After Subculture: Critical Studies in Contemporary Youth Culture
... It is based on the cultural studies of youth, which were launched by the Birmingham Center for Contemporary Cultural Studies (CCCS) in the 1970s when the concept of subculture was created to analyze the social phenomenon that is manifested in the delinquent behaviors of youth (Bennett, 1999;Bennett and Kahn-Harris, 2004) and the values and standards they hold. Other studies attempted to refine the concept while keeping in mind that it stems from Marxist thought. ...
... White and Wyn (2012) argued against classifying youth as a single group. Smolík (2014), Bennett (1999), and Bennett and Kahn-Harris (2004) assumed that the upbringing of youth is not done according to ready-made social models. Still, rather, it is an experience lived by the youth in which the cultural patterns of the society to which they belong are involved, or they receive them from media and communication means and the culture of their peers in the neighborhood (Shildrick, 2006) or from the school and self-cultural options that they choose that express their taste, fancies, and preferences. ...
... The Istiraha is a space that amplifies the culture of student youth, as the rituals they follow there help to establish the boundaries of their autonomy, allowing them to both form their identities and integrate into a shared culture that fosters a sense of belonging and social cohesion (Bennett and Kahn-Harris, 2004). The fact that members of Istiraha groups frequently come from the same family or tribe further strengthens this integration (Table 8). ...
This comprehensive research examines the formation of social identity among Saudi youth within the domains of bedrooms, homes, and Istiraha, a traditional communal gathering space. Drawing inspiration from Western studies on room culture and societal dynamics, the primary objective of this research is to scrutinize the socio-cultural transformations occurring within Saudi society, as reflected in the interactions of its youth in these distinct spaces. Departing from the conventional functional and moralistic framing of Saudi youth as social issues, this study adopts a socio-anthropological perspective. It perceives young individuals as active agents in the process of shaping their identities within a unique cultural milieu, employing a descriptive-analytical methodology. Fieldwork was conducted in late 2022, involving the administration of questionnaires to a randomly selected sample of 384 students at the University of Hail, Saudi Arabia, in addition to focus group discussions with 37 students. These methods were utilized to explore students' perceptions, activities, and attitudes within the specific social environments under investigation. The study's findings reveal that Saudi youth employ their bedrooms, homes, and Istiraha spaces to delineate their identities through three distinct social strategies: Autonomy, Reproduction, and Integration. Additionally, this research uncovers a gender-based distinction in the prevalence of room culture among the youth, contrary to Western findings. Istiraha, as an ancient cultural tradition, assumes a significant role as a gathering space for Saudi youth, affording them an opportunity to distance themselves from societal and familial constraints. In light of these discoveries, this research recommends an expansion of studies concerning the anthropology of spaces and social milieus in relation to the ongoing social transformations in Saudi Arabia. Furthermore, it suggests an examination of room culture and Istiraha culture among Saudi youth from the perspective of their parents to gain insights into how these phenomena are perceived, their attitudes towards them, and the resulting behaviors. This exploration can illuminate aspects of generational continuity and disruption within the Saudi social fabric.
... they are the criminal, conflict and retreat subcultures (Nwalozie, 2015). Bennett and Harris (2004) According to Williams (2011), scholars from the CCCS, schooled through the social sciences and humanity disciplines, adopted concepts such as structuralism, hegemony and semiotics, this establishing the foundations of their theoretical paradigms. Also, in contrast to American subculture inquiry, CCCS researchers incorporated a semiotic framework analysis, which attempted to deconstruct and make sense of the taken for granted meanings that defined and influenced the practices and behaviours of subculture participation. ...
... As Bartley (2017: 8) says, identity 'may be supported or threatened by any of the major forms of inequality'. For those concerned, it was theorised that many navigated towards other disadvantaged peers, which encouraged allegiance to likeminded associates and groups; it would appear having emotional needs met, outweighed the potential consequences (Bennett and Harris, 2004). Over numerous decades, this unfortunate minority was drawn together. ...
... Although, Bennett and Harris (2004) noted that those residing at the bottom of the social ladder are more inclined to form relationships with like-minded peers, a host of other social and personal variables contribute to this transition. Reflecting on my family circumstances, and for those who lived in similar situations, engaging in deviancy was neither accepted nor encouraged by parents and caregivers. ...
This study reports the findings of a three-year investigation, which documented the learning experiences of former offenders. My research is informed by a concern about different perceptions of what counts as appropriate provision for Education, Training and Employment (ETE hereafter) offender initiatives that show a tendency to treat ex-offenders in an unhelpful and unproductive manner. Drawing on my own experiences as a former offender, and in later years as a practitioner, mentor and teacher working in numerous provisions since 2004, I contend that the current system of ETE initiatives are, in the main, failing to address the complex and non-conventional learning requirements of those who struggle to adapt to traditional modes of learning. My inspiration for this thesis was grounded in the belief that
for some offenders, including those with substance misuse problems, education can help support and foster a more contented and fulfilled way of living.
My aim was to explore with the men other ways of teaching, learning and service user engagement. I describe how my complicated life history became a valuable pedagogical resource, which enabled me to work in ways that were shown to enrich the life chances and perspectives of other former offenders. My research explores the educational benefits of working in a more caring, compassionate and trusting manner, freed from traditional time restraints. During the previous fourteen years, the people with whom I have worked have highlighted my capacity to connect through authentic communication, as perhaps the most fundamentally compelling aspect of my pedagogy. Rogers (1961) theorised that when positive
regards between persons is unconditional, the human condition is more likely to flourish, as is client growth and development through the quality of relationships. However, the magnitude of this change, if any, cannot be predicted; personal growth and achievement are unique to the person.
... "新部族"、"生活方式"、"场景"等概念是 后亚文化理论家用以分析青年文化成员身份日益明 显的流动性而创造的，以"新部族"为例，新部族概 念由马弗索利提出，班尼特、马尔本等人将之运用于 对青年文化尤其是舞蹈音乐文化的研究之中。马弗索 利认为，部族"没有我们所熟悉的各种组织形式的僵 化色彩，它更多的指某种气氛，某种精神状态，而且 更适于通过那些偏爱外表和形式的生活方式来表 现。" [1]98 就如同舞吧文化，它给那种基于娱乐、放松 和快感接合的"归属感"的表达预留了空间，因而可 以被视为许多短暂参与形式中的一种，而这些短暂参 与形成了新部族联盟。"场景"与之类似，它原指戏 剧、电影中的场面，后被引入亚文化研究领域来表征 某种具有地域性和"亚文化"特征的空间。"场景" 表征了一种个体能够自由进出的开放性物理空间，人 们是否进入一个场景主要受个人偏好的驱动，而受阶 级、性别、宗教等结构性因素影响较小。在斯特劳看 来，"场景""真实地描绘了各类人群和社会团体之 间的一种特定关系状态，融合了各种特定的音乐风格 联盟"，是一种可以依据在大街、夜总会或其他市区 地带的各种风格化、音乐化的联盟来调整方位的文化 空间 [1]18 。斯塔尔指出，"场景"是一种特定的城市文 化背景和空间编码实践，它可以暗指那些即兴的、暂 时的、策略性的联想和因其有限而广泛渗透的社交性 而产生的文化空间，蕴含着变迁和流动、移动和易变 性。 [1] [5]217 默克罗比在此使用了"大众亚文化 市场"一词，将"大众"和"亚文化"这两个在前亚 文化研究中完全对立的词放在一起构成一个短语，代 指喜欢狂欢派对的青年群体。亚文化活动已经远远超 出了青年文化的范围，成了更宽泛的大众文化的一部 分，而大众文化又不断在青年文化的创造性因素当中 寻找灵感，以保持自身的活力。默克罗比虽然否认亚 文化与大众文化之间存在绝对界限，但她还未完全摒 弃"亚文化"一词，大卫·钱尼则直接指出，"亚文 化"概念已然成为一个多余的概念。"在一个所谓主 流文化已经分解为多元化的生活方式感性特征和偏 好的世界里，曾经被人们所接受的'亚'文化与'主 流'文化之间的区别，已经不能再说还适用了。" ...
