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Abstract
Presenting a new approach to the study of youth culture and popular music, Beyond Subculture re-examines the link between music and subcultures and asks the question; in an ageing world, can pop music still be an automatic metaphor for youth culture? Using case studies and first-hand interviews with consumer and producers including Noel Gallagher and Talvin Singh, Rupa Huq investigates a series of musically-centred global youth cultures including hip-hop, electronic dance music and bhangra. With 'Generation X' becoming an increasingly redundant term, this book will help students redefine their ideas of youth culture and will be an invaluable addition to their studies.
... As groundbreaking and influential as the CCCS concepts and theories were, they drew criticisms in many aspects. For example, CCCS scholars were criticized for being less concerned about the meaning-making processes of subcultural participants themselves (see for example Muggleton, 2000: 3;Steen & Verburgh, 2020: 6;Williams, 2014: 117); the neglect of women's and girls' experiences (McRobbie, 1990(McRobbie, , 1991 and other ethnic groups such as black and Asian youth subcultures (Huq, 2006); and the underestimation regarding the positive role of media and commerce in the construction of subcultural groupings (Thornton, 1995: 119). However, the concept and studies of subculture outlined by the CCCS remain valuable as analytical frameworks in academic accounts of youth cultures, as a means of understanding not only the relationship between culture and social structure, but also thinking of the ways in which individual youth biographies evolve out of this relationship (Pikington & Omel'chenko, YIREN ZHAO The meaning of Chinese music subcultures 27 2013; Shildrick & MacDonald, 2006). ...
... They argued that the distinction between mainstream culture and subcultures was actually less obvious today than it had been previously (Chaney, 2004). In this light, seeing subculture as the subset of society overestimates the permanence and fixity of youth 28 YIREN ZHAO The meaning of Chinese music subcultures groups in recent contexts (Bennett, 1999: 605), instead subcultural studies considering to focus on heterogeneity, individualism and contingency, as well as consumption behaviours of certain groups of youth rather than class-based opposition or resistance (see for example Bennett, 1999;Bennett & Kahn-Harris, 2004;Huq, 2006;Muggleton, 2000). Postsubculturalists were therefore defined by Muggleton as revelling in personal choice "no longer articulated around . . . the structuring of class, gender or ethnicity" (Muggleton, 2000, pp. ...
... Music, has been seen as crucial in the formation of subcultures (see for example Bennett, 1999;Guerra & Sliva, 2015;Huq, 2006;Kruse, 1993;Lohman, 2017;Sautkin, 2017;Ulusoy, 2016). In the work of the American tradition, researchers began to discuss music as important activities around which processes of stigmatization and marginalization were experienced. ...
This thesis focuses on the meaning of Chinese music subcultures, such as metal, rap, punk, and rock, and how the meaning is shaped by the influences of the Chinese context, individual practices, and musical affect.
... Hoje estamos diante de um fenômeno global, o que significa que, apesar da matriz original do hip-hop e do rap ainda existir, multiplicaram-se os formatos expressivos e os subgêneros musicais enquadrados nesta categoria. Podemos certamente afirmar que o rap se adapta a novos contextos sociais, culturais e econômicos, transformando-se num gênero musical cada vez mais híbrido (Huq, 2006;Pardue, 2011;Saucier, 2011). Neste sentido, ainda que seja possível detectar convergências entre todas as suas expressões, por partilharem um imaginário e referências simbólicas comuns, encontramos igualmente divergência entre as suas diferentes manifestações que decorre das especificidades dos contextos onde o hip-hop e a música rap foram adotados e se implantaram, adaptando e recriando localmente a linguagem globalmente partilhada (Simões, 2010: 70;Mitchell, 2001). ...
... O rap , enquanto voz dos oprimidos, continua, atualmente, a expressar-se nos mais variados recantos do planeta, sendo empregue por diversas comunidades como canal de afirmação na esfera pública (Huq, 2006;Mitchell, 2001;Pardue, 2011;Saucier, 2011). Na verdade, esta vocação contestatária do rap decorre das afinidades entre os contextos sociais onde este surgiu e posteriormente se implantou, onde se podem identificar circunstâncias e causas próximas. ...
... Um dos casos mais flagrantes em que isso acontece remete para a sua apropriação por parte de populações racializadas e jovens migrantes ou descendentes de migrantes. Da juventude negra da periferia de Lisboa (Campos & Simões, 2011;Fradique, 2003;Raposo, 2007;2010;Simões, Nunes & Campos, 2005) aos jovens dos subúrbios franceses (Huq, 2006), passando pelos jovens turcos na Alemanha (Bennett, 2000;Weller, 2000) ou pelos jovens afrodescendentes no Brasil (Dayrell, 2005;Macedo, 2015;Pardue, 2011), vários são os casos relatados pela literatura em que o rap se torna um instrumento de denúncia e combate à discriminação, ao racismo e à precariedade das condições de vida. Neste sentido, ainda que as causas de contestação se possam alterar de acordo com os contextos de implantação da música rap, os temas de discriminação social e racial (mesmo que relacionados a diferentes grupos) mantêm a sua relevância, mostrando que uma parte significativa do rap atual permanece um gênero social e reivindicativo por excelência. ...
Resumo Ao longo de décadas, o rap tem sido central na construção de um discurso antirracista em Portugal. Com músicas a denunciar a violência policial, a exclusão social, o legado colonial e o racismo, os rappers negros das periferias de Lisboa desempenham um papel de vanguarda na luta contra a opressão racial, particularmente aqueles que cantam em crioulo cabo-verdiano. Apoiados por dispositivos e redes digitais, estes jovens constroem circuitos de sociabilidade e de produção musical impulsionadores de uma estética insurgente capaz de desafiar o estatuto de subalternidade que lhes é imposto. O presente trabalho debruça-se sobre a importância do rap na exposição do problema do racismo na sociedade portuguesa. Recorrendo a diferentes pesquisas de natureza qualitativa, analisamos os estilos de vida, as letras de música, o acesso às redes digitais e os engajamentos dos rappers no movimento antirracista.
... Additionally, the autonomy of pursuing artistic novelty is influenced by the structure of the organization with which the creative producer is affiliated. Creative producers from less bureaucratically organized firms usually have more discretion over their products and are more responsive to market change (Frith 1987;Huq 2007). Finally, market incumbents are usually less adaptable to innovation than newcomers, who are more likely to be the ones to ride the new artistic tide (de Laat 2014; Phillips and Owens 2004). ...
... In the popular music industry, this is typically seen in the distinction between major and indie companies: the former, a synonym for the Big Three (Warner, Universal, and Sony BMG) among studies of the Western popular music industry, is organized by highly bureaucratic and capitalized enterprises in which creative decisions are impacted by many different stakeholders beyond musicians, whereas the latter is flatter in its structure and grants musicians more autonomy over their creations. As a corollary, major labels are interested in following commercial formulae with minimum risk-taking (Phillips and Owens 2004), while indies are sites of innovation and experimentation (Huq 2007). One caveat is that during the platformization of the popular music industry over the past couple of decades, musicians who release their own songs have become an increasingly notable portion of the music supply because distributing their works has become much easier and less expensive (Qu, Hesmondhalgh, and Xiao 2021). ...
Studies on creative industries have explored how producers’ properties shape their decisions about pursuing artistic novelty in their products. But how do external shocks, such as new remuneration opportunities, affect artistic novelty? In this paper, I investigate how the launch of monetization programs on online music platforms shapes musical novelty. I examined an original dataset of 12,394 songs on a Chinese music platform that launched its monetization program in 2013. Using computational tools developed in Music Information Retrieval (MIR) to compare song similarity based on their acoustic properties, I employed a novel approach to measure and model the impact of the monetization program on the musical novelty of the songs. The results suggest that while many more songs were uploaded to the platform after the program launch, these new songs are generally less novel than those before. Moreover, the decrease is particularly significant among songs released by indie companies, Pop musicians, or veteran producers. These findings demonstrate that monetization programs will restrain artistic novelty, especially among producers who are more autonomously skillful, unspecialized, or experienced.
... Subkultur terbentuk akibat perbedaan usia anggota, ras, kesukuan, strata sosial, atau gender, dan dapat pula terjadi karena perbedaan aesthetik, religi, politik, seksual, dan bisa juga kombinasi dari faktor-faktor tersebut (Schiffman and Kanuk 2010). Serupa dengan pernyataan tersebut, Huq (2006) mengatakan bahwa youth subculture merupakan gerakan kohesif yang dilakukan pemuda dalam upaya melepaskan dari budaya dan aturan yang dominan (Huq 2006). ...
