ROCK IN PORTUGAL: effects of the rock music in the Portuguese youth (1960 vs. 2013) (original) (raw)
Related papers
Keep it Simple, Make it Fast! Crossing Borders of Underground Music Scenes. Book of Abstracts.pdf
Dear colleagues, We are delighted to meet you all at the third KISMIF International Conference ‘Keep It Simple, Make It Fast!’ (KISMIF) International Conference, here at Porto, this year dedicated to the theme ‘DIY Cultures, Spaces and Places’. This initiative follows the great success of the two first KISMIF Conference editions (held in 2014 and 2015), seeking to voice the will of the many researchers who have sought to promote an annual scientific meeting for the discussion of underground music scenes and do-it-yourself culture at the highest level . The KISMIF Conference 2016 is once again focused on underground music, directing its attention this time towards the analysis of DIY cultures’ relationship to space and places. Thus, we challenge students, junior and senior teachers/researchers, as well as artists and activists, to come to the KISMIF International Conference and present works which explore the potential of the theoretical and analytical development of the intersection of music scenes, DIY culture and space under a multidimensional and multifaceted vision. We hope with this to enrich the underground scenes and DIY cultures analysis by producing innovative social theory on various spheres and levels, as well as focusing on the role of DIY culture in late modernity. Indeed, the role of music and DIY cultures is once more an important question – taking place in a world of piecemealed yet ever-present change. The space, spaces, places, borders, zones of DIY music scenes are critical variables in approaching contemporary cultures, their sounds, their practices (artistic, cultural, economic and social), their actors and their contexts. From a postcolonial and glocalized perspective, it is important to consider the changes in artistic and musical practices with an underground and/or oppositional nature in order to draw symbolic boundaries between their operating modalities and those of advanced capitalism. Territorialization and deterritorialization are indelible marks of the artistic and musical scenes in the present; they are related to immediate cosmopolitanisms, to conflicting diasporas, new power relations, gender and ethnicity. As in previous KISMIF Conferences, it is our intention to welcome reflexive contributions which consider the plurality that DIY cultural practices demonstrate in various cultural, artistic and creative fields and to move beyond music in considering artistic fields like film and video, graffiti and street art, the theatre and the performing arts, literature and poetry, radio, programming and editing, graphic design, illustration, cartoon and comics, as well as others.
Now in its second year, Keep it Simple, Make it Fast (KISMIF) is probably one of the largest conferences of underground music/culture of its kind. Convened by Andy Bennett and Paula Guerra the conference, accompanied by the pre-emptive Summer School, was a week-long event with core themes revolving around the many global underground scenes and drawing upon an impressive international range of established subcultural scholars and postgraduate researchers. As members of the conference scientific committee, and as founders of the Punk Scholars Network, we were invited to deliver keynotes at the preceding Summer School, to chair panels and to convene on a number of Summer School sessions, offering ad hoc summative commentaries to those in the panel. The Summer School offered 'an opportunity for all students (bachelor, masters, doctorate, post-doctorate) to attend specialist master classes and discuss their research work in seminars'. Its inclusion, therefore, was based upon a clear pedagogical model whereby students could discuss, disseminate and contemplate their own research. More than that, it was also important in empowering students to gain control of the academic arena, often a space solely for the 'academic'. Here, postgraduate students presented papers that ranged from political activism to urban communities, from aesthetics to mediation , and from identities to authenticity. As an academic environment, the Summer School beat many a conference: papers were presented in an often-informal basis, with students helping and signposting each other towards unknown areas of research.
Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik, 2020
This article explores how the different forms of youth involvement in underground music scenes tend to develop into do-it-yourself (DIY) careers by triggering acquired expertise resulting from a long immersion in these scenes. It begins with an analysis of the representations of Portuguese punks about DIY and the ways in which they experience and develop networks and skills. Concomitantly, through a recent analysis carried out in Brazil in different underground music scenes, I examine the importance of DIY showing the approximation of two different musical, social, and geographical universes. This focus, besides amplifying the glimpse outside the Anglocentric look into creative cities, serves to understand how underground music scenes are a breath of fresh air when it comes to creative activity beyond mainstream cultural industries. Dieser Beitrag untersucht, wie sich verschiedene Formen jugendlicher Initiativen in Underground-Musikszenen zu langjähriger Expertise in diesen Szenen u...
Global and local in music scenes: the multiple anchoring of Portuguese punk
What is punk’s geography? How does the global background of the punk scene articulate with its various local manifestations? Is it a real transnational movement or are there as many punk scenes as the national figurations it can assume? This chapter addresses these issues considering the Portuguese punk scene. Our analysis is based on (i) 70 interviews made to punk protagonists, (ii) a database of bands, records and songs, and (iii) a database of fanzines. We consider, first, the balance between the international influences on the Portuguese scene and its specific characteristics. Then the meaning of global is redefined, taking into account the new information and communication technologies. Correspondingly, the local nature of Portuguese punk scene is rebalanced through the identification of sub-scenes established in different locations within the country, and by pointing out the general sentiments punk activists express regarding the Portuguese society. Finally, we explore the dialectics between the global dimension of punk culture and the sense of community that it inspires on its members, to conclude that the multiple anchoring of punk – simultaneously national and international, local and global, macro and micro – is a particularly driver of its ability to survive and spread.
Volume !, 2017
This article will present a characterisation of the Portuguese punk scene between 1977 and 2014, while considering the social profiles of its protagonists. It is based on the sociological principle that the social positioning of social actors involved influences what they do, say, and feel. Their social profiling will help clarify their role in the musical scene. This approach has been deemed fundamental in interpreting youth cultures emerging postwar and the way in which they re-equated pop culture. In this article, we have two particular aims: first, establishing a portrait of the leading characters in the Portuguese punk scene through the social profiling of 214 individuals interviewed between May 2012 and October 2014; second, allowing for comparisons with other musical scenes in Portugal and/or with punk scenes in other countries. Here, we must obviously consider the social condition of these protagonists, including not only their class origin and present affiliation but also other relevant characteristics, such as gender and age. Thus, this article will explore the following topics: roles and functions within the punk scene, gender relations, age groups and the process of ageing, territorial placement-both in terms of origin and of residence, educational capital, and socio-occupational group.
The Appearance of an Underground Electromusic Subculture in the Cultural Sphere of the City
Acta Ethnographica Hungarica, 2003
The author analyses the existence of a youth subculture, as it appears in two subcu ltural spheres on the basis of interviews and her experience of fieldwork carried out in a city in Ce ntral Europe. Values and experiences which are connected to the underground electromusic actions are discussed, while the places and modes of cultural actions are studied. The subcultural patterns which increasingly influence the youth of the cities reflect an estrangement from the city life. The liminal phases of estrangement recur in the life of the individual, they provide a possibility to gain communal experiences and to establish special subcultural values. These are possible only with the adaptation to the cultural pattern and with the acceptance and usage of subcultural activities.