... "新部族"、"生活方式"、"场景"等概念是 后亚文化理论家用以分析青年文化成员身份日益明 显的流动性而创造的，以"新部族"为例，新部族概 念由马弗索利提出，班尼特、马尔本等人将之运用于 对青年文化尤其是舞蹈音乐文化的研究之中。马弗索 利认为，部族"没有我们所熟悉的各种组织形式的僵 化色彩，它更多的指某种气氛，某种精神状态，而且 更适于通过那些偏爱外表和形式的生活方式来表 现。" [1]98 就如同舞吧文化，它给那种基于娱乐、放松 和快感接合的"归属感"的表达预留了空间，因而可 以被视为许多短暂参与形式中的一种，而这些短暂参 与形成了新部族联盟。"场景"与之类似，它原指戏 剧、电影中的场面，后被引入亚文化研究领域来表征 某种具有地域性和"亚文化"特征的空间。"场景" 表征了一种个体能够自由进出的开放性物理空间，人 们是否进入一个场景主要受个人偏好的驱动，而受阶 级、性别、宗教等结构性因素影响较小。在斯特劳看 来，"场景""真实地描绘了各类人群和社会团体之 间的一种特定关系状态，融合了各种特定的音乐风格 联盟"，是一种可以依据在大街、夜总会或其他市区 地带的各种风格化、音乐化的联盟来调整方位的文化 空间 [1]18 。斯塔尔指出，"场景"是一种特定的城市文 化背景和空间编码实践，它可以暗指那些即兴的、暂 时的、策略性的联想和因其有限而广泛渗透的社交性 而产生的文化空间，蕴含着变迁和流动、移动和易变 性。 [1] [5]217 默克罗比在此使用了"大众亚文化 市场"一词，将"大众"和"亚文化"这两个在前亚 文化研究中完全对立的词放在一起构成一个短语，代 指喜欢狂欢派对的青年群体。亚文化活动已经远远超 出了青年文化的范围，成了更宽泛的大众文化的一部 分，而大众文化又不断在青年文化的创造性因素当中 寻找灵感，以保持自身的活力。默克罗比虽然否认亚 文化与大众文化之间存在绝对界限，但她还未完全摒 弃"亚文化"一词，大卫·钱尼则直接指出，"亚文 化"概念已然成为一个多余的概念。"在一个所谓主 流文化已经分解为多元化的生活方式感性特征和偏 好的世界里，曾经被人们所接受的'亚'文化与'主 流'文化之间的区别，已经不能再说还适用了。" ...
... "新部族"、"生活方式"、"场景"等概念是 后亚文化理论家用以分析青年文化成员身份日益明 显的流动性而创造的，以"新部族"为例，新部族概 念由马弗索利提出，班尼特、马尔本等人将之运用于 对青年文化尤其是舞蹈音乐文化的研究之中。马弗索 利认为，部族"没有我们所熟悉的各种组织形式的僵 化色彩，它更多的指某种气氛，某种精神状态，而且 更适于通过那些偏爱外表和形式的生活方式来表 现。" [1]98 就如同舞吧文化，它给那种基于娱乐、放松 和快感接合的"归属感"的表达预留了空间，因而可 以被视为许多短暂参与形式中的一种，而这些短暂参 与形成了新部族联盟。"场景"与之类似，它原指戏 剧、电影中的场面，后被引入亚文化研究领域来表征 某种具有地域性和"亚文化"特征的空间。"场景" 表征了一种个体能够自由进出的开放性物理空间，人 们是否进入一个场景主要受个人偏好的驱动，而受阶 级、性别、宗教等结构性因素影响较小。在斯特劳看 来，"场景""真实地描绘了各类人群和社会团体之 间的一种特定关系状态，融合了各种特定的音乐风格 联盟"，是一种可以依据在大街、夜总会或其他市区 地带的各种风格化、音乐化的联盟来调整方位的文化 空间 [1]18 。斯塔尔指出，"场景"是一种特定的城市文 化背景和空间编码实践，它可以暗指那些即兴的、暂 时的、策略性的联想和因其有限而广泛渗透的社交性 而产生的文化空间，蕴含着变迁和流动、移动和易变 性。 [1] [5]217 默克罗比在此使用了"大众亚文化 市场"一词，将"大众"和"亚文化"这两个在前亚 文化研究中完全对立的词放在一起构成一个短语，代 指喜欢狂欢派对的青年群体。亚文化活动已经远远超 出了青年文化的范围，成了更宽泛的大众文化的一部 分，而大众文化又不断在青年文化的创造性因素当中 寻找灵感，以保持自身的活力。默克罗比虽然否认亚 文化与大众文化之间存在绝对界限，但她还未完全摒 弃"亚文化"一词，大卫·钱尼则直接指出，"亚文 化"概念已然成为一个多余的概念。"在一个所谓主 流文化已经分解为多元化的生活方式感性特征和偏 好的世界里，曾经被人们所接受的'亚'文化与'主 流'文化之间的区别，已经不能再说还适用了。" ...
... Dari kubu pascasubkultur, Bennett (2004a) mengembangkan konsep lifestyle dari Chaney (1996) dan Neo-tribes (Maffesoli, 1996) melihat bahwa kaum muda justru mampu menggunakan internet sebagai sarana partisipasi kultural yang semakin meningkatkan self-constructed and reflexive forms of 'subcultural' identity (p. 168). ...
... Hal ini konsisten dengan pendirian Bennett terutama mengenai pentingnya menggarisbawahi dimensi agensi dan memberikan ruang yang lebih bagi kaum muda (Sutopo 2020). Bennett (2004a) mencontohkan internet dalam kasus fandom-yang menurutnya-semakin meningkatkan kemampuan strategi refleksif kaum muda dalam mengartikulasikan identitasnya secara kreatif. Lebih lanjut, Bennett (2004a) juga menjelaskan mengenai bagaimana strategi refleksif ini kemudian berimplikasi pada pengkonstruksian apa yang dianggap "otentik" oleh kaum muda. ...
... Bennett (2004a) mencontohkan internet dalam kasus fandom-yang menurutnya-semakin meningkatkan kemampuan strategi refleksif kaum muda dalam mengartikulasikan identitasnya secara kreatif. Lebih lanjut, Bennett (2004a) juga menjelaskan mengenai bagaimana strategi refleksif ini kemudian berimplikasi pada pengkonstruksian apa yang dianggap "otentik" oleh kaum muda. Hal ini berkelindan baik dalam pembentukan identitas "otentik" kaum muda di ranah offline maupun online. ...
... La notion fut discutée puis reprise par les universitaires à partir du début des années 1990, moment où Will Straw (1991) en proposa une définition. Alors que la notion de subculture telle qu'elle avait été proposée par les cultural studies anglaises du CCCS (Hall & Jefferson, 1976) était avant tout axée sur une sémiotique des looks et des paraîtres, appréhendant des courants souvent réifiés d'un point de vue stylistique, historique et social (Bennett & Kahn-Harris, 2004), la Les scènes métal : présentation notion de scène permet de souligner un continuum comprenant des acteurs plus ou moins impliqués physiquement ou culturellement, qu'ils soient musiciens ou non. La notion de scène permet également de poser la question de la localisation, de l'interaction entre les acteurs, de la circulation des codes liés à un style de manière territorialisée. ...
... Pour autant, l'exemple d'Ondskapt n'est pas dénué d'intérêt. Notamment parce qu'il permet de penser la radicalité de certains genres metal dans une dialectique entre banalisation et transgression (Kahn-Harris, 2004). ...