... Subkultur terbentuk akibat perbedaan usia anggota, ras, kesukuan, strata sosial, atau gender, dan dapat pula terjadi karena perbedaan aesthetik, religi, politik, seksual, dan bisa juga kombinasi dari faktor-faktor tersebut (Schiffman and Kanuk 2010). Serupa dengan pernyataan tersebut, Huq (2006) mengatakan bahwa youth subculture merupakan gerakan kohesif yang dilakukan pemuda dalam upaya melepaskan dari budaya dan aturan yang dominan (Huq 2006). ...
This article discusses the impact of the existence of content creators, especially Jovi Adhiguna, as a variety of subcultural careers in the era of globalization. This case study on Jovi Adhiguna is based on his existence as one of the representations of subcultures in Indonesia, interestingly, he has male sex but looks like a woman. This is known as the concept Androgyny. If it is related to the system of values and norms that exist in Indonesia, such things have imbalances and even include violations in attitude and behavior in the midst of society. The purpose of this article is to determine the impact arising from the birth of subcultures as a result of the development of globalization in Indonesia on young people. From the results obtained, it is found that Jovi Adhiguna is an influential agent in conditions of the collapse of the existing value and norm systems in Indonesia, in this case the eastern culture.
... An analysis of the research methods used in the study of youth subcultures reveals that the vast majority of studies in the field have taken a qualitative approach (Bennett, 2011). Ethnography has always been the most consensual and classical method for conducting research on youth subculture, and can include practices such as participation observation (Blackman, 2014), interviews (Crowe & Hoskins, 2019;Guerra, 2024b), fieldwork (Williams, 2024;Willis, 1977), and case studies (Huq, 2007;Lincoln & Robards, 2017). The rapid development of new media technologies, however, has resulted in a more complex presentation of youth subcultures, and qualitative research is unable to keep up with their increasingly complicated phenomena and evolutionary patterns. ...
This study used the Chinese Youth Subcultural Participation Questionnaire (CYSPQ) and the Portrait Values Questionnaire (PVQ) to examine 1,788 college students’ participation in youth subcultures and their identification with various values. The study further applied K-cluster analysis to determine the characteristics of four distinct subcultural groups – Loyal Subcultural Participation (LG), Indifferent Subcultural Participation (IG), Fashionable Subcultural Participation (FG), and Adventure and Excitement Subculture Participation (AG) – as well as each of the four distinct subcultural participation groups’ relationships with certain values. The results showed no significant differences between the four groups in self-enhancement or conservative values. However, significant differences were found in openness and self-transcendence values. LG identified less with the value of self-transcendence than the other three groups, while both AG and LG identified more with the value of openness than FG and IG, with FG identifying stronger with openness than IG.
... While scholars continue to debate the relative merits of different conceptualisations, there has been somewhat of a harmonisation across what were once clearly contrasting approaches in recent years (Woodman and Bennett 2015a;Hodkinson 2016). Post-subculture theorists and researchers are giving greater attention to the structured and unequal, as well as changing environments, in which young people's cultural practices unfold (Bennett 2011(Bennett , 2018Robards and Bennett 2011;Hardy et al. 2018) and the subcultures framework has expanded beyond how it was originally deployed by the Birmingham School, to recognise the effects of social positions beyond class and to recognise forms of creativity and generational change beyond class dynamics (Huq 2007;McRobbie 2000;Nayak 2016). ...
... For studies of bhangra,see Baumann 1990, Gopinath 1995, Huq 2006, Leante 2004, Roy 2010. For research on raï seeDaoudi and Miliani 1996, Gross, McMurray and Swedenburg 2001, Langlois 1996a, Marranci 2000, Schade-Poulson 1999, Virolle 1995 ...
This article sketches out a synthesis of issues that have emerged in the study of diaspora and music. The author identifies two broad approaches in the literature: 1) diaspora as social formation and 2) diaspora as metaphor. By “diaspora as social formation” is meant approaches that stress a sociological definition of diaspora and that emphasize the historical facts and material conditions of diasporas, with empirical enquiry focused on the social networks that maintain diasporic communities and the role of music in articulating such networks. In contrast, approaches that evoke “diaspora as metaphor” emphasize the interpretive possibilities that the idea of diaspora enables in regard to the historical and contemporary global flows of music. The article ends with a brief discussion of the metaphor of the rhizome as a way of thinking about the non-hierarchical nature of diasporic networks, and of the way music may articulate the different nodes of these networks while providing a vehicle for the imagination and performance of diasporic consciousness.
... Although diverse philosophical antecedents and theoretical origins of the concept can be traced before this, subculture as a formal term was in circulation after World War II in reference to subgroups of society (Jenks, 2004). The concept of subculture is understood metaphorically as a social evil in urban organism (or social Darwinism) and was used by the Chicago School in their strenuous efforts to develop a sociological explanation for a variety of social deviant behaviors, including criminality, prostitution, street gangs, drug abuse, alcoholism, and unemployment (Blackman, 2014;Huq, 2007;Jenks, 2004). As an intellectual currency, its usage was dramatically boosted with the prolific output from the University The CCCS framework of subculture came under intense criticism in the 1980s. ...
... "Mabuk, Berkarya, Hura-hura" Kultur anak muda dekat dengan alkohol, sepaket dengan subkultur dan musik yang mengikutinya (Huq, 2007). Bahkan alkohol juga seringkali menjadi bagian dari identitas subkultur itu sendiri, yang merupa dalam praktik konsumsi sehari-hari (Young & Craig, 2008). ...
Teras Kolektif is a music collective that is active in Jatinangor, carrying the spirit of punk and the culture of Do It Yourself. But unlike other punk scenes, Teras Kolektif does not carry the essentialist burden which is always obedient to the puritanism of music and other identity standards. Teras Kolektif scene arises from the anxiety of students who want a space where a frame of “old-fashioned” morality does not tie them up. This study relies on participatory ethnography as a methodology, with the aim of capturing the dynamics and various behavioral pattern of the Teras Kolektif. Data collection techniques were also strengthened by in depth interviews with 18 subjects consisting of actors as well as those who intersected directly with Teras Kolektif activities. The findings of this study are that the Teras Kolektif is a student public sphere, where not only music is mixed, but also where political discussion and education take place. Teras Kolektif also succeeded in becoming a space for discourse exchange between students on various campuses. There are things that need to be evaluated by Teras Kolektif as a progressive collective: the hyper-masculine character that is at risk of damaging the spirit that they carry, also related to the regeneration of the Teras Kolektif to maintain its existence and consistency going forward.
... (p.13) Apesar das críticas dirigidas à perspectiva abraçada pelos pesquisadores(as) do CCCS, é inegável que esses estudos trouxeram contribuições significativas para a pesquisa com as populações jovens em contexto urbano, especialmente no que diz respeito a uma ressignificação da concepção de subcultura, que na primeira metade do século XX esteve atrelada às noções de delinquência e criminalidade 6 . Algumas das críticas produzidas a partir da década de 90 aos estudos subculturais 7 (Thornton, 1995;Bennett, 1999;Bennett e Kahn-Haris, 2004;Huq, 2006;Muggleton e Weinzierl, 2004), apontam as limitações desses estudos, especialmente o exagero da "perspectiva classista", que invisibiliza outros indicadores responsáveis pela produção das identidades, o "elitismo cultural", que definia a apropriação cultural desses grupos como "essencialmente criativas" em contraposição ao consumo passivo da maioria dos jovens, "vagabundos" destituídos de senso moral. Os jovens que a letra faz menção, encontram no caminhar pela cidade uma espécie de válvula de escape para suas frustrações, e, não apenas! ...
A proposta desse artigo é problematizar a relação entre o Punk e a cidade, mostrandocomo o surgimento desse estilo de vida jovem foi fortemente influenciado pelasdinâmicas da vida urbana, podendo ser classificado como uma forma sui gêneris decitadinidade. É por meio do caminhar na urbe que os punks expõem seus valores estéticose visões de mundo, tensionando uma percepção higienizada e ordeira que busca impedir(ou regulamentar) o nomadismo dos indesejáveis. A cidade se apresenta para os punkscomo um paradigma fundante de suas experiências citadinas que ganha forma a partir daprodução de narrativas orais e imagéticas, expressadas em letras de músicas, pichações,poesias, etc. É a partir desse material que extrairemos os sentidos mobilizados por essesatores "sobre a cidade”, sobre "estar na cidade” e sobre o "fazer-cidade".
