Musiksociologi MM1 15.11.12 Subkulturer. Kultur som begreb NB. To definitioner: 1.Kultur som kunstneriske værker og praksisformer. (Kontinental). 2.Kultur.

Præsentationer af emnet: "Musiksociologi MM1 15.11.12 Subkulturer. Kultur som begreb NB. To definitioner: 1.Kultur som kunstneriske værker og praksisformer. (Kontinental). 2.Kultur."— Præsentationens transcript:

1 Musiksociologi MM1 15.11.12 Subkulturer

2 Kultur som begreb NB. To definitioner: 1.Kultur som kunstneriske værker og praksisformer. (Kontinental). 2.Kultur som civilisation og/eller en-måde-at-leve-på. (Angelsaksisk). ”We understand the word 'culture' to refer to that level at which social groups develop distinct patterns of life, and give expressive form to their social and material life-experience. Culture is the way, the forms, in which groups 'handle' the raw material of their social and material existence.“ (Clarke et al. 1976, s. 4)

3 Kultur som begreb Der er ulige magtforhold i samfundet. Det vil ofte være en dominerende kultur/klasse (jf. Marx, Gramsci). ”The dominant culture represents itself as the culture.” (ibid., s. 5) “The role of hegemony is to ensure that, in the social relations between the classes, each class is continually reproduced in its existing dominant-or-subordinate form.” (ibid., s. 31) “Subordinate cultures will not always be in open conflict with it [dominant culture]. They may, for long periods, coexist with it, negotiate the spaces and gaps in it, make inroads into it […] it is crucial to replace the notion of 'culture' with the more concrete, historical concept of 'cultures'; a redefinition which brings out more clearly the fact that cultures always stand in relations of domination - and subordination - to one another, are always, in some sense, in struggle with one another.” (ibid., s. 6)

4 Subkultur som begreb “[S]ub-cultures are sub-sets – smaller, more localised and differentiated structures, within one or other of the larger cultural networks.“ (ibid., s. 6) “Double articulation”: Relaterer sig både til oprindelseskulturen (“’parent’ culture”) og den dominerende kultur. Analytisk: For at kalde noget for en “subkultur” må det adskille sig fra de overliggende kulturer, men samtidig er de bundet sammen med oprindelseskulturen. Nogle subkulturer er eviggyldige, mens nogle er historiske, tidsbestemte. “To locate youth subculture in this kind of analysis, we must first situate youth in the dialectic between a 'hegemonic' dominant culture and the subordinate working-dass 'parent' culture, of which youth is a fraction.” (ibid., s. 28)

5 Sammenhæng mellem klasse, kultur og subkultur Willis (1978): Sammenhæng mellem valg af musik og livsbetingelser. ”[F]or Willis, subcultures are structured as different aspects of the lifestyle of the subculture fit together to form a whole. […] Subcultures express a response to a set of conditions and the different aspects of the subculture are tied together into structured relatively coherent wholes” (Longhurst 2007, s. 214-15) F.eks. hippiesubkultur. Sammenhæng mellem: - ”Alternative” værdier. - Hallucinerende stoffer. - Progressiv rock. Her er der en fare for essentialisme: Dødsmetal=ondskab Jazz=frihed Etc. Her er der en fare for essentialisme: Dødsmetal=ondskab Jazz=frihed Etc.

6 Sammenhæng mellem klasse, kultur og subkultur Hebdige (1979): Subkulturer er et resultat af sociale omstændigheder/oplevelser. Subkulturer er ofte i opposition til dominerende kultur. Men subkulturen optages ofte i den dominerende kultur (undergrund -> mainstream) vha. masseproduktion af subkulturel stil (mode, musik etc.) og ideologisk inkorporering (modkulturens værdier optages/omformuleres af dominerende kultur. NB. Denne udviklingsmodel er ikke altid lige rigtig, men det er værd at bemærke, at den findes ikke desto mindre ofte findes hos de unge i subkulturen selv. (Longhurst 2007, s. 215)

7 Subkultur som begreb Clarke et al. (1976), s. 35ff: Subkulturer: -Erobrer plads -Kulturelt rum -Tid(srum) -Fysisk rum -“Rhythms of interchange” (relationer mellem medlemmer). -Omdrejningspunkter -Sociale regler -Skaber gruppeidentitet -Stil -Antager og omformer produkter/objekter. -Fremstidssyn/ideal -Forsøg på en løsning på den oplevede konflikt (NB. Kan forhandles, men ikke løses gennem subkultureren. Løsningerne er forestillede.) -Forskellighed (til en vis grad). Især ift. alder.