... Il faut reconnaître que les limites de telles analyses -que l'on retrouve notamment chez les chercheurs inspirés par la théorie marxiste du reflet et chez ceux qui reprennent la notion d'homologie de Paul Willis (1978) -reposent sur leur extériorité aux spécificités des scènes étudiées. Plus subtilement sans doute, faudrait-il lire le caractère spectaculaire de ces musiques à la manière de Kahn-Harris (2004). À savoir comme des pratiques offrant la possibilité d'expériences transgressives dépassant les principales limites de la réalité sociale (vie/mort -bien/mal -pur/impur) à des individus par ailleurs socialement insérés. ...
... Like the CCCS, Post-subcultural Studies, or Post-subcultural Theory, makes up a heterogeneous theoretical tradition (Bennett, 1999(Bennett, , 2000(Bennett, , 2011Bennett & Kahn-Harris, 2004;Malbon, 1999;Miles, 2000;Muggleton, 2000;Muggleton & Weinzierl, 2003;Redhead, 1993). This tradition can be understood as a critical alternative to the CCCS theory of youth subcultures. ...
... The tradition suggests that subcultures can no longer be understood as class-based oppositional cultural answers to shared structural situations. Subcultures are thus claimed to be fluid, open-ended, not based on class, and it is argued that individuals can move in and out of different subcultures or participate in more subcultures at the same time (Bennett & Kahn-Harris, 2004;Muggleton & Weinzierl, 2003). Subcultural practices are seen as something young people choose to do for fun rather than as an oppositional phenomenon. ...
This article synthesizes subcultural theory with elements from the sociology of emotions. Two theoretical models are developed. In the first, young people form subcultures on the basis of feelings of injustice. Subcultures give expressive form to authentic anger and express resistance. In the second, young people use subcultures to explore non-normative feelings, but this does not mean that they are actually angry, nor is the formation of subcultures based on shared structural position. The analytical value of the models is illustrated through a dialogue with a virtual ethnographic material (debates, interviews, music videos, documentaries, pictures, album covers etc.) focusing on hip hop. It is argued that the two models are not mutually exclusive but can strengthen our analytical sensitivity when it comes to understanding youth subcultures that might be resistant, but at the same time resist being fixed into the position of ‘angry youth’.
... As such, they say something to the experience of marginalization. In line with contemporary understandings of subcultural phenomena, these should not however always be viewed as strongly indicative of a clear political stance (Dimou and Ilan, 2018), rather they represent one set of images and practices amidst the wide range of stylistic choices available to younger people grappling with a more fluid and fragmentary sense of identity in latemodernity (Kahn-Harris and Bennett, 2004;Muggleton and Weinzierl, 2003). Sometimes the inclusion of jihadi symbolism in street cultural environments may reflect a real fascination with religious extremism, but far more often it is better understood as the playful display of provocative symbols (see Gelder, 2005). ...
... As opposed to the staircase model, this more flexible, sporadic and fluid view of radicalization resonates more with post-subculture theory (Kahn-Harris and Bennett, 2004;Muggleton and Weinzierl, 2003), which emphasizes the contingency and fluidity of lifestyles, rituals, claimed symbols and narratives. The puzzle model still does not explain so well the modes of sudden and partial radicalization that have been observed in the case of many jihadi attackers with a background in street culture (e.g. in Toulouse and Montauban in 2012 and in Copenhagen 2015). ...
For over a decade, jihadi terrorism in Europe, and the recruitment of Europeans to fight for ISIS in Syria, have increasingly involved marginalized youths from a social context of street culture, illegal drug use and crime. Existing theoretical models of the crime-terrorism nexus and radicalization arguably do not sufficiently explain the fluid and dynamic ways by which the street cultural come to be politico-religiously violent. This paper provides a novel retheorization, the street-jihadi spectrum, which is better placed to explain a wide range of behaviours, from the merely stylistic to the spectacularly violent. On the street culture end it includes subcultural play with provocative jihadi symbols and on the jihadi end the terrorism of ‘gangster-jihadists’. We emphasize that the spectrum, consisting of a multitude of confluences of street and jihadi cultures, also includes resistance to jihadism.
... Gudmundsson har ligeledes argumenteret for, at CCCS havde en for rigoristisk opfattelse af sociale struk-turer, og at CCCS-teoretikerne byggede på en inadaekvat begribelse af arbejderklasseunges kreative subjektivitet, når de opererede med en praemis om »magiske løsninger«, der var dømt til at mislykkes (1992). I en delvist parallel kritik argumenterer Muggleton for, at CCCS reelt ikke tog subjektiv mening hos subkulturernes deltagere alvorligt (Muggleton 2000: 10,12, se også Muggleton og Weinzierl 2002, Bennett og Kahn-Harris 2004. Ifølge Muggleton foregav CCCS blot interesse for det levede liv, mens man reelt alene analyserede subkulturer i relation til klasse og sociale strukturer (2000: 23). ...
... Overordnet har en raekke forfattere i forlaengelse heraf kritiseret CCCS for at overvurdere arbejderklassebaggrundens betydning og forklaringskraft (Cohen [1987) og påpeget, at dette tenderer mod klassedeterminisme (Muggleton 2000, Muggleton og Weinzierl 2002, Bennett og Kahn-Harris 2004. Som Stanley Cohen har pointeret, taenkte CCCS subkulturerne som et udtryk for modstand og en kampplads for politiske klassekampe (1987: xlix). ...
... The first decade of the new millennium saw an explosion in interest in youth culture, and a number of readers and introductions sought to deliver empirical and theoretical framing for this new movement (e.g. Muggleton 2000;Muggleton et al. 2003;Hodkinson 2002;Bennett et al. 2004;Hesmondhalgh 2005, Hodkinson et al. 2007Bennett 2011). 3 The multifaceted nature of these efforts cannot be done justice here. ...
... His seminal paper founded still a living and breathing tradition of 'neo-tribal' research (e.g. Bennett et al. 2004;Bennett 2011;Hodkinson 2013, Robards andBennett 2011;Hardy et al. 2018). Discussions about aging subcultures (Bennett 2013;Bennett et al. 2013) are equally informed by the neo-tribal paradigm. ...
This introduction investigates why and how the tradition of youth culture studies has pushed collectivity and collective phenomena to the margins – and how these phenomena have nevertheless asserted themselves inside this tradition. It delivers a brief sketch of the field and its major ‘schools’, contouring theoretical backgrounds and epistemic shifts, while focusing on how changing theoretical assumptions have constructed and performed – and in periods blocked – the access to youth culture’s collective aspects. It then introduces the contributors to this volume. The chapters fall into two parts. Whereas the first group of contributors relate to a concept of collectivity of neo-Durkheim provenance, the second group wishes to draw into the collective the material culture of young lives. The volume ends with an afterword by French sociologist Michel Maffesoli.
... Os estudiosos das culturas e subculturas juvenis não têm estado alheados da relevância da internet, como revela a literatura produzida nas últimas duas décadas (Bennett, 2015b(Bennett, , 2004Hodkinson, 2004;Williams, 2006;Wilson & Atkinson, 2005;Campos, 2009Campos, , 2012Campos & Simões, 2011;Simões & Campos, 2017). ...