... Some of the previous research on youth and fashion comes from the subcultural theory of The Birmingham Center for Contemporary Cultural Studies [1]. However, this theory has been criticized because it has a narrow focus and some gaps question the relevance of the theory to the multicultural, post-colonial world [2]. where society is more easily changed [3]. ...
... CCCS youth subcultures theory is also routinely dismissed for its neglect of gender (McRobbie, 1991), race (Nayak, 2003;Huq, 2006), and women, ethnic and sexual minorities youth in the Western societies in general are also less visible in the studies of youth culture. ...
The flow of Chinese international students to the US is a long-standing phenomenon that has lasted for more than a century. Such popularity has been growing on a larger scale in the last two decade until the Covid-19 pandemic. Wondering on such sustained and augmenting heat of migration and mobility to the US, this study takes a biographical approach to explore the lives and experiences of today’s Chinese international students in the US by examining their mobility motives, lived experiences, reflections and reflexivities on their international mobility, and their future imagining and projecting.
Among the extant studies, very few takes a holistic approach to investigate the whole international mobility experiences of Chinese international students. Most of them only focus on their horizontal relocation but overlook their vertical temporalities. This study introduces two backbone theoretical frameworks of youth transition to adulthood and migration/mobility to construe the biographical experiences of today’s Chinese international students in the US with a central aim of inquiring into what role international mobility plays in their transitions to adulthood and how they wield agency to navigate their mobility trajectories against contextual and structural constraints. Through international mobility, Chinese international students experience ‘double’ social changes from the rapidly-changing China to the ever-changing America and from the past to the future. Therefore, by examining how Chinese international students make transitions to adulthood, this study can also reflect the changes to social conditions in both China and the US and even to the extent of the whole world.
Assuming that today’s Chinese international students growing up in a fast-changing society could be vastly different from their predecessors not long ago, this research adopts a qualitative research paradigm using in-depth interviews to collect empirical data in order to provide a rich understanding of the multiplicity and breadth of participants’ individual experiences, with various reflexive representations of the individuals’ narratives at the core of the study. Following an interpretivist-constructivist approach to analyze empirical data, this study finds out that today’s young Chinese international students practice international mobility to the US mainly for escaping social control in China and for an alternative transition process in a different social condition in which they believe they will be able to enjoy the course of studying, living and exploring, and after years of mobile lives in the US they incorporate spatial mobility into their imagining and projecting for future transition outcomes-making. And the analysis reveals that they value mobility highly and display an acute awareness of both the advantages and challenges of their mobile lives and refer to their lived experiences in both China and the US for their decision-making process concerning their future mobility trajectories in the hopes of securing both ‘good’ transition processes and ‘good’ transition outcomes. The significance of this study reaches beyond offering a landscape of today’s Chinese international students in the US to the extent that valuable theoretical implications can be contributed to the currently vigorous debate on youth transitions to adulthood while being on the move.
Keywords: Chinese international students, youth transition to adulthood, migration, mobility, transition processes, transition outcomes.
... Thomas Solomon writes that the Turkish underground is split between musicians who want mainstream success and those who take pride in their underground status, creating tension (Solomon, 2005). British-Asian hiphop and French undergrounds also illustrate a similar division between achieving commercial success and retaining a sense of authenticity in the underground (Huq, 2006a(Huq, , 2006b. In Iran, this issue is complicated by the fact that there is a very limited commercial music industry. ...
Following the 1979 Iranian Revolution, the decline and temporary fall of an established music industry, necessitated the creation of a new underground DIY culture to help redevelop music culture in Iran. This culture referenced the DIY movements that emerged in mid-twentieth-century Britain and America through the dissemination of cassette tapes, underground shows, word of mouth promotion, and symbolic stencilling and graffiti. Now, with use of twenty-first-century technology, the DIY movement continues to evolve through online underground networks where music can be easily recorded, uploaded, and downloaded. Bands such as 127, Kiosk, and Hypernova emerged from the Tehrani underground through DIY means while simultaneously channelling the musical influences of Western punk and indie-rock.
This essay explores how the concepts of DIY culture and the underground have been transformed in an Iranian context as young Iranian musicians find themselves trying to navigate between dual identities: between the cultural influences of East and West, the mainstream and the underground, and the traditional and the popular. In the process, many contradictions have emerged, surrounding notions of authenticity and autonomy. Post-2000 exposure in Western and diaspora publications continues to play a large role in the perception of the Iranian underground, shaping how Iranian popular musicians are perceived globally, while reinforcing images of authenticity. By comparing representations of Iranian illegal popular music in the Western media with personal accounts from underground musicians in Iran, it also becomes clear that the myths surrounding the Iranian underground are actively negotiated by both the Western media and Iranian youth.
Keywords: DIY culture, underground subculture, popular music, youth identity, Iran
... 1 Or even cemented the ethnic and racist stereotypes of their young informants; see Huq (2006). 2 Although it seems that David Muggleton had even earlier Maffesolian ideas. ...
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.
... New perspectives were framed through these critiques, such that the new frameworks developed were called 'post-' or 'after-' subcultures frameworks. In particular, these approaches asserted that youth cultural practices had creative and aesthetic autonomy from class position while still having collective dimensions and were structured by much more than class position, such as gender and ethnicity (Huq 2007;McRobbie 2000;Nayak 2016). ...
... New perspectives were framed through these critiques, such that the new frameworks developed were called 'post-' or 'after-' subcultures frameworks. In particular, these approaches asserted that youth cultural practices had creative and aesthetic autonomy from class position while still having collective dimensions and were structured by much more than class position, such as gender and ethnicity (Huq 2007;McRobbie 2000;Nayak 2016). ...
... New perspectives were framed through these critiques, such that the new frameworks developed were called 'post-' or 'after-' subcultures frameworks. In particular, these approaches asserted that youth cultural practices had creative and aesthetic autonomy from class position while still having collective dimensions and were structured by much more than class position, such as gender and ethnicity (Huq 2007;McRobbie 2000;Nayak 2016). ...
... Contudo, nunca perde a sua alegria e diz que canta muitas vezes para se esquecer dos seus dias, tal como a sua sobrinha, também aqui imigrada. Com Rupa Huq (2006), afi rmamos e verifi camos a existência de uma fusão cultural que é impulsionada pelos níveis de mobilidade que dão origem a fl uxos culturais complexos. As identidades ao estarem em constante mudança ...
Este artigo constitui uma breve reflexão acerca da relação entre música e as representações identitárias de mulheres romenas imigrantes em Portugal, nomeadamente na Área Metropolitana do Porto (Porto, Maia, Valongo, Póvoa de Varzim e Vila Nova de Gaia). Partindo do pressuposto de que a música é uma forte componente do dia-a-dia destas mulheres, destacamos a sua relevância como um meio de resistência, de afirmação e de sobrevivência na sua viagem e acolhimento em Portugal. Além disso, baseando-nos na aplicação de uma metodologia qualitativa, assente na realização de 20 histórias de vida a mulheres romenas imigradas em Portugal, concluímos que existe um gap entre aquela que é a cultura de origem e a cultura do país de acolhimento: no sentido em que não é enfatizado o multiculturalismo e a partilha de gostos, de estéticas e de memórias do contexto de origem. Aliás, tal aspeto é tanto mais premente quando pensámos na forte estigmatização e discriminação de que estas mulheres são alvo diariamente numa lógica de violência simbólica – e por vezes, física. Mais ainda, a música tende a ser o meio que as une à sua cultura, às suas memórias, às suas tradições familiares e vicinais, assumindo-se como um poderoso veículo de reconstrução identitária na ultrapassagem das dificuldades quotidianas.
... Contudo, nunca perde a sua alegria e diz que canta muitas vezes para se esquecer dos seus dias, tal como a sua sobrinha, também aqui imigrada. Com Rupa Huq (2006), afi rmamos e verifi camos a existência de uma fusão cultural que é impulsionada pelos níveis de mobilidade que dão origem a fl uxos culturais complexos. As identidades ao estarem em constante mudança ...
This article is a brief reflection on the relationship between music and the identity representations of Romanian immigrant women in Portugal, namely in the Metropolitan Area of Porto (Porto, Maia, Valongo, Póvoa de Varzim and Vila Nova de Gaia). Starting from the assumption that music is a strong component of the daily life of these women, we highlight its relevance as a means of resistance, affirmation and survival in their journey and reception in Portugal. Moreover, based on the application of a qualitative methodology, based on the completion of 20 life stories of Romanian women immigrants in Portugal, we conclude that there is a gap between what is the culture of origin and the culture of the host country: in the sense that multiculturalism and the sharing of tastes, aesthetics and memories of the context of origin are not emphasized. In fact, this aspect is all the more pressing when we think about the strong stigmatization and discrimination that these women suffer daily in a logic of symbolic - and sometimes physical - violence. Furthermore, music tends to be the means that unites them to their culture, their memories, their family and neighbourhood traditions, assuming itself as a powerful vehicle of identity reconstruction in overcoming daily difficulties.
