During the reign of Queen Elizabeth 1st, the cities of England were becoming overcrowded. Rural folk and urban professionals mixed shoulder to shoulder. By this time in the evolution of the city, as compared to the non-city, life had begun to form different cultural qualities. What worked in the city did not work in the country, and vice versa. This meant that two distinctly types of people were living side by side as net migration and the promise of more money and a better life drew more people into the urban environment.
Pressure from charitable sides wishing to help those in need, and pressure from professional guilds who wished to keep their trades safe from what we would now call “cowboy” contractors, meant that the Royal court was drawn into action. The Queen decided upon a series of Poor Laws in the 1550s, and in 1555 the first institution was built to control and house the urban poor. Vagrancy laws were also introduced which made it a criminal offence to be in a city but without a residence. Many rural poor would arrive in the city without money or trade in the hope to find work and settle. These laws were intended to prevent this migration. It was from this point that a material and social difference had been established between the over and under classes, where laws designed to assist and control provided a dualistic approach to the problem of poverty. Many who did not like the attitude and ways of the higher classes would gladly identify with the underclass in order to establish their sense of personal identity. These people would not consider themselves over or under, but generally simply a member of their particular trade of family. It is in the urban and crowded environment in which separating people into larger social groupings became required in order to maintain and govern such large communities. The notion of working class was culturally defined in the nineteenth century, where industry gave more job opportunity and provided astronomical wealth to a new breed of entrepreneur. Those in “ragged and labouring” classes were the new underclass, and those with wealth were everybody else. This would later become the middle class, as equality in wages gradually improved in the 20th century. It was this segregation of people in large communities that bred the mentalities which allowed society to expand in artistic and cultural directions now understood as subculture. As the class system is no longer used to identify people, the terms working professional and unemployed generally fit to most city folk, subculture as a means of building personal identity became more important. This could be most true for those who are going through adolescence as during this time, we require a personal story and mindset which suits our turbulent experience of who we are. Defining self according to our tastes and wants, our feelings on life, love, and even death, is perhaps the most appropriate method of understanding society that we have accomplished. From the carrot and stick approach of the sixteenth century which still manifests today in the form of the benefits system, to the provision of culturally relevant and accessible places of interest and congregation, subculture has become diverse and symbolic of almost every aspect of our lives.
The level of rebellion within an individual can be measured by the way in which it is expressed. Particular alternative subcultures offer differing methods of expression and activity which greatly affect the level of rebellion against normal society depending on the protocol within them. There are various gradings of societal rebellion, and they are based on the choices made and the benefits received in the activity of associating with a subcultural trend.
What makes an expression of rebellion is a matter of individual perspective on what normality demands, however the respectable individual will always adhere to the major cultural and artistic pathways on offer. By remaining within a populist level of individuality, a person can be deemed as non-alternative. The definition of tolerable can be extended to encapsulate populist and main stream alternative branches, in which popular opinion is governed by the same entities as the more majorly commercialised cultures. Taking a step away from culturally respectable, a rebellion can be in the manner of which media and cultural influences they choose to digest. This type of alternative scene is the least volatile, and the interests and activities are generally kept within the institutions on offer. Cultural rebellion of this form can mean actively seeking alternative media and literature to enjoy instead of what most people are talking about at the time. Many culturally rebellious people do not express adverse behaviour, and the majority are white middle class. The artists themselves tend to come from a much more diverse scheme of life. Another stage of rebellious culture expresses itself in delinquency. This represents a new layer to the level of rebellious behaviour in which particular immoral or unproductive activity takes place as part of the lifestyle. This could mean drugs, violence, sexual promiscuity, benefit fraud, etc. When a person is in a delinquent lifestyle, their rebellious expression begins to adversely affect those around them, relationships, and ability to maintain working life. The most extreme form of alternative lifestyle is with the militant and politically minded people who take part in actively disrupting normal proceedings in order to make themselves louder. The level of activism again has various degrees, and non-violent expression must be isolated from violent rebellion however, in the process of standing against a procedure or cultural norm the individual is self identifying as someone who is prepared to act on their opposing beliefs. The reasons behind an individual's choice to adhere to a particular strain of alternative subculture can be complex, but they make up a large part of the eventual path and evolution of their persona within society. Pre-established alternative scenes offer a gateway to something immediate and other than what they were previously attempting to identify with. This quick fix principle is