... Afirmei que a juventude na sua versão ocidentalizada, nomeadamente nos países do hemisfério Norte, é geralmente representada como um grupo socioetário marcado pela transição da dependência e subalternidade (infância), para uma etapa da vida caracterizada por um conjunto de atributos sociais e legais que envolvem autonomia e responsabilidade, definindo o estado adulto (capacidade de voto, maioridade penal, ingresso no mercado de trabalho etc.). 4 Se a juventude está razoavelmente desprovida de participação em algumas esferas da vida social (política e economia, por exemplo), em contrapartida, está enfaticamente vinculada às dimensões do lazer e do ócio, dos elementos estéticos e lúdicos. A imagem juvenil incide fortemente sobre esses elementos, convertendo-os em dimensões centrais para a definição dos estilos de vida e identidades dessa faixa etária (Pais, 1993;Campos, 2011aCampos, , 2011b (Ito et al., 2008;Luders, 2011), da participação cívica e política (Dahlgren, 2007;Loader, Vromen & Xenos, 2014), das produções e consumos culturais (Simões, 2010) ou da construção das identidades pessoais e culturais (Bennett, 2004(Bennett, , 2015a(Bennett, , 2015bRobards & Bennett, 2011). ...
O espaço público urbano e a rua têm estado amplamente presentes na litera-tura que se dedica ao estudo da juventude. Da Escola de Chicago à Escola de Birmingham, passando, por muitos outros autores que se têm debruçado sobre as culturas e subculturas juvenis, a cidade, o espaço público urbano e a rua estão de alguma forma omnipresentes. De forma geral, o espaço público urba-no corresponde a um espaço de sociabilidade e de criatividade, utilizado como palco para o desenvolvimento de uma série de práticas que se desenrolam fora da alçada das instituições e do olhar dos adultos. Daí que, em muitas si-tuações, esse seja um terreno de autonomia que admite a criação de regras particulares, à margem dos normativos dominantes. A generalização da internet e dos dispositivos móveis (tablets, smartpho-nes, smartwatches etc.), que atinge também esse segmento etário, certamente teve um impacto na forma como o espaço é hoje vivido e representado. Apesar de a presença da internet ser razoavelmente transversal e generalizada, vários são os autores que apontam para o fato de as gerações mais jovens serem es-pecialmente proficientes no que respeita ao uso das tecnologias digitais. Elas foram perfeitamente integradas num conjunto de dinâmicas sociais juvenis, tendo contribuído igualmente para criar novas práticas sociais. Várias pesquisas têm demonstrado que, desde meados da primeira dé-cada do século XXI diversas atividades e expressões culturais tradicionalmen-te associadas ao espaço da rua se transferiram também para o domínio online.
... The popularity of a blogger depends on the ability of traditional cultural content interpretation. Meanwhile, fragmentation of knowledge sharing results in the dissolution of the grand narrative structure of traditional culture, with less obvious organizational structure; it refers more to a certain atmosphere, a state of mind (Bennett & Harris, 2012). For those who join in China-chic, the 'atmosphere' is an important factor for attraction; the multiple styles of the anchors have resulted in manifold groups of followers from various circles. ...
... The popularity of a blogger depends on the ability of traditional cultural content interpretation. Meanwhile, fragmentation of knowledge sharing results in the dissolution of the grand narrative structure of traditional culture, with less obvious organizational structure; it refers more to a certain atmosphere, a state of mind (Bennett & Harris, 2012). For those who join in China-chic, the 'atmosphere' is an important factor for attraction; the multiple styles of the anchors have resulted in manifold groups of followers from various circles. ...
... The popularity of a blogger depends on the ability of traditional cultural content interpretation. Meanwhile, fragmentation of knowledge sharing results in the dissolution of the grand narrative structure of traditional culture, with less obvious organizational structure; it refers more to a certain atmosphere, a state of mind (Bennett & Harris, 2012). For those who join in China-chic, the 'atmosphere' is an important factor for attraction; the multiple styles of the anchors have resulted in manifold groups of followers from various circles. ...
... In early cannabis studies (Goode, 1970;Johnson, 1973) the idea of drug cultures was closely associated with the understanding of subcultures as 'groups of people' (Gelder, 2005, p. 1; see also Golub, 2005). Following criticism from the post-subcultural approach (Bennett & Kahn-Harris, 2004;Muggleton & Weinzierl, 2003), subsequent approaches have described cannabis subcultures as collections 'of rituals, stories and symbols' that are, to a greater or lesser degree, used, internalized, and embodied by users (Sandberg, 2013, p. 68;Sandberg, 2012). We apply this more dynamic and fluid approach to culture in this study. ...
... Network subculture is the product of the emergence and development of the Internet, which Andy mentioned in his book After Subculture: A Critical Study of Contemporary Youth Culture published in 2012. [10] There are many types of network subculture in China, such as mourning culture, bullet screen culture and parody culture.In 2017, Wan Jinxiang, Ye Ting and Peng Xuanxuan argued that network parody culture is vulgar, kitsch and vulgar, and is a "Wolf in sheep's clothing", covering up the nature of "evil"; [11] In the same year, Gu Xueqiang and Liu Pengfei believed that the network subculture was influencing the values of teenagers imperceptively, making the ideological education of teenagers face great challenges; [12] In 2022, Wang Shuixiong and Zhou Jiteng focused on the Generation Z youth born between 1995 and 2009, and made an overall investigation of the youth subculture formed by them. They concluded that the youth culture of Generation Z has a new form due to the development of the Internet, and the influence has both advantages and disadvantages. ...
" In this study, the semi-structured in-depth interview method is used to conduct qualitative research on the phenomenon of “nonsense literature”, in an attempt to answer the reasons and mechanism of its prevalence.Through the research, the author finds that “nonsense literature” not only presents a distinct tendency of satire and resistance and subculture attributes, but also has a powerful communicative function and has its applicable context in real life.It is worth noting that this study also found that the sudden surge in popularity of “nonsense literature” makes people blindly follow the trend, and its contents are mixed, which has a certain negative impact on the network environment, which is worthy of vigilance and reflection."
... This paradoxically brings them into another position of being subjected to male oppression and sexism: the extreme metal scene (Vasan 2010). The development of the Internet and social media might provide pathways into metal as they arguably provide possibilities for democratic and emancipatory change in music scene participation (Bennett 2004;Ferrero 2007). ...
The global metal scene is a highly skewed field of cultural production in which women are greatly under-represented. As tokens, women are likely to be subjected to gender-biased evaluations, the male gaze, and are held accountable when breaking gender roles. This paper investigates the online gender dynamics in extreme metal by conducting a content analysis of the comments on videos of females (and males) performing ‘vocal covers’ on YouTube. Surprisingly, men and women tend to be evaluated along similar lines, suggesting the possibility that women might utilize the Internet for individual music production to circumvent offline gender inequality.
... International literature on subcultures and post-subcultures is now extensive. Over the past three decades, ongoing debates regarding the use of subcultures and post-subcultures, especially in the British context (see Malbon, 1999;Weinzerl and Muggleton, 2003;Bennett and Kahn-Harris, 2004;Hodkinson and Deicke, 2007), have been relatively productive in understanding youth cultural practice in the context of rapid social change. Historically, the subculture approach as formulated by the CCCS in Birmingham was a response against the social deviance approach in the Chicago School tradition. ...
... Regarding youth culture, so that they are more active in participating, the minor locus is the family (Bennett & Kahn-Harris, 2020) according to the classical paradigm. Today, the family is not the first filter in cultivating political awareness, but social media, the environment, and virtual communities. ...
The purpose of this study is to examine how to enhance the critical thinking of young people through digital literacy skills. Furthermore, the ability to think critically is seen from the perspective of building active participation in general elections in Indonesia. A literature review was used as the research approach in this study. The results show that based on the challenges of digital life, the younger generation falls into two categories: objects and subjects in general elections. The dominant key to the success of digital literacy lies in the ownership of digital literacy skills, more specifically leading to critical thinking in responding to all events in the general election phenomenon in Indonesia. The design of the digital literacy-based democracy movement includes viral party centers, online forums, digital party organizations, online campaigns, and online protests. Critical thinking in generating active participation in elections includes several elements: digital skills, ethics, safety, and culture. So that the output of active participation is in the form of supporting general elections, monitoring, channellings vote correctly, and being responsible.
