Acting with One Voice
This chapter offers a critique of the well-worn claim that voluntary civic associations are inherently democratizing, modernizing forces. In 1930s‒1950s urban Algeria, unanimism—monological expression of unanimous group consensus in public rituals such as voting—was both what theater companies portrayed onstage and how they operated offstage. Contrary to theorists from Tocqueville to Habermas to Huntington, civic associations can have monological tendencies in which dialogism and plurality are downplayed. There are three possible sources of Algerian interest in public displays of unanimity. One is the Islamic reformist doctrine of tawḥīd, which holds that Muslims must unite in an emphatic return to principles of monotheism. Another is forms of practice found in traditional Berber village assemblies. The third is the machinations of the colonial state, which grouped all Algerians together as Muslims, “thus making Islam emerge as the single factor around which the indigenous population could unite.”