... Although diverse philosophical antecedents and theoretical origins of the concept can be traced before this, subculture as a formal term was in circulation after World War II in reference to subgroups of society (Jenks, 2004). The concept of subculture is understood metaphorically as a social evil in urban organism (or social Darwinism) and was used by the Zixue TAI, Dayong ZHOU Chicago School in their strenuous efforts to develop a sociological explanation for a variety of social deviant behaviors, including criminality, prostitution, street gangs, drug abuse, alcoholism, and unemployment (Blackman, 2014;Huq, 2007;Jenks, 2004). As an intellectual currency, its usage was dramatically boosted with the prolific output from the University of Birmingham Centre for Contemporary Cultural Studies (CCCS), which refashioned the concept of subculture into a systematic field of study on engaging with youth culture in the 1970s. ...
... [v: Miller, 1974;Klein, 1997] (Kovač, 2005: 356), prvi talas ekspanzije ovog tipa huliganizma vezuje se za sedamdesete (Lalić, 1990: 116), a omasovljavanje i formiranje dobro organizovanih navijačkih huliganskih grupa za osamdesete godine dvadesetog veka (up: Misić & Kešetović, 2012: 103;Milojević, Simonović, Janković, Otašević & Turanjanin, 2014: 29). U tom pogledu, primećuje se relativno kasnije lokalno širenje pomenute pojave koja je u pojedinim inostranim zemljama imala znatno dužu istoriju 5 , te čija recepcija na prostoru Jugoslavije je uglavnom bila oblikovana prema modelima navijačkih grupa iz inostranstva -pre svega iz Engleske, kao kolevke fud-3 Uopšteno o omladinskim potkulturama v: McKay, 1996;Hall and Jefferson, 2003;Huq, 2007;Brake, 2013. 4 O muzičkim potkulturama v: Hebdige, 1979. ...
In this paper the author examines the socio-pathological aspects of delinquent groups issues in Serbia. After reviewing the definition and features of delinquent groups, we offer a chronological analysis of various forms of local delinquent groupings from the mid-20th century to the present. Next, the relationship between those groups and various socio-pathological manifestations was examined. In the final section, the author summarizes the features of this phenomenon, and offers his own perspective of its evolution in the future. Moreover, the author discusses the overwhelming influence of information technologies on the transformations and contemporary tendencies of delinquent groups and delinquency in general. This can have a dual impact on socio-pathological phenomena: as a factor in reducing the occurrence of traditional deviant behavior, but also as a factor in the expansion of new socio-pathological phenomena
... Diese Kulissen rufen eine globale kollektive Identität des HipHop wach, sie sind aber auch »ein Ausstattungsmerkmal, ein theatrales Mittel, um lokale Identität herzustellen und den Glauben an Authentizität zu befördern« (Klein/Friedrich 2003: 87). In ihrer Studie über französischen HipHop in den Banlieues, den Vororten von Paris, rekonstruiert Rupa Huq (2003), wie afrikanische Franzosen und Französinnen der zweiten und dritten Generation eine lokale Identität produzieren. Die RapperInnen greifen das dominante Bild der Banlieues als verarmt und »gefährlich« auf und verweisen mit Stolz auf ihre soziale Verortung in diesen Vororten, weil sie dadurch Originalität und Authentizität vermitteln können. ...
Durch Migration entstehen vielfältige Formen der Mobilität, die verschiedene Orte, Lebensweisen und Visionen miteinander verbinden. Menschen, die migrieren, schaffen Räume, die sich sowohl von denen unterscheiden, die sie verlassen haben, als auch von jenen, die neu bezogen wurden. So werden Strukturen, Kulturen und Kommunikationsformen erschaffen, die ohne Impulse durch Migration kaum denkbar wären. Die Lebenspraxis zeigt, dass Menschen mehrere Heimaten und Zugehörigkeiten haben, diverse kulturelle und soziale Netzwerke schaffen können und dass sie mit negativen Zuschreibungen von außen kreativ und subversiv umzugehen wissen.
Auf diese Weise entwickeln sich postmigrantische, mehrheimische, hybride und transkulturelle Alltagspraktiken, die bisher kaum gewürdigt worden sind. Die Beiträge dieses Bandes verstehen sich daher als Plädoyer für eine andere Sicht der Dinge und als Absage an das vorauseilende Misstrauen, mit dem migrationsbedingten Phänomenen häufig begegnet wird.
Dieser Reader enthält Beiträge u.a. von Wolf-Dietrich Bukow, Sabine Hess, Regina Römhild und Mark Terkessidis.
... Uopšteno o omladinskim potkulturama v: McKay, 1996;Hall and Jefferson, 2003;Huq, 2007;Brake, 2013. 4 O muzičkim potkulturama v:Hebdige, 1979. ...
Cilj istraživanja bio je da se utvrde doprinosi karijerne adaptabilnosti, osobina ličnosti i socio-demografskih karakteristika u objašnjenju predanosti organizaciji kod zaposlenih. Istraživanje je realizovano na prigodnom uzorku od 390 ispitanika zaposlenih u državnim (34%) i privatnim (66%) preduzećima u Srbiji (42% muškog pola i 58% ženskog pola) prosečne starosti od 40 godina, od kojih je 46,2% ispitanika na rukovodećim pozicijama, a 53,8% na izvšilačkim pozicijama. Kriterijumske varijable čine sumativni skorovi na dimenzijama predanosti organizaciji (afektivna, normativna i instrumentalna). Prediktorske varijable čine socio-demografske karakteristike (pol, pozicija u organizaciji, tip organizacije, ukupan radni staž, radni staž u organizaciji, starost i obrazovanje), sumativni skorovi izračunati na dimenzijama ličnosti operacionalizovanih na osnovu HEXACO modela ličnosti (poštenje, emocionalnost, ekstraverzija, prijatnost, savesnost i otvorenost), i sumativni skorovi izračunati na dimenzijama karijerne adaptabilnosti (zabrinutost, kontrola, radoznalost i poverenje). Putem hijerarhijskih višestrukih regresionih analiza utvrđeno je da socio-demografske karakteristike, osobine ličnosti i aspekti karijerne adaptabilnosti objašnjavaju 29% varijanse afektivne predanosti, 18% normativne predanosti i 17% instrumentalne predanosti organizaciji. Prema značajnosti i veličinama, kao stabilni prediktori afektivne i normativne predanosti organizaciji izdvajaju se socio-demografske karakteristike zaposlenih, potom osobine ličnosti, a najmanji su doprinosi karijerne adaptabilnosti, dok u objašnjenju instrumentalne predanosti najveći doprinos imaju osobine ličnosti, potom socio-demografske karakteristike, a karijerna adaptabilnost gotovo da uopšte ne doprinosi objašnjenju instrumentalne organizacijske predanosti. Afektivna predanost organizaciji više je zastupljena kod zaposlenih na mestu rukovodioca, kod zaposlenih sa dužim radnim stažom u organizaciji, kod zaposlenih u privatnim preduzećima, koji imaju više izraženu ekstraverziju, poštenje i prijatnost, a od aspekata karijerne adaptabilnosti kontrolu. Normativna organizacijska predanost u proseku je viša kod rukovodilaca, u organizacijama privatnog sektora, kod zaposlenih koji imaju manji ukupan radni staž, ali veći radni staž u samoj organizaciji, kod starijih zaposlenih, i to kod onih koji imaju više izraženu ekstraverziju, prijatnost i manje izraženu otvorenost. Instrumentalna organizacijska predanost prosečno je viša kod zaposlenih sa dužim radnim stažom u organizaciji i kod starijih ispitanika, te kod onih koji imaju izraženu emocionalnost i poštenje, a manje izraženu ekstraverziju. Može se konstatovati da u objašnjenju predanosti organizaciji najviše učestvuju socio-demografske karakteristike, znatno manje osobine ličnosti, a karijerna adaptabilnost veoma malo i to ne u svim aspektima predanosti organizaciji. Dobijeni rezultati upućuju na značajne praktične implikacije koje mogu biti od koristi u budućem radu poslovnim psiholozima u kreiranju povoljne organizacione klime.