... Bedrooms culture merupakan studi tentang kaum muda yang melihat bagaimana cara anak muda melangsungkan aktivitasnya di kamar tidur (red: ruang privat). Studi tentang bedrooms culture bisa disebutkan sebagai terobosan sekaligus kritik terhadap studi kaum muda klasik yang dilakukan oleh Centre for Contemporary Cultural Studies (CCCS) di Birmingham sekitar tahun 1970an (Bennet & Kahn-Harris, 2004). Pada awalnya, studi kaum muda cenderung menaruh perhatian terhadap upaya anak muda melakukan perlawanan di ruang publik -dengan konteks situasi pasca perang dunia di saat itu (McRobbie & Garber, 1991). ...
The boarding room is a private room for students, but it is constantly changing due to the development of communication technology. This research shows that the media have found a barrier between the public and the private. By using the spatial ethnography method, this study finds that media consumption in boarding rooms has an impact on the way the occupants condition the private space zone. Data was collected by observation and interviews. The discussion is carried out by conducting a dialogue with field findings with the study of bedroom culture, which is offered by Siân Lincoln. This concept assumes that when young people (red: students) consume media in private spaces, they are actually at the crossroads between public and private. The findings of this study reveal that the presence of media in boarding rooms can open communication portals, thus giving rise to various mediated activities. This has made the boarding room an integral space, as well as a center for student activities. The student, when consuming media, can arrive at the reality of the world between the physical and the virtual world. This opens up opportunities for activities and controls that were previously public to enter their boarding rooms.
... It is also in line with the preponderance of literature on gender/sex differences in performance enhancement (6,7) and body modification (29,30). Additionally, our finding that younger persons show higher willingness towards performance enhancement and body modification corroborates previous findings (26,37) and the perspective that human enhancement is an element or fountain of contemporary youth culture and identity (1,10,38). Moreover, our finding that lower physical appearance satisfaction predicts higher willingness towards performance enhancement and body modification is tenable from an enhancement perspective. ...
We conducted an exploratory investigation of the relationship between personality and willingness towards performance enhancement and body modification in Norway. The study is based on Norwegian Monitor data from a cross-sectional survey of a nationally representative sample of 4,233 (females: 49.9%) persons aged 15 to 96 (45.92 ± 18.02) years. Data were collected using a questionnaire containing demographic questions and measures of physical appearance satisfaction, physical activity level, personality (five-factor model), and willingness towards performance enhancement (e.g., substances that improve creative thinking) and body modification (e.g., use of muscle-building substances). Data were analyzed using descriptive statistics and multiple regression analyses. We found that 62.2% and 50.1% of our sample were either willing to use or contemplating using substances that reduce memory failure and enhance physical fitness respectively. Our sample was most willing or contemplating tattooing (30.0%) and generally skeptical of the other body modification methods with willingness to use or contemplating using substances to enhance muscularity least accepted (3.9%). Higher fantasy/openness and lower agreeableness were associated with higher willingness towards both performance enhancement and body modification. Additionally, higher extraversion and lower control/conscientiousness predicted higher willingness towards body modification. Our findings corroborate previous indications that performance enhancement and body modification are now mainstream. They also underline the importance of personality traits in willingness towards these practices.
... While being involved in these subcultures and countercultures was an important component of pathways to drug dealing in our study, it is important to see how belonging to these worlds was a temporary, fluid and flexible (Muggleton and Weinzierl 2003;Bennett and Kahn-Harris 2004) 'tool kit' (Swidler 1986) for young people when they navigate their lives and the drug economy (Sandberg 2012). For instance, depending on where they were in their life trajectory, participants drew more heavily on one cultural script as opposed to the other. ...
Drug dealing is widespread in all sectors of society but is still studied predominantly in disadvantaged urban areas. We identify three main pathways to drug dealing based on qualitative interviews with middle- and upper-class individuals in Oslo, Norway. First, problems in the family and school and a lack of belonging in affluent neighbourhoods intersected with drug use and eventually led to recruitment into the illegal drug economy. Second, criminal entrepreneurship developed among relatively disadvantaged people who dealt drugs in an affluent low-risk context. Third, dealing emerged from involvement in drug liberalization and medical marihuana countercultures. The first pathway is similar to trajectories in disadvantaged urban areas, while the others reveal the importance of studying drug dealing in the upper layers of society.
... While, the idea of subculture has become a core concept within youth cultural studies, it has equally become a contested concept. For example, the work of Bennett (1999); Bennett and Kahn-Harris (2004); Bennett (2011), Blackman (2005 and Hodkinson (2016) reveals a significant ongoing debate. At the core of this debate is contestation over the concept of subculture itself and its continued theoretical relevance to youth cultural studies, an approach that has been subjected to critique from a number of different perspectives in what has come to be termed the 'post-subcultural turn' (Thornton, 1995;Redhead, 1997;Redhead et al., 1997;Bennett, 1999;Muggleton, 2000;Miles, 2000;Kahn-Harris, 2004). ...
The impact of social media use on youth subcultures, such as graffiti writers, has been rapid and dramatic, bringing with it a number of significant transformations that present both opportunities and challenges. This paper explores the impact of the Internet and social media on a community of graffiti practitioners. I argue that the rise and uptake of online social networking platforms such as Instagram and You Tube have offered a range of affordances to the practice of graffiti writing. These affordances include: greater accessibility to graffiti culture; learning opportunities; and opportunities for wider distribution and curation of graffiti pieces. Simultaneously, social media challenges the significance of ‘community’, that is, the physical social interaction afforded by participation in real world graffiti crews. The findings suggest that while there are tangible benefits from the use of the Internet and uptake of social media by the graffiti writing community, it is the physical communal bonds experienced within a graffiti crew that are vital to the wellbeing and continuity of the culture. This paper contributes to our understanding of how social media affects youth more broadly and specifically how social media platforms are transforming the experience of youth subcultural practice.
... The term subculture has been severely criticised (see more in Bennett & Kahn-Harris, 2004) on different grounds, for example that it fails in recognising local variations in youth responses to music and style and it cannot interpret different group memberships. To deal with these shortcomings, scholars have reworked the concepts of subculture or introduced alternative terms such as lifestyle (Gibbens, 1991), neo-tribe (Bennett, 1999;Maffesoli, 1996;Malbon, 1998), post-subculture (Muggleton, 2000), and scene Straw, 1991). ...
Research on electronic dance music communities has been initiated by scholars in the fields of sociology, cultural studies, public health research and others. Linguistic aspects, however, are rarely considered. Anita Jóri fills this gap of research and suggests a new perspective by looking at these communities as a discourse community. She gives an overview of the language use and discourse characteristics of this community while applying a mixed methodology of linguistic discourse analysis and cultural studies. The book is aimed at researchers and students in the fields of applied linguistics, popular music, media, communication and cultural studies.
... The term subculture has been severely criticised (see more in Bennett & Kahn-Harris, 2004) on different grounds, for example that it fails in recognising local variations in youth responses to music and style and it cannot interpret different group memberships. To deal with these shortcomings, scholars have reworked the concepts of subculture or introduced alternative terms such as lifestyle (Gibbens, 1991), neo-tribe (Bennett, 1999;Maffesoli, 1996;Malbon, 1998), post-subculture (Muggleton, 2000), and scene Straw, 1991). ...
Research on electronic dance music communities has been initiated by scholars in the fields of sociology, cultural studies, public health research and others. Linguistic aspects, however, are rarely considered. Anita Jóri fills this gap of research and suggests a new perspective by looking at these communities as a discourse community. She gives an overview of the language use and discourse characteristics of this community while applying a mixed methodology of linguistic discourse analysis and cultural studies. The book is aimed at researchers and students in the fields of applied linguistics, popular music, media, communication and cultural studies.