what attracts many, and it becomes a mental process within self to address the various differences to the alternative norm as time passes by. An alternative culture offers a new story and a new meaning to being that people can identify with and use as a foundation to make choices and establish friendships. Those who don't feel they fit into the normal or suitable status quo can find themselves able to more easily latch onto a new culture and absorb the criteria required to fit in. Often a person looks for an escape from family, work, school etc, and the scene gives a new dimension that remains separate from the other side of things. It is important to remember that alternative scenes offer a social life with people that instantly understand each other through nature of the scene, and when partaking in events aimed at members of one scene in particular, everyone there will have social similarities by nature of the event. This provides a large bonus for anyone who is looking to find friends or learn about the scene and eventually become part of it. It could be said that the most attractive part of any alternative subculture is that when a part of it, the pains and troubles in life that would usually be ignored or made to be issues, are suddenly OK. The various degrees of inability to cope and conform with modern life are respected and given space to be a part of unique personalities. When a person finds themselves at home within an alternative scene, the major influences to that scene are likely to identify emotionally with their issues and life stories. The medicinal, therapeutic, and rewarding effects of partaking in a subcultural movement, rebelling in ways that suit the individual, and being found acceptable by peers in similar situations is the glue which allows people to feel comfortable in themselves even if society in general is not comfortable with who they are.
For many who participate in subcultural society, their choices which cause them to gravitate towards various alternative scenes are based on an inner desire to deviate from the normality offered and actively adhere to something else. It requires a level of social energy that continually re-asserts self independence from the crowd, meaning that an alternative lifestyle can be seen as a "moral career", which employs time and effort to maintain. From an outsider's perspective, a person's participation in an alternative scene can appear to be hard work. We imagine ourselves in their shoes and become aware of the great efforts we would need to make in order to be like that. This is of course a one sided view that doesn't consider the other perspective.
The effort involved in maintaining an alternative mindset and lifestyle is a parallel to the continual effort of normal culture to assert itself as the most tasteful and upright way of life. The pressures of society become a force which for many is too high, or in their experience simply not helpful, many choose to actively refuse by way of choosing to adhere to an alternative subculture in which the rules and regulations of social status and interaction do not demand such high standards. Many forms of alternative subculture begin life in poorer areas in which young people are forced to make their own way in life with the little that they have. Music and dress become symbolic to their struggles and it feeds the social subconscious with continual self identification prompts that allow group binding and togetherness to be prominent in otherwise troubled lives. This identification of self with trend follows on to media over time, and the movement within society that breeds the particular media are generally attached to the subculture itself. From an outsider's perspective, a subculture can be analysed by the manner in which it deviates from normality, or cultural fashion of the day. Where-as many forms of alternative scene strictly revolve around music, art, and literature, many others carry with them set routine behaviours and activities that go hand in hand with the definition of the scene. It can be seen that various forms of subculture have various degrees of deviancy and various degrees of social cohesion in a dualistic nature. From an insider's perspective, the alternative lifestyle and adhesion to a particular subcultural trend or societal movement can be seen as a way of trying to find the self in a world that wants self to be something else. Often those who find themselves more comfortable in alternative subcultures are not comfortable within the main trends offered by the society around them. As stresses and expectations on individuals increase year by year, this is becoming ever more apparent. The standard rules for measuring deviation have been in place since the 1950's, and can generally be split into four separate observations. These are firstly, the nature of deviation or the ways in which the social deviant differs from a societal norm. Secondly, the typical social reaction to the deviant can be measured, is it accepted and to what degree? Thirdly, the natural history can be analysed. This means the way in which family and friends relate to the individual since their choice to adhere to alternative subculture. Does it affect their career and relationships? Fourthly, the actual participation of the deviant is measured. There will be activities and routine subcultural conventions that are offered which members of the scene participate in. The more participation demonstrated, the more social capital can be acquired. However, this doesn't address the main truth that most participants are not actively deviating, but rather reinforcing their independence from something other than what they identify with. This cold and outsider's view way of addressing societal differences can only reach so far. In order to further appreciate the movements and trends within an alternative subculture, further observations need to be addressed. It is important to understand the history of the subculture, appreciate its origins and the societal-political landscape of the day. This is followed by the types of individual who decided to follow in the footsteps of the pioneers of the subculture and maintain it as a form of expