurial model do so exclusively or say so explicitly. The model, I am arguing, is often an implicit intellectual sensibility, or a way of wording research questions, even in works that aim to challenge that model. The image of the striving entrepreneur is in some ways useful for our thinkingâand decades of research bear that out. Still, it is good to be critically aware of this imagery whether or not we are academics. It limits our imagination for what advocates do. The more we rely on that image and the vocabulary that goes with it, the harder it is to break away and ask other important questions.
Recently, some scholarship argues for broadening beyond the focus on material and political grievances along with governmental targets that has characterized a lot of research on social movements. Social movements challenge cultural as well as economic or political hierarchies; they want to change our ideas of what women are suited to do, what a family should be like, and what counts as a good lifeâas ends in themselves. These challenges may be âinstrumentalâ and âexpressiveâ at the same time, not simply either rational or irrational.7 Important institutional challenges come into view that we otherwise miss or dismiss when we think of these kinds of social movement goals. We see that powerful cultural contexts set the stage for some social movement activity. This valuable scholarly move multiplies the kinds of targets we can recognize and kinds of challengersâLGBTQ advocates, for exampleâwe can study as social movement actors. It puts more emphasis on the question of what strategies develop, and somewhat less on what current political opportunities activists can exploit.
These moves go as far as the gravitational pull of the entrepreneurial model allows. They broaden our horizons helpfully, while leaving unaddressed the question of what counts as a strategy and goal.8 Undisturbed is the entrepreneurial actor who carries out preplanned strategies, whether instrumental or expressive, toward preplanned goals, whether those involve change in corporate, legislative, or cultural institutions.
The same observation applies to important writings since the 1980s that focus closely on the cultural and emotional dimensions of social movements. Many scholars have explored the collective identities, emotional tones, culture-building strategies, rhetorical frames, and stories that animate social movement activity.9 On the one hand, these writings show that social movements thrive as their participants develop a new sense of who they are, where they are from, and what they are fighting for.10 Activists speak, write, and sometimes sing in striking idioms and images; they feel; and they aspire to a more moral social order. This newer work calls into question the whole idea that being strategic means being coolly calculating and unemotional. Yet alongside these helpful developments, important conceptual agenda-setting statements have continued to assume social movement leaders are a particular kind of strategic actor: the savvy entrepreneur.11 âStrategicâ means getting new participants to do what movement activists want them to do, as social movement scholar James Jasper (2006) refreshingly puts it. In this view, then, advocates strategize with striking idioms and images, feelings, and moral aspirations in pursuit of preplanned goals.
The problem is that we need room to imagine different ways of relating to intentions and goals, deciding what counts as a goal, and what counts as winning. Rather than look for universal principles and dilemmas of strategic action, in other words, we can learn what being goal oriented means in different settings. I learned in LA housing circles that advocates with different understandings of strategyânot simply more or less efficient strategiesâencountered quite different dilemmas. We need a bigger conceptual box to apprehend different ways of getting others to do what actors want them to do.
Prominent social movement scholarship has gone another direction. It fits out the entrepreneurial actor with an ultimately psychological notion of âskill.â12 Here again is the strategic actor who is a first mover, albeit one constrained by one or more hierarchical social fields, using special skill to conceive plans, meet goals, advance in the field, or create new fields. Situations and opportunities may vary, but in that picture, skill is a generic quality. In this study, in contrast, being âskilledâ involved different ways of coordinating action in different social contexts. The entrepreneurial actor model is not necessarily âwrongâ in relation to my own findings. It would be right to suppose that housing advocates in Los Angeles craft claims and try to sustain relationships strategically. Advocates certainly did try to get others to do what they wanted them to do. The question is how they did that. The image of entrepreneur does little to highlight capacities and sensibilities that mattered to LA housing advocates, and ought to matter to researchers.
ENTREPRENEURIAL CLAIMS MAKING: THE MISSING âHOWâ
In the last thirty years, our understanding of political claims making has become closely associated with research on framing. A âframeâ is a mixed package of messages that social movement actors hope will resonate with a targeted audience.13 Advocates hope the frame will convince by-standers to become supporters; that aspiration to success is built into the notion of framing in social movements research. In the most prominent statements, framing is the work of innovative, strategic leaders aiming to âsellâ a message. This top-down understanding of how ideas generate collective action travels some distance from the framing perspectiveâs original statement, which presented framing more as an ongoing, collective, sense-making activity.14 The strategic framing perspective became popular in the study of social movements because it could complement an already well-established âinstrumentalistâ approach to collective action.15 That is, it adopted the entrepreneurial actor model.16 Framing studies have tended to see symbols and meanings as pliable media for movement actorsâ strategies.
HJ advocates certainly orchestrated the framing of their campaign message. In position papers and flyers, and on city hallâs steps, leaders consistently referred to housing conditions in Los Angeles as a âcrisis.â17 The solution to the crisis was a âthree-point planâ of action that, as one campaign leader told me, the campaign crafted to appeal to a varied set of potential supporters, such as housing developers, tenant associations, and labor groups.
If the point of framing is to produce a winning message, puzzles still remain. Why were the HJ advocates I accompanied to the town hall meeting not happier to hear city planning officials echoing and promoting the activistsâ preferred frames? Why didnât ISLA advocates frame their opposition to the large apartment complex in the compassion terms that many people would find less threatening than more political-sounding appeals?18 Why did they downplay appeals to quality of life when the city officials they wanted to convince talked in these terms frequently at public hearings?
Skilled actor theorists would find the answer back inside the actor. ISLA leaders applied their skills, sized up the local environment, thought through the different potential pitches, and decided that opportunity and justice language would be more successful than appeals to caring or quality of life, given the array of actors in the field. Skill is a âblend of pre-existing rules, resources, and social skills [sic].â19 A sympathetically critical response might point out that this is an abstract, broad-brushstroke answer to the puzzle; a crispier response might also note that the definition of skill is circular. In any event, we need to know more about the complicated skills that direct advocates to act compassionately with their constituents while not talking that way in public forums.20