... The CCCS concept of subcultures is a British model based on the study of particular segments of British youth (workers, Whites, males) in a particular time period (the post-war generation). It is a specifically grounded concept which, if used elsewhere, must take regional and time differences into account (Bennett, Kahn-Harris 2004). Some scholars even consider the notion of subculture itself to be redundant in a contemporary multicultural society with a high variability of cultural styles and identities. ...
Is there something unique about the post-socialist experience when it comes to youth subcultures and politics? Do subcultures formed and developed in the Eastern bloc behave differently compared to the Western European ones? What influenced the process of politicization and depoliticization of subcultures like metal, punk, skinhead or hip-hop?
The interdisciplinary research team offers different perspectives on the role of politics in youth subcultures primarily in the post-socialist space of Czechoslovakia and later the Czech Republic. The book opens with two chapters discussing the theoretical framework and the relevance of terms such as subculture, scene, and social movement as well as their mutual relationship. The case studies explore forms of politics within youth subcultures. You can find out how the perception of punk used to differ between Eastern and Western Europe; how did the attitude toward politics in the metal subculture vary around and after the Velvet Revolution; how did the racist branch of skinhead subculture emerge and develop over time; or what is the difference between political rap and hip-hop activism and what does it have to do with the notion of authenticity. You can also learn about the founding myths related to the ‘golden age’ of techno, punk and Czech underground. Stepping out of the area of the Czech Republic, the book also includes a chapter on the politicization of Romanian Manele, subculture associated with the Balkan Roma.
... In early cannabis studies (Goode, 1970;Johnson, 1973) the idea of drug cultures was closely associated with the understanding of subcultures as 'groups of people' (Gelder, 2005, p. 1; see also Golub, 2005). Following criticism from the post-subcultural approach (Bennett & Kahn-Harris, 2004;Muggleton & Weinzierl, 2003), subsequent approaches have described cannabis subcultures as collections 'of rituals, stories and symbols' that are, to a greater or lesser degree, used, internalized, and embodied by users (Sandberg, 2013, p. 68;Sandberg, 2012). We apply this more dynamic and fluid approach to culture in this study. ...
Mexico may well be the largest country in the world to legalize cannabis. Nevertheless, it is culturally conservative and a certain discrepancy exists between liberalization reforms and popular opinion regarding cannabis. Based on qualitative interviews with 100 cannabis users in Mexico City, we describe the gendered differences in perceptions and experiences of cannabis use. While the young women in the study stated that they used cannabis to deal with family issues, to be less shy with friends, and to feel more attractive, the young men emphasized pressure from school or work, aggressiveness, and integration into their peer group when accounting for their use. Furthermore, men reported police corruption and legal issues as the main problems associated with their use of cannabis, while women’s use was strongly conditioned by a fear of becoming less respectable in their families’ eyes and the stigma of being seen as a ‘lost’ or ‘bad’ woman. We argue that the consequences of cannabis decriminalization in Mexico are likely to be highly gendered: While men who use cannabis may experience fewer legal problems and encounters with the police, women who use cannabis are likely to continue to be culturally and socially stigmatized.
... Глубокий интерес к скулшутингу как явлению связан с публикациями СМИ о школьных расстрелах. Как подчеркивали теоретики пост-субкультуры, существующие субкультуры все больше связаны с традиционными и социальными сетями [2,19]. Эта субкультура использует Интернет и социальные сети для взаимодействия, и быстрый доступ к глобальной сети пользователей является ключом к существованию субкультуры. ...
... Dette er kanskje spesielt tydelig i forhold til cannabis, som ligger så tett opp til mainstream . Men fokus på subgrupper og medlemskap er også problematisk i forhold til en rekke nyere subkulturer (Muggleton & Weinzierl 2003;Bennett & Kahn-Harris 2004). Selv om de kulturelle mønstrene er tydelige nok, kan det vaere uklart hvem som er innenfor og hvem som er utenfor. ...
Blant unge menn i slutten av tjueårene har en av tre prøvd cannabis. Det er også en utbredt forståelse at hasj er blitt et “normalt” rusmiddel, på linje med alkohol. I forskningslitteraturen er dette kjent som kulturell normalisering. I artikkelen utvikler vi en ny teoretisk forståelse av begrepet subkultur og bruker dette til å forstå den sosiale og symbolske meningen knyttet til cannabis. Vi forstår subkultur som en samling av ritualer, narrativer og symboler. Disse har en rekke fellestrekk, kretser rundt lignende forestillinger om verden, og er ofte knyttet til mer generelle kulturelle strømninger i samfunnet. Personer og grupper internaliserer og kroppsliggjør i større eller mindre grad subkulturen, samt utnytter den i kreative iscenesettelser av seg selv. Cannabiskulturen består av en samling kulturelle elementer som kretser rundt politisk opposisjon, solidaritet og natur. Vi vil også vise hvordan elementene i cannabiskulturen er preget av 1960Ð70-tallets sosiale trender og politiske bevegelser. Et hovedpoeng i artikkelen er at selv om flere bruker cannabis, er ikke dette blitt ÇnormaltÈ. Cannabiskulturen er kompleks og brukes på mangfoldige måter, men den er alltid vevd inn i kulturelt organisert annerledeshet. Datamateriale er flere års kvalitative studier av cannabisbrukere, selgere og dyrkere i Norge.
... We also add to the body of literature of sports leisure in general. With a nod toward Wheaton's (2007) suggestion to 'think about the ways in which sport might be culturally specific, or at least different from subcultures based around characteristics such as youth' (295), our findings indicate that both non-digital and digital sports (online and offline) are based on longitudinal and cross-generational characteristics, which support the continuation of the activities for lasting periods of time with increased emotional investmentsperhaps to a greater degree than the characteristics of many fragmented 'subcultures' (see Kahn-Harris and Bennett 2004). As recent findings indicate 'post-youth' participants of other sports leisure forms to especially value 'being a role model for their children and grand-children' (Wheaton 2019, 403), it remains to be seen if digital gaming, as part of the rapidly changing technology, turns out dissimilar in the future in this regard. ...
In order to better understand the development of play and games in modern lives, this article examines two competitive leisure groups: digital fighting game players and traditional taekwondo practitioners. Drawing on qualitative offline/online interviews (n = 56) and close reading of externally documented life narratives (n = 14), we explore how the modes and motives of engagement fluctuate in competitive players over time. The study provides a new developmental approach to continuous competitive play as leisure. Our results show rather than making linear progress from ‘casual’ to ‘serious’ leisure, individuals in both groups perceive their lasting relationships with these activities gradually evolving through their lives in three stages: acquaintance, attachment, and accommodation, The players fluctuate between casual and serious engagement, occasionally reaching a state of subjectively meaningful and socially cemented life permanence. The study suggests that the patterns of long-term play and gaming may not differ much between digital and non-digital domains.
... Many writers on punk and subculture (still) fail to identify the internal complexity of punk as a genre and (sub)cultural phenomenon, and the diversity and mutability of all youth subcultures. Recent work collected in Muggleton and Weinzerl (2003) and Bennett and Kahn-Harris (2004) has attempted to develop a field of post-subcultural studies that identifies how, in the past and present, diversity and fluidity is the norm in youth cultural identities. As such, it is important to challenge rigid and class dependent classical subcultural theory that links subcultures to a neo-Marxist struggle from below (see the Hall & Jefferson (1976), Mungham & Pearson (1976), Willis (1978) and Hebdige (1979)). ...
This is an unpublished book chapter. It was intended to be the introductory chapter of a book on contemporary perspectives on punk and hardcore. After a very protracted process, and all sorts of publisher shenanigans, the book never saw the light of day. The chapter is an attempt to understand the significance of the 1976-77 punk moment for musicians within and beyond the punk genre into the mid 1980s.