... Assistimos ruptura com variáveis fulcrais até então, tais como as classes sociais, as etnias, a religião e outras âncoras vitais, que foram substituídas pela cultura do consumo e pelos média globalizados. As identidades passam a ser instáveis (Huq, 2006). É neste panorama que emerge a teoria pós-subcultural, que toma a teoria subcultural como algo ultrapassada, argumentando que esta não conseguia responder cabalmente às mudanças constantes decorrentes do aumento dos fluxos de bens culturais. ...
In this article, we seek to analyze the São Paulo clubber movement in the 1990s as a creator of innovation in fashion and in the contemporary visual imagery. In this opportunity, we will take as a comparison the London clubber scene of the same time, prosopographing two central figures of both scenes: Alexander McQueen and Alexandre Herchcovitch. Our argumentation is that the clubbers' scenes experienced in the 1990s by these two fashion designers, independently activate playful energies and socialities intertwining creation, intermediation and cultural enjoyment on the dance floor. These scenes are spaces of versatility (and simultaneity) of creative roles. Network, simultaneity, versatility, interdisciplinarity, materiality, immateriality are assumed as ineluctable attributes of the musical scenes that are transported to the clubs, and later to the careers of McQueen and Herchcovitch.
Данный сборник подготовлен на основе докладов участников региональной конференции
«Идентификация в странах Центральной Азии: траектории развития» (4-5 декабря 2023 года,
г. Алматы), организованной Представительством Фонда Розы Люксембург в Центральной
Азии.
Сборник посвящен широкому кругу вопросов, связанных с анализом трендов и траекторий
идентификации в странах Центральной Азии: перспективам формирования региональной
идентичности и позиционированию региона в международном сообществе, соотношению
локальных и национальных идентичностей, светскости и религиозности в современных
обществах; развитию новых коллективных идентичностей, их видимости и значимости
в социально-политическом поле; а также дискурсу деколонизации и его влиянию на
идентификационные процессы в странах региона. Большинство статей, опубликованных в
сборнике, основываются на данных прикладных политико-социологических исследований,
реализованных их авторами – исследователями из Казахстана, Кыргызстана, Таджикистана
и Узбекистана.
Modern kapitalist sistem özgürlük, güzellik, gençlik mitleri ile kadın bedenini ve benliğini disipline ederken çoğu kez kadını çıplaklık ve cinsellik içine hapsetmektedir. Kadın bedeninin bir zevk aracına indirgenmesi bir anlamda kadının varlık değerinin yok sayılmasıdır. Çalışmanın temel amacı kadını, bedeni üzerinden pasif nesne konumuna yerleştiren metalaşma dinamiklerinin rap müziğe yansımalarının tespitidir. Nitel araştırma yönteminin kullanıldığı çalışmada veriler doküman incelemesi tekniği ile toplanmıştır. Çalışma örneklemi için rapçi Norm Ender’in şarkılarından seçilen 10 şarkı sözünden ulaşılan veriler içerik analizi ile çözümlenmiştir. Çalışmanın “bedenin cinselliğe indirgenmesi” temasında elde edilen bulgulara göre şarkı sözlerinde cinsellik ile eşleştirilen ve çıplaklaştırılarak teşhire açılan kadın bedeninin baştan çıkarma oyununun nesnesi hâline gelmesinin, imgesel cinselliğin kadını ikame edilebilir dişil bir arzuyu indirgemesinin, abartılmış cinselliğin hem bedenin hem de cinselliğin anlamını tüketmesinin eleştirildiği sonucuna ulaşılmıştır. “Bedenin benlik sunumunda kullanım değeri” temasında ise uzlaştırılmış bedenlerden tek tip benlikler inşa etmeye çalışan kadınların varlıklarını ispatlamak için estetik cerrahi, kozmetik vd. uygulamalara yönelmeyi içeren sürekli bir mücadele içinde oldukları, beden-benlik bütünlüğünün parçalanması nedeniyle bir simülasyona dönüştükleri, bireysel yetenekleri ile var olmayı ihmal ettikleri ve bu ihmalin bedelini erkeğin bakma hazzını tatmin eden bir kendini değersizleştirme ve özsaygılarına ihanet ile ödedikleri şeklinde tartışıldığı sonucuna ulaşılmıştır.
Cinema is an art connected to social reality, interacting with groups that are actors of societal transformation. Groups that cannot make their voices heard within dominant cultures can develop a resistance against the dominant culture or find a path of reconciliation with it through subcultures, thereby creating an alternative space for themselves. Therefore, although subcultures are often perceived as a form of resistance, they can sometimes be functional in the path towards reconciliation with society. As an alternative form of expression, subcultures can find an opportunity of representation in recent films produced in many different countries. This study examines how rap subculture is represented in cinema. With this aim in mind, the film Casablanca Beats (Ayouch, 2021), which is one of the noteworthy examples of Moroccan cinema in recent years, has been selected as an example. Casablanca Beats (Ayouch, 2021) addresses the emergence of a dynamic rap subculture among young characters, and how through this path, they create a lifeline for themselves by forming a resistance against normative values. In this study, the reflection of rap music subcultural practices in Casablanca Beats (Ayouch, 2021) is examined using the Descriptive Analysis method guided by Raymond Williams' framework of the “dominant”, “residual”, and “emerging” cultures. The results of the study reveal that in the film, young characters find a space of autonomous expression through subcultural practices, form group identities, challenge societal determinants, but on the other hand, they are also observed to engage in efforts to reconcile with the dominant culture by transforming it.
This article sheds light on the significance of media and material forms of expression for the formation of style and affiliation in youth culture. Therefore, theoretical positions of youth culture and scene research, conceptions of affiliation and style formation are traced. Attributions of meaning to media and material dimensions of youth cultural practice are discussed. Finally, the volume and contributions are introduced.
Early analysts of both punk and metal have shown their continuing popularity for segments of the public who were often considered in the 1970s and 1980s as “losers of globalization” despite the level of fragmentation of these scenes, the diversity of their audiences’ backgrounds, and their constant evolution and re- invention. This volume aims to stimulate and contribute to debates on punk and metal, on one side, and social class and economic and cultural change, on the other, through international, contemporary and historical approaches, mainly focused on Britain and France.
This chapter discusses the personal and general cultural significance of the folk-punk band Violent Femmes’ eponymous debut album released in 1983. I address the album as a touchstone for adolescents who felt like outsiders within their communities. The album’s “raw” style, recorded very quickly and with no overdubs, expresses the anguish often connected with adolescence and in particular with Generation X youths, who were hitting adolescence when the album was first released. I discuss not merely my own sense of isolation but that of Gen X, often forgotten among the very large cohort that preceded it (the Boomers) and those that have followed it (Millennials, Gen Z), and how this record fits the Gen X sensibility. I also consider the album in the context of its troubled representation of masculinity, aware of contemporary research on “incel” culture, and how the rage contained on the record has in many sad ways become unleashed in acts of violence.
This paper examines ethnic identity in selected narrative
works, namely, Tanushree Podder’s Escape from Harem
(2013), R. K. Narayan’s The Guide (1958) and Dipika
Rai’s Someone Else’s Garden (2010). The study argues
that the ethnic groups could be grasped in terms of their
identity features, which are blatantly portrayed in the
novels. The study of any ethnic group, furthermore,
leads directly to the understanding of its people, culture,
tradition, manner and so forth. In this respect, the
concept of identity will be approached as an implicative
conceptualization of any community. Therefore, the
purpose of this study is to examine the complexities of
identity and its effects on the characters in the selected
novels. First, it will study the conceptualization of identity
in Escape from Harem (2013). In this novel, the notions
of identity will be elaborated in relation to feminism.
Second, it will apply the concept of identity in terms of
the main character’s life in The Guide (1958). Third, it
will discuss women poor conditions in Someone Else’s
Garden (2010) to identify the author’s depiction of gender
autonomy as a way of gaining identity in the novel.
Scholars of Indonesian politics and c the increasing religious influence in contemporary social, political, and cultural life. Although their literature provides insightful explanations about this trend, scholars fail to include subcultural Muslim youths in their analyses. The term subcultural youths in this context refers to a diffuse network of young people that share distinctive identities, ideas, and cultural practices associated with underground music subcultures (such as punk, hardcore, hip-hop, metal, and ska) as a way to deal with a sense of marginalisation and/or to oppose mainstream society. In Indonesia in the 1990s, these youths were mostly secular, pluralist, and politically progressive and leftist. Their community welcomed all people from any social background, and religion was considered a personal matter. The social, political, and economic conditions following the fall of the New Order regime (1966-1998) changed the nature of this community. Some of its participants shifted ideologically and organisationally to Islamic conservatism and right-wing Islamism, marked by their support of and involvement in various movements such as the Islamic underground movement and the hijrah movement. This paper attempts to fill a gap within the existing literature on the conservative turn of subcultural youths in Indonesia by introducing the most recent subcultural theory as an analytical framework that can be used to explain the ideological and organisational shift. Studying the conservative turn of subcultural Muslim youths from a perspective that emphasises critical political economy allows this paper to present new insights against conventional wisdom and purely culturalist readings of the conservative turn in Indonesia.