8 Subkulturer? Eksempler fundet via subculturelist.com

9 Sammenhæng mellem klasse, kultur og subkultur Clarke et al. (1976) tager udgangspunkt i Cohens[1972] studie af ungdomssubkultur i East End-London. Cohen: Efter 2. Verdenskrig blev arbejderklassens bærerne strukturer undermineret og opløst af en omstilling og rationalisering af familie, fællesskab og lokal økonomi (fraflytning, byudvikling, højhuse, immigration, lukning af lokale virksomheder etc.) Resultatet blev fremkomsten af ungdomssubkulturer, der søgte at løse arbejderklassens konflikter ”ideologisk” som subkultur: ”The latent function of subculture is this - to express and resolve, albeit 'magically', the contradictions which remain hidden or unresolved in the parent culture.” (Cohen citeret efter ibid., s. 23)

10 Mods, starten af tresserne:Slade som skinheads, sluttresserne: “[I]n the expropriation and fetishisation of consumption and style itself, the ‘Mods' cover for the gap between the never- ending-weekend and Monday's resumption of boring, dead-end work.” (ibid., s. 37) “[I]n the resurrection of an archetypal and 'symbolic' (but, in fact, anachronistic) form of working-dass dress, in the displaced focussing on the football match […] Skinheads reassert, but 'imaginarily', the values of a class, the essence of a style, a kind of 'fan-ship' to which few working- class adults any longer subscribe: they 're- present' a sense of territory and locality which the planners and speculators are rapidly destroying: they 'declare' as alive and well a game which is being commercialised, professionalised and spectacularised.” (ibid.)

11 Clarke et al. (1976), s. 25 Cohen: To subkulturelle dele: 1.Plastiske (mode, musik) 2.Infrastrukturelle (sprog, ritual)

12 Clarke et al. (1976) delkonklusion, s. 26 'Class' does not simply replace subculture in a reductive way. Nor is class taken as a set of given, 'background', sociological variables. The relation between class and subculture has been placed in a more dynamic historical framework. The relations between classes, the experience and response to change within different class fractions, is now seen as the determining level. However, the subculture is seen as one specific kind of response, with its own meaning structure - its own 'relative autonomy'. Thus, the attempt to think the problem right through to the level of the social formation as a whole (where class relations are determining) is done, not by repressing but by retaining what is specific about the intermediary concept of 'subculture'. The social formation is not seen as a simple unity (the 'nation, 'the culture'), but as a necessarily complex, differentiated, antagonistic 'whole’.

13 Stil, Clarke et al. (1976), s. 40ff: Skabelsen af omdrejningspunkter (”focal concerns), dvs. konstruktionen af subkulturel identitet: -Genstande, materiale: -Tøj/mode -Musik -Sprog -Kontekst: -Aktiviteter, handlinger -Steder -Begivenheder Analysen må affetishere disse symboler/tegn! Stil: “the crystallisation in an expressive form, which then defines the group's public identity. […] Sub-cultural style is based on the infra- structure of group relations, activities and contexts.” (ibid., s. 44)

14 Kritik af Birmingham-skolens syn på ungdomssubkulturer Clarke (1990) som opsummeret i Longhurst (2007), s. 222: 1.Upræcis ift. strukturel placering af subkulturer og problemløsningers natur i subkulturer. 2.Næsten ingen forklaring på subkulturelle stilarters oprindelse. 3.”Rigid analyse”/essentialisme, ingen hensyn til variationer i hver enkelt subkultur. 4.Kun lidt opmærksomhed på hvordan individer bevæger sig ind og id af subkulturer. 5.Der er en tendens til at bevæge sig ”baglæns”, fra subkultur til klasse. Det fører til at den enkelte subkulturer ”fastfryses”. 6.Der er en dikotomi mellem subkulturer og andre unge mennesker. Derfor: Mere hensyn til a) subkulturers dynamik, b) sammenligning med ungdomskultur som helhed, og c) et mere nuanceret syn på hvordan stiltræk konstitueres/konstrueres.

15 Club Cultures Sarah Thornton Stefans noter fra sidste uge

16 • “Club crowds generally congregate on basis of their shared taste in music, their consumption of common media and, most importantly, their preference for people with similar tastes to themselves” • “Communities with fluid boundaries which may come together and dissolve in a singe summer or endure for a few years. Crucially, club cultures embrace their own hierarchies of what is authentic and and legitimate in popular culture – embodied understandig of which can make you “hip.” Taste Cultures & Ad Hoc Communities Stefans noter fra sidste uge

17 • The authentic >< The Phoney – Disc-Cultures • The Hip >< The Mainstream – Clubber & Raver – “Anti-Mass”  The Underground >< The Media • Smiley face – Acid House Hierarchies Stefans noter fra sidste uge

18 • “Subcultures” >< “Subcultural” • Cultural Capital – Bourdieu • “Hipness” is a form of Subcultural Capitol • Objectified or Embodied (Blue hair, “in the know”) (Esben  ) • Dj’s, club organizers, clothes designers, style journalists. • A knowledge one cannot learn in school Subcultural Capital Stefans noter fra sidste uge

19 Thornton (1995), s. 14-25 v. Nønne.

20 Diskussion Hipsteren i de sene 00’ere som subkultur? - Klasse? - Stil? Tegn/symboler? - Musik? - Forhold til dominerende kultur? - Undergrund >< mainstream? - Værdier? - Alder/generation?