... The proliferation of terms reflects social scientists' unease with sociological applications of the term 'subculture', which has often been understood either as marked by deviance and delinquency or celebrated as a form of working-class collective resistance to a dominant culture (Blackman 2014). Some researchers have argued that the subculture notion also implies a collectivity that is too bounded and too central to its members' identities to explain most affiliations in the contemporary world (Bennett and Kahn-Harris 2004). 'Peer crowds' are defined as 'broader, more distal, macrolevel subcultures' with which 'youths identify', that are constituted by a 'shared set of behaviors, values, norms and lifestyles' (Sussman et al. 2007;Moran et al. 2017, p. 389). ...
Intervening in heavy drinking cultures within groups below the level of the population has been under-utilized as a means of reducing alcohol-associated harms. We argue that the concept of 'social worlds' is useful for the identification and investigation of heavy drinking cultures in collectivities at this level. The concept may also support investigations into other practices with health implications, such as other substance use or gambling. Social worlds are understood to be loosely bounded groups that change over time and any individual may be affiliated with many. Membership of a social world entails shared commitments, practices and norms generated and reiterated through interaction with other members, albeit not necessarily with all members participating together or at once. Social worlds of heavy alcohol consumption are also framed by the settings where people drink, products consumed and technologies used in doing so. As a tool to support public health efforts, we suggest that these social worlds should entail collective drinking, include sufficient members and involve a magnitude of harm to warrant public health investment and be accessible for research and intervention. Researchers can usefully consider how wider forces, including discourses about alcohol and the gendering of drinking practices, are enacted within particular social worlds. Although they may be explored through empirical research, social worlds of heavy drinking are analytic devices rather than perfect reflections of an objective reality. To see them as such allows us to define them strategically, looking for opportunities to modify cultures associated with harms.
... When it comes to youth activism, ethnographic method encounters more methodological challenges. Many researchers have long defined youth subcultural life as a kind of virtual-real experience (Bennett, 2004;Wilson & Atkinson, 2005;Wilson 2006). Research has to take place in multiple sites, online and offline, by including diverse forms of text and intertextuality as part of an ethnographic understanding of the lived experence of youth (Hine 2000: 52). ...
My research addresses how social actors “act upon” social change by generating self-interpretation and representation of social life on the one hand and control over values and cultural orientations against the authorities on the other. While the existing literature on social movements overemphasizes the moments of mobilization, this article examines the intersections of social activism, online curative practices, and their everyday life. For this article, I opted to depict three representative cases of Hong Kong young activists who joined the Umbrella Movement in 2014. I argue that despite their similar political experiences, there are three divergent forms of agency embodied in their cultural representations. They figure in contestations which increasingly alienate the politicized crowd from civil society and the establishment.
... Because the analysis of youth street groups' cultural practices is no longer confined to spectacular styles, it rather tends to encompass the everyday life experiences and cultural practices of members or ex-members of youth groups. Consequently, the consideration of the limitations of the Birmingham conceptual framework and the new tendencies in conceiving youth cultural practices constitute the core elements of our "post-subcultural" approach (Bennett 1999;Bennett and Kahn-Harris 2004;Hodkinson and Diecke 2007). ...
Gangs have been described as an episodic phenomenon comparable across diverse geographical sites, with the US gang stereotype often acting as the archetype. Mirroring this trend, academic researchers have increasingly sought to survey the global topography of gangs through positivist methodologies that seek out universal characteristics of gangs in different cultural contexts. So, research about youth street groups requires an innovative methodological approach to develop a renewed approach for the twenty-first century’s youth street groups, different from the local, coetaneous, male and face-to-face model, used to understand the twentieth century’s gangs. How can complex social forms such as street gangs be researched in the twenty-first century? Can a single ethnographic approach be shared by researchers working in entirely different cultural contexts? What novel methodological and ethical challenges emerge from such a task and how might they be resolved? This article examines the methodological perspectives of the TRANSGANG project.
Tomando como referência não só a literatura especializada, mas também pesquisas realizadas, o objetivo deste trabalho é subsidiar o debate teórico-metodológico que envolve os conceitos de cena, circuito e territorialidades, os quais são empregados largamente pelos especialistas que atuam na interface da comunicação e da música no Brasil.
What is it like to grow up amidst a conflict that has lasted generations? This chapter explores this question through ethnographic research from Hpa-An, where young people inherited a seven-decade-long conflict between the Myanmar military and the Karen National Union (KNU). Before the 2021 coup, young people in Hpa-An identified themselves as part of a distinct generation, shaped by the KNU ceasefire and the ongoing political transition. They wanted to be seen through the prism of youth, rather than solely through the lenses of nationality or ethnicity. This chapter makes two main contributions. First, it demonstrates that post-secondary education, which emerged in Hpa-An at a particular juncture in the Karen conflict, served as a site where young people developed and acted upon a unique generational consciousness. This consciousness positioned them on the fringes of both the Burmese nation-state and Karen ethnonationalism. Second, it shows that young people responded to political crises and conflicts in ways informed by both their individual biographies and collective histories. Therefore, while young people have been at the forefront of resistance to the 2021 coup, “Generation Z” should not be viewed as a homogeneous category.
This study explores the Potaxie, Fifes, and Tilinx subcultures on TikTok, examining their origins, characteristics, and cultural significance. Originating from a viral video in 2020, the Potaxie subculture emerged within the Spanish-speaking LGBTQ+ community and evolved to symbolise inclusivity and gender equality. Potaxies use vibrant aesthetics influenced by Japanese and Korean pop culture to express their identities and resistance. In contrast, Fifes, associated with cisgender heterosexual men, embody traditional patriarchal values, often sexist and homophobic, creating a narrative of resistance between the groups. The Tilinx, symbolic descendants of the Potaxies, are inspired by ballroom culture and drag houses, with "Potaxie mothers" continuing the fight for inclusion and diversity. Using a mixed-methods approach, including quantitative analysis through the TikTok API and qualitative content analysis via MAXQDA and Python, this study provides a comprehensive understanding of the subculture that accumulates over 2.3 billion interactions. The findings highlight how TikTok serves as a platform for identity construction, cultural resistance, and the redefinition of social norms. Additionally, the study examines how digital platforms mediate intersectional experiences, favouring certain types of content through algorithms, and how participants navigate these opportunities and constraints to express their intersecting identities. The implications for communication strategies, youth policies, educational plans, and research on the commercialization of these subcultures are profound, offering insights into the transformative potential of social media in shaping contemporary cultural and social narratives.
Gerak tubuh layaknya tawuran, dengan memainkan tangan dan kaki, saling mendorong tubuh antar pelaku, serta ditemukannya kasus luka-luka hingga kematian, menjadikan moshing masih dipandang sebagai suatu hal yang negatif, terlebih bagi masyarakat awam. Penelitian ini berusaha menjawab ketidaktahuan akan latar belakang moshing dan memahami mengenai moshing yang digunakan sebagai bentuk komunikasi pemuda penyintas musik hardcore dengan menggunakan pendekatan fenomologi, sekaligus pendekatan studi kepemudaan berupa emic approach. Didapatkan hasil bahwa moshing hadir dengan beragam jenis seperti two-step, violence dance, wall of death, stage dive, crowd killer, dan pogo, yang juga telah digolongkan menjadi hardcore positif dan negatif berdasarkan latar belakang tiap band hardcore. Bagi pemuda di Kota Malang, moshing mampu memberikan ruang bebas dalam mengekspresikan suasana hati ketika terdapat masalah, rasa jenuh dan lelah setelah berkegiatan penuh; ajang having fun untuk melampiaskan aura negatif menjadi aura positif; serta kepuasan batin berlebih dalam menikmati musik hardcore. Dengan begitu, tidak selamanya moshing menjadi hal yang negatif jikalau memposisikan diri sebagai pelaku di dalamnya.Kata Kunci: hardcore; moshing; pemuda; subkultur
O objetivo deste artigo é contribuir para repensar a noção de capital subcultural como cunhado por Sarah Thornton. Baseando-me em Bourdieu, defendo que o trabalho original de Thornton sobre o conceito falha por uma relutância em dedicar atenção analítica à posição social e outras variáveis só- cio-estruturais dos participantes da subcultura. Com o meu trabalho de campo entre os homens jo- vens subprivilegiados de origem étnica não dinamarquesa como o ponto de partida, eu argumento que uma compreensão sociológica sobre a diferenciação hierárquica e intercessões entre diferentes variáveis sócio-estruturais é necessária para explicar e compreender adequadamente subculturas e capital subcultural. A relação entre a subcultura e seus arredores é melhor compreendida ao nos concentrarmos no que é apreciado dentro dela (ou seja, o capital subcultural) e, ao mesmo tempo, ao situarmos analiticamente a subcultura em termos de classe, gênero, etnia e “raça”.