Youth cultures and their place in the city are a favourite topic of social scientists, with more than a century of research existing on this subject. This chapter begins with a diachronic conceptualization of the concept of youth and youth cultures in their different modes of transition to adulthood, considering their disruptive and deviant tendencies in relation to the prevailing norms. We identify the main recent approaches based on the inclusive power of the arts regarding the possibilities of inclusion of youth cultures in the city and the prevention of crime and deviance, thus examining the main approaches, methodologies and projects based on arts-based research, highlighting their potential to create a strategy of social cohesion and sustainable development.KeywordsYouthYouth culturesUrban spaceSocial inclusion/cohesionArtsCrime and deviance preventionArts-based research
With peak numbers on Spotify and doing well on the charts, Dutch rap/hip hop music has captured the attention of Dutch audiences in recent years. Its current commercial success and immense popularity have sparked academic interest, resulting in studies that analyse Dutch Neerlandophone rap/hip hop music in the local context of the Netherlands ‐ paying attention to its specific political and cultural characteristics. In this review article, the author outlines the current state of Dutch hip hop studies, identifying its prominent research themes. By uniting the research field on paper, the author aims to permanently put it on the map and encourage further hip hop research in the Dutch context in the future.
Punk in China suffers from the stigma of inauthenticity and the dilemma of belatedness. That is, it comes ‘after’ the original punk moment in the West and is understood as derivative and therefore inauthentic. It does not follow, however, that in places that came ‘late’ to punk, such as China, punk is merely an echo of Western practice. Recent scholarship has embraced the concept of ‘global punk’, alongside projects to decolonize punk studies, to destabilize Western-centric understandings of punk authenticity. Consistent with this agenda, we undertake a comparative analysis of 60 seminal 1970s UK and US punk songs and 60 Chinese punk songs released since the founding of Chinese punk in the 1990s, to analyse the translocal durability of punk. Punk in China, we argue, mobilizes a durable ethic of do-it-yourself resistance to interrogate local political conditions and adds weight to the catch-cry that ‘punk is not dead’.
The Indonesian underground music scene was once known as the bastion of progressive and radical Leftist politics for urban youths during the Reformasi era (1997-2002). After the fall of Suharto on 21 May 1998, leftist activism in the scene declined, and was followed by the emergence of the right-wing Islamic underground movement and the hijrah movement. Their opposition to democracy and enmity towards minority groups has undermined the scene’s reputation as one of the key elements in Indonesia’s emerging democratic culture. The existing studies on the ‘conservative turn’ have failed to explain the ideological shift of underground subcultural participants towards Islamic conservatism and right-wing Islamism. This study was inspired by this background and aimed to answer the following research question: ‘Why did some underground music scene participants shift to conservative Islam and right-wing Islamism in post-authoritarian Indonesia?’ Drawing from extensive (ethnographic) fieldwork in Indonesia between 2015 and 2018, and informed by subcultural theory, I argue that the transformations of the Indonesian underground music scene including the most recent shift towards conservative Islam and right-wing Islamism reflect the transformations of youth resistance in response to different socio-political and economic conditions that have disempowered and marginalised them. These conditions are both external and internal to the scene. The external factors include post-Suharto’s political stagnancy, suppression and co-optation of Left activists by the state and right-wing groups, the domestication of the underground’s subcultural capital and practices, material inequality, and the lack of economic opportunities. The internal factors include polarisation and fragmentation, informal hierarchies, nihilism, the absence of central figures, and stagnancy within the scene. Due to the absence of coherent leftist activism within the scene, the participants sought for alternative channels to express their dissent, including new ideological and organisational platforms to resist hegemonic cultures and authorities and find solutions to the demoralising effects generated by the above conditions.
This article draws on psychogeography to explore suburban Bushey, Hertfordshire (UK), where the popular music duo Wham! formed and created the foundation for the later career of George Michael. It locates this neglected cultural narrative within the context of parental postcolonial and metropolitan journeys, arguing that migrations from the margins of the British Empire and across London form part of a ‘spatial moral order’. Exploring how a distinct pop group emerged at a particular time, it emphasises the importance of family and friendship within the suburban landscape of school, home, a pub, church halls, and a scout hut. A focus on the formation of Wham! contributes to debates about the postcolonial journeys and suburban circumstances that have shaped UK popular music since the end of World War II, and illustrates how psychogeography can contribute to the study of popular music.
Durch Migration entstehen vielfältige Formen der Mobilität, die verschiedene Orte, Lebensweisen und Visionen miteinander verbinden. Menschen, die migrieren, schaffen Räume, die sich sowohl von denen unterscheiden, die sie verlassen haben, als auch von jenen, die neu bezogen wurden. So werden Strukturen, Kulturen und Kommunikationsformen erschaffen, die ohne Impulse durch Migration kaum denkbar wären. Die Lebenspraxis zeigt, dass Menschen mehrere Heimaten und Zugehörigkeiten haben, diverse kulturelle und soziale Netzwerke schaffen können und dass sie mit negativen Zuschreibungen von außen kreativ und subversiv umzugehen wissen. Auf diese Weise entwickeln sich postmigrantische, mehrheimische, hybride und transkulturelle Alltagspraktiken, die bisher kaum gewürdigt worden sind. Die Beiträge dieses Bandes verstehen sich daher als Plädoyer für eine andere Sicht der Dinge und als Absage an das vorauseilende Misstrauen, mit dem migrationsbedingten Phänomenen häufig begegnet wird. Dieser Reader enthält Beiträge u.a. von Wolf-Dietrich Bukow, Sabine Hess, Regina Römhild und Mark Terkessidis.
Este artigo trata da história de vida de uma música – a brasileira Flávia Couri – e, em particular, a sua experiência de emigração e como relaciona música, a globalização do punk e as cenas musicais locais e translocais. Reconhecemos a importância destas dinâmicas analisando uma entrevista com esta mulher música, concentrando-nos no seu discurso acerca do seu próprio trajeto e as circunstâncias da sua emigração. A discussão acerca da emigração desta mulher contempla os seguintes pontos-chave: as causas e razões da emigração; a vida num novo local; desafios, sucessos e reconstrução identitária do emigrante; e um possível retorno à ‘tribo’ do país de origem. A análise do discurso usada atenta ao contexto desse mesmo discurso, ou seja, as suas condições de produção e receção. Através desta análise fomos capazes de seguir, explicar e compreender a trajetória de emigração desta mulher e como esse trajeto foi sempre acompanhado por uma banda sonora da qual ela foi compositora e ouvinte, tentando mostrar as possibilidades que a música oferece na construção e reconstrução identitária, bem como a sua capacidade de providenciar razões e contextos para uma migração.
London’s physical renewal was accompanied by a social transformation, which soon began to leave its footprint on the cultural production of working-class youth. The arrival of migrants from Commonwealth countries, along with the first signs of gentrification and the subsequent relocation of working-class communities within the city, provided new opportunities for teenagers in London to ask what it meant to live in a post-Victorian Britain that was becoming multicultural at the same time as reorganising community life through the building of new forms of mass housing. This chapter first examines the racist climate in which working-class kids were growing up, at a time when black children who had been born in London were reaching adolescence, and attempts to reconstruct the ways in which working-class youth formulated contradictory answers and reactions to migration, and how Britain tried to absolve itself of structural racism by making young working-class people exclusively responsible for racial tensions. Following on from the notion of distinctive working-class identities, this chapter investigates how kids involved in London’s vibrant youth scenes identified themselves with an imagined but influential working-class culture, and the ways in which they were able to do so thanks to the narrative espoused by the media in relation to the stereotypes of urban working-class life. Further it examines in detail the modes of cultural production among working-class youth and their associations with working-class traditions. Using strong links between the formation of modern youth cultures and young people’s class affiliations, this chapter continues by demystifying the notion of a decline in London’s sense of community, which influential sociologists warned might come about as a result of the social effects of mass housing and the building of council estates, which were considered a poor substitute for the intimacy of an imagined urban working-class community. This chapter argues that council estates engendered new modes of cultural and social life, gave rise to new forms of self-determined cultural activity, and provided space which young working-class dwellers were able to use, though not without controversy, for cultural production.
1970’lerde Amerika’nın gettolarından yükselen ve zaman içinde hemen hemen her dilde icra edilmeye başlayan rap müzik, günümüze kadar müzikal form olarak ve kültürel anlamda değişimler geçirmiştir. Parti ve dans müziği olarak ortaya çıkan, çoğunlukla şiddet, uyuşturucu ve çatışmalarla birlikte anılan rap müzik zamanla toplumsal meseleleri de ele alan bir müzik sahnesine dönüşmüştür. Türkçe rap sahnesi de sosyo-politik koşulların etkisiyle hem küresel hem de ulusal ölçekte farklı formlara evrilmiş, diğer sahnelerle etkileşime geçmiştir. 1990’larda ve 2000’lerde olduğu gibi dönem dönem politikleşmekte kimi zaman da ana akıma dahil olmaktadır. Bu anlamda dinamik bir yapıya sahip Türkçe rap günümüzde tekrar gündeme gelmiş, “politik/muhalif” bir eksenden popülerleşmenin/ana akımlaşmanın öne çıktığı bir eksene kaymıştır. Bu çalışmada Lawrence Grossberg'in “direniş-marjinalleşme-tarz” kavramları çerçevesinde Türkçe rap’in değişen eksenleri ve 1995-2005, 2005-2015, 2015-günümüz dönemselleştirmesi üzerinden Türkçe rap içindeki geçişkenlikler ele alınmaktadır. Söz konusu evreler ve geçişkenlikler farklı rap müzisyenlerinin şarkı sözlerinden örneklerle ve rap müzisyenleriyle yapılmış mülakatların analizleriyle tarihsel ve sosyolojik olarak tartışılmaktadır.
Biggie Smalls (1972-1997), a.k.a. the Notorious B.I.G. (Christopher Wallace), emerged as an up-and-coming artist with his 1993 debut single “Party and Bullshit” – a track which is ostensibly about partying with lyrical and performative inflections of gangsta rap, yet arguably elicits socially conscious lyrics when read as a social commentary. Similarly, his party track “Juicy”, released a year later on his debut album 𝘙𝘦𝘢𝘥𝘺 𝘛𝘰 𝘋𝘪𝘦 (1994), highlights Biggie’s shift toward a more conscious rap approach as he broke through with mainstream success. This essay explores the question of how party rap makes meaning within its social and political context. Through a close reading of “Party and Bullshit” and “Juicy”, this essay suggests that Biggie’s work can be explored through a socially conscious lens, despite not being traditionally received as a conscious rapper. Where gangsta and conscious rap have been received as resistant forms of hip-hop, this essay suggests that Biggie’s party rap tracks evince varying forms of resistance, posing the question of whether partying 𝘪𝘵𝘴𝘦𝘭𝘧 – or the way Biggie parties (or raps about partying) – functions as resistance.
Im Jugendzentrum z6 in Innsbruck entsteht Anfang der 1990er Jahre eine Streetdancegruppe. Sie besteht zum großen Teil aus den Kindern der ersten Gastarbeiter_innen-Generation. Diese Arbeit untersucht aus europäisch-ethnologischer Perspektive, welche Bedeutung Streetdance für die Tänzer_innen und die Subkultur in der Stadt hatte. Dabei werden die Erzählungen und die Erinnerungen der ehemaligen Tänzer_innen in den Mittelpunkt gerückt und im Sinne der kulturwissenschaftlichen Bewusstseinsanalyse aus gegenwärtiger Sicht kontexualisiert. Im Zentrum der Forschung steht, wie durch das Tanzen eigene Identitätskonstruktionen – jenseits von kulturalistischen und stigmatisierenden Zuschreibungen – ermöglicht werden, denn Tanzen ist politisch!
Images do not simply grow of their own volition in meadows unplanted and unwatered. Inundating screens and even walls, images pervade and invade every inch of our privacy. So pervasive and invasive has this presence become we have grown into the habit of consuming them as though they were born, not made. This naturalness will be denaturalized, denuded and shown for what it is and what it is not; what it reveals and conceals. This article will then tap into the images Mick Jagger circulates while en voyage in Tangiers recording Continental Drift. We will demonstrate how images come to be and to mean especially when commented upon, a cultural composition (trans)forming a composite of elements that go into its making and marketing. Before being marketed, images are made, aligned, sequenced, filtered, and brought together to become shots, and the shots to become scenes, the rearrangement of which gave the Rolling Stones rebirth caught on camera in The Rolling Stones in Morocco. This documentary film, a cultural rather than a natural composition, under study is impregnated with meanings and nuances one can hear if one listens closely. This film ought not to be «seen and heard, but to be scrutinized and listened to attentively» (Barthes, 1977, p. 68). While they purport to speak for Moroccans, the images in collusion with Mick Jagger speak against things Moroccan.
This article addresses a musician’s life history – Brazilian born woman musician, Flávia Couri – and, particularly, her emigration experience, in how it relates music, to punk’s globalization, to local and trans-local musical scenes. We recognize the importance of these dynamics by analysing an interview with the musician, focusing on her discourse about her own journey and circumstances of emigration. The discussion about emigration touches on the following points: the causes and the rationales of emigration; the life in the new location, challenges, successes and identity reconstruction of the emigrant; and a possible return to the ‘tribe’ at the country of origin. The line of discourse analysis used is attentive to the actual context of the discourse, meaning its conditions of production and reception. Through this analysis, we were able to follow, explain and understand this woman’s migrant trajectory and how that path was always accompanied by a soundtrack of which she was the creator and audience, attempting to show the possibilities that music offers for identity construction and reconstruction, as well as providing reasons and contexts for migration.
This article proposes ‘sexist assemblages’ as a way of understanding how the human and mechanical elements that make up social media content moderation assemble to perpetuate normative gender roles, particularly white femininities, and to police content related to women and their bodies. It investigates sexist assemblages through three of many potential elements: (1) the normatively gendered content presented to users through in-platform keyword and hashtag searches; (2) social media platforms’ community guidelines, which lay out platforms’ codes of conduct and reveal biases and subjectivities and (3) the over-simplification of gender identities that is necessary to algorithmically recommend content to users as they move through platforms. By the time the reader finds this article, the elements of the assemblages we identify might have shifted, but we hope the framework remains useful for those aiming to understand the relationship between content moderation and long-standing forms of inequality.
This article reflects on the ambiguities that constitute the discourses around the electronic dance music, highlighting the socially constructed character of the same ones. From the point of view of Cultural Studies, we will focus on house and techno. Its close connection with technology has constituted a paradigm shift in the way music is done and understood in the 21st century. We intend to position our view to the importance that this genre can represent in the training of music students in Portugal, namely in higher education.
This paper examines the construction of contemporary parental identities related to live music concerts and popular music fandom in the media. The analysis on transforming parental identities presented in this paper draws on Bennett’s (2012; 2013) work on ageing music fans and their sustained practices, Grossberg’s (1992) notion of ‘youth’ as a site of struggle between young people and adults, and Frith’s (1984; 2007) work on reframing notions of youth and youth culture. I argue that understandings of contemporary parental identities in the media are being reconfigured along the lines of adults’ familial responsibilities and their popular music fandom. Based on textual analyses of articles drawn from popular online news sites based in Australia, the United Kingdom and the United States, this paper critiques aspects of constructed parental identities related to live popular music fandom, such as ‘teachers’ of family values, ‘cultivators’ of popular music literacy, and ‘cool’ parents. The findings illustrate tensions between the discourses of parenting and being an ageing music fan. It also highlights the growing significance and acknowledgement of ‘youth’ and popular culture in the media as a resource that helps to construct understandings of ‘family’.
Perhaps the most distinctive aspect of Italian-language rap in the 1990s has been the close association of some popular performers with the nation's radical Left. Through a critical reading of the imagery, lyrics and other writings of two of Italy's best known rap bands, this essay seeks to explore the tensions between cultural labour and political commitment in the social centres movement.