El presente libro se compone de cinco textos que han sido fruto del trabajo del incipiente Cuerpo
Académico “Cultura e Identidad” de la Facultad de Ciencias de la Comunicación de la
Universidad Autónoma de Coahuila. Estos textos giran en torno a un tema central: las prácticas
y discursos identitarios que expresan los actores sociales del Noreste de México, en contextos
urbanos físicos y virtuales.
The paper seeks to examine the communicative aspect of modern Chinese and Russian urban
subcultures. The nominations of urban social groups representing young people in Russia and China and their
connection to modern communication practices are viewed from the perspective of urban communication studies,
which provides an opportunity for a new comprehension of issues connected with verbal and nonverbal constituents
of urban discourse. The indicates that the subcultures in the Russian urban landscape are reflected in such nominations
as фрики (freaki), мажоры (majory), хипстеры (hipstery), брейк-дансеры (break-dancery), байкеры (bikery), etc.
The Chinese subcultures are known under such names as shamate, xiaoqingxin, tuyayawenhua, erciyuanyawenhua,
egaoyawenhua and many others. We argue that in both countries the unity of social subgroups is based not so much
on ideological preferences, but rather on lifestyles, hobbies and interests, many of them formed under the Western
influence. The subcultures discussed in the research represent a broad panorama of Chinese and Russian social life.
They reflect the sociocultural dynamics of attitudes, values and lifestyles influenced by globalization but acquiring
nationally specific features, which transform them into unique sociocultural phenomena.
The chapter provides the author’s perspective on the development of youth space in post-Soviet Russia in the wider context of the emergence of new forms of youth sociality. It focuses on the specific formation of authentic, shared cultural identities of solidarity, set against the background of the shifting patterns of discursive production and political regulation of youth activity. The research question posed in the chapter is to find the uniqueness of the Russian cultural youth experience both in a global perspective and especially in comparison with peers throughout the post-Soviet (post-communist) space. Particular attention is paid to the key transformations of Russian youth cultures which have taken place during this historical period, in comparison with what has occurred at the global level over the last three decades, as presented in key works by leading scholars in the field of youth studies. The empirical material and theoretical background for the consecutive three-stage analysis of the types and forms of youth communities’ development, which structures the chapter, were provided by the research projects carried out by the team of authors of this book—employees of two research centres—the Scientific Research Centre ‘Region’ at Ul’yanovsk State University and the Centre for Youth Studies of the National Research University Higher School of Economics, St. Petersburg.
The colombian bagpipe is a participatory tradition of music and dance originating in the Montes de María region of the Colombian Caribbean. The ensemble of the bagpipe and its music has spread both within and beyond the national borders due to different factors. The interpretations of today’s bagpipe are drawn by a new generation of pipers that possesses greater tools for dissemination. This new generation forms bagpipe groups in which the innovation factor bursts into a tradition dominated by the repertoire of elderly teachers. The almost non-existent bibliography dedicated to the performance of the Colombian bagpipe and the study of its interpretations justifies this research within the framework of studies on musical transculturations and transnational movements. The doctoral thesis aspires to present the psychological and sociocultural adaptations, as well as musical and performative reworkings, experienced by three Colombian bagpipe groups in Montes de María, Bogotá and Madrid. The focus of the investigation is directed toward demonstrating what bagpipe music “does” and what it generates in the musicians as well as the audiences that participate in the events. We are helped toward this end through the narratives of the men and women who build this tradition in contexts of social risk (Montes de María) and migration (Bogotá, Madrid), and the performance that takes place in these spaces. Seeger's (1992) approach to performance studies was the most suitable to guide the search towards the meaning that people impart to the bagpipes and to performance...
Er det blitt «normalt» å røyke hasj? Hva er forholdet mellom en idealistisk cannabiskultur og en kynisk og profittorientert cannabisøkonomi? Hva innebærer de nye trendene knyttet til hjemmedyrking og medisinsk bruk av cannabis? Hvordan bør en fornuftig politikk utformes? Cannabiskultur gir et fascinerende innblikk i hasjrøykernes hverdag i Norge. Vi blir kjent med sporadiske brukere av cannabis - som ofte lever konvensjonelle liv - men også med cannabisdyrkere, medisinske brukere, smuglere og dealere. Innsikt i subkulturen rundt cannabis er avgjørende for å forstå hvorfor stoffet appellerer, hevder forfatterne. Cannabis knytter sammen svært ulike miljøer: Stoffets symbolske mening er formet av alternative miljøer med bånd tilbake til 1960-70-tallet. Kulturen omfavner alternativ religion og ideer om solidaritet og det «organiske». Den er politisk venstrevridd, avvisende til marked og bytterelasjoner. Dette danner i sin tur grunnlag for omsetningssystemet, som involverer tusener av småselgere over hele landet. Samtidig spiller tunge kriminelle aktører en viktig rolle. I boken presenteres originale analyser av denne økonomien. Forfatterne utvikler også et nytt perspektiv på risikoene ved bruk av cannabis: De ligger ikke primært i helsefarene, men i at hasjrøykere veves inn i cannabiskulturen og den illegale økonomien. Cannabiskultur er basert på over 100 kvalitative intervju med kvinnelige og mannlige hasjrøykere, smuglere, selgere på alle nivå, cannabisdyrkere og medisinske brukere av cannabis, i alderen 20- 62 år. De fleste har etnisk norsk bakgrunn, et flertall er ressurssterke, og mange kommer fra den øvre middelklassen. Datainnsamling har foregått siden 2006. Boken er en oppfølger til Gatekapital (Sandberg og Pedersen 2006) som beskriver livet for en gruppe minoritetsetniske hasjselgere langs Akerselva i Oslo.
Ainda que a música esteja presente nas obras de autores pioneiros da sociologia (Max Weber e Georg Simmel), não é possível falar em um campo devidamente consistente do fenômeno musical dentro dos estudos sociológicos, não obstante os trabalhos de alguns pesquisadores (Simon Frith, Andy Bennett, Antoine Hennion, Tia De Nora, dentre outros), impulsionados em grande parte pelo cultural turn ocorrida na sociologia em meados dos anos de 1970. Tendo em vista este panorama, o presente artigo tem como objetivo contribuir com as discussões sobre o “estado da arte” da sociologia da música a partir das seguintes questões: a) o equilíbrio necessário entre a abordagem estética da música e a sua devida contextualização social; b) o papel importante da música popular – em especial do pop-rock – na conformação das identidades/práticas de segmentos geracionais, simbólicos e culturais específicos; c) o incremento – com ênfase especial para o caso português – de uma sociologia cultural que tem a música enquanto tema-chave de suas preocupações; d) as contribuições específicas da sociologia para a análise dos gêneros musicais – com ênfase especial para o caso do rock alternativo.
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