In the later 1990s the writer Feridun Zaimoğlu (b. 1963) seized the label ‘Kanak’ to create himself as a spokesman for Turkish and other visibly non-German Germans who have been raised in the Federal Republic but have outsider status. In three books based on interviews with young male and female ‘Kanaken’ and ‘Kanakas’, melding documentary realism, subcultural theory and dramatic prose poetry, and in polemical essays and narrative sketches composed in the same stylised ‘Kanak Sprak’, Zaimoğlu savaged institutionalised German racism, and attacked the hypocrisies of multicultural policy, the patronising exoticism practised by promoters of ‘Migrantenliteratur’, and the conformism of Turkish-German politicians and writers of ‘Gastarbeiterliteratur’. Zaimoğlu's non-stop reading tour, talk-show appearances, newspaper and magazine features, productions of his work for the stage, and a film, Kanak Attack!,based on one of his books, were key ingredients in the late-90s phenomenon of ‘Kanak-Chic’: the media's ‘discovery’ of bright, young, non-white, hybrid Germans. This phenomenon, which Zaimoğlu at once personified, profited from and criticised, is analysed in the present article.
While there has been a degree of discussion about World Music by musicologists and sociologists, the subject has long remained under-theorized. Most cultural theorists have confined their music interests to the pop end of the spectrum, and, more specifically, most music writing about marginalized ethnic communities has been about African-Caribbean rap (see, for example, Baker, 1993; Gilroy, 1995; Lipsitz, 1994). World Music sits in an impossible, postcolonial space that cannot be wholly mapped. In the postcolonial realm, World Music is inscribed as always-already marginal, but simultaneously this music category carries an implicit push for reinstatement at the centre which threatens to shatter the illusion of a monolithic West. So how is World Music constructed as a musical category, how is this determined by concepts of nationhood, and does the category merely pander to neoclonialist fantasies? What space does World Music provide for the subaltern to speak, and on whose terms? This article defines World Music, outlines the evolution of the category and links this evolution to other developments in the music industry. It then considers the ways in which World Music taxonomy informs concepts of nationhood and reinforces particular geographical frameworks, and also considers how the music has been appropriated in left/liberal discourse as a surrogate ‘high' culture. The article sketches a possible psychoanalytic model for consumer dis/identification with world musicians. Finally, it draws analogies between the function of World Music as a structure and the museum system; applies postcolonial analytic discourse to the construct of World Music, and explores both the limitations and the radical possibilities that such a music category might introduce.
In public, popular, and scholarly discourses, Turkish migrant youth appear as relentless agents of revitalized Turkishness or Islam in the midst of European modernity. Contrary to this seemingly intuitive assumption, I argue in this article that the manifest diversity of migrant youth cultures is facilitated and authorized by the discursive and institutional resources available to them in Berlin, the metropolis in the making. Particularly significant for the cultural projects of Turkish youths are transnational cultural flows and contemporary discourses of plurality, human rights, and equality, which (en)gender their presence in the public spaces of Berlin and complicate ‘national’ configurations of belonging and conventional conceptions of otherhood.
'Cry, cry, cry, cry just a little bit...'
With a tight rock beat and a backing group including choir and brass, the familiar sound of Shaky Steven comes out of the Copenhagen Channel of the Danish Radio on a warm summer afternoon in 1996. News items and short interviews alternate with music-easy-listening, Anglo-American, mainstream pop music. As Shaky Steven fades out the speaker says: 'Well, that was a pop song like pop songs are mostly. Like we are used to hearing them. Now you will hear an Arab love song'.
The sound of a string instrument, probably a lotar, a four-string lure, takes over. In the background, one can hear the sounds of an informal gathering-this is not a real concert. A musician plays a simple melody a couple of times, then vocally joins in unison with the melody instrument. Another singer with a rough but relaxed voice takes over. The two singers alternate for a while, then the music fades out and the speaker re-enters, introducing the subsequent interview.
This last piece of music creates a striking contrast in the soundscape. After hours of modern mainstream pop, a 20-year-old recording of traditional Moroccan folk music from the Southern part of the country really sounds strange. Without being rude, two words probably come into mind of the listener; folkloric and exotic.
Why did the soundscape change so radically? The subsequent interview was about immigrants or more correctly about youngsters in Copenhagen with immigrant background. What made the speaker choose this kind of music as introduction to an interview about young people? When asked afterwards, she answered that 'she hadn't thought about it that way'.
The book Common Culture provides a wealth of examples of young people's use of cultural commodities and the cultural media. These uses can be classified under the categories of symbolic work, symbolic creativity, and symbolic extension; in sum amounting to the resources and practices of an emerging common culture. These categories, engaging analytically with common culture, produce further refinements of received notions of 'work', 'post-modernism' and 'aesthetics', which, in their turn, further sensitize us to, and help us understand, important dynamics of change within late modern 'lived culture'.
This article takes as its starting point the visit of the Turkish German rap group, Cartel, to Istanbul in the Summer of 1995. It considers the cultural significance of this new musical form in the context of second generation migrant experience in Germany. Then it proceeds to explore the implications for Turkey of the return home of migrant culture. This cultural encounter is considered in the wider context of transformations in contemporary European culture and identity. Vatanımızda Almancı, burada yabancı (In our homeland we are thought of as being from Germany, and here we are called foreigners.) (Cartel)
The interface between labour market commitment, shared household living, and the maintenance of couple relationships amongst graduates and young professionals in their twenties and early thirties is explored. Following a discussion of the growth of independent living amongst this group and some of the factors that have led to this trend, evidence is presented from a study of relatively affluent sharers living in the south of England. Perceptions of labour market mobility, preferences for independent living and the negotiation of couple relationships across households are all considered. Shared living appears to be particularly suited to young adults who are strongly committed to the labour market: it is a flexible household form, but one which can provide 'professional standard' accommodation as well as ready access to a social life for time-constrained and geographically mobile employees. The presence of other household members, however, is both its greatest weakness and its greatest strength, at best providing close emotional support for members conducting couple relationships under adverse conditions, at worst placing additional pressures on these already strained relationships.
English
During the next 50 years the ethnic diversity of Britain will increase in response to growing intermarriage, differential rates of natural increase, and continuing migration flows, especially of refugees. While religion is assuming a greater importance in the social identities of some minority ethnic groups, in others it is being displaced by an ethnic focus. In the upcoming decades the increasing sovereignty that people attach to self-identifiers and the demand for finer distinctions to accommodate hybridisation and generational changes will present substantial challenges to statistical agencies. New conceptual approaches are needed to capture this diversity and give service providers the robust data required to promote equal opportunities.
Popular music has moved to the centre of economic life, suggesting a shift in the political economy of advanced societies. The transition has been marked by a concomitant shift in the centrality of popular music in social life, assisted by new technologies. More importantly, the changes have been brought about by the reorganization of record company ownership and activity since the 1980s. This paper suggests that cultural studies could apply aspects of the research and analysis methods developed in institutional economics, to a study of the relationship between cultural and economic formations. Institutional economics, especially as proposed by Thorstein Veblen, provides a pragmatic critique for cultural industries in an era of globalization and rising corporate power. In this paper I have used institutional economics to illustrate how the shift in the organization of popular music has taken place within the corporate economy. The use of popular music as a feature of the corporate economy has involved the expansion of all forms of entertainment into the information economy. This convergence of activities and interests located in and around popular music is described by the term ‘cultural mobility'.
In this paper I attempt first to identify some of the ways in which the growth of Welsh-language popular music and of more assertive and confident ideas of identity among young Welsh speakers were closely linked in the period 1960–85. Secondly, I briefly examine some elements of a period of diversification and crisis that occurred in the 1990s, and finally I attempt to identify three positions from which different musicians and audiences that I have been involved with seem to be currently rehearsing, negotiating and constructing contrasting roles and stances.
Popular music is sometimes discussed from a rather ethnocentric viewpoint, lacking awareness of, or not acknowledging, influences assimilated from non-Western musics, while in the field of ethnomusicology, issues such as the preservation of traditional styles (see Baumann 1992, pp. 11–15) remain important, but there is an increased interest in the processes of change and the effects of technology (see, for example, Wallis and Malm 1984). As Western and traditional styles interact, changes occur, and as Frith puts it: ‘popular music study rests on the assumption that there is no such thing as a culturally “pure” sound’ (1989, p. 3).
This article looks at the youth musical cultures of bhangra and Asian underground alongside wider societal shifts relating to British Asian youth in recent decades. The article first examines previous youth studies research, primary media source material and data from qualitative interviews; it then looks at these twin hybrid musically expressive forms fusing Indian instrumentation and fashion which have been principally produced by second-generation British-born youth of Asian origin - a group who have hitherto not been particularly noteworthy in either UK pop lore or youth studies. The data presented in the main body of the article are based on a number of semi-structured interviews in which the subjects’ own discursive framing of, and qualitative reasons for, their actions and reactions to events and cultural products are given. The fieldwork was carried out at various bhangra and Asian underground musical events in London and Manchester, allowing a longitudinal picture to develop of British Asian music and its place in the representations and realities of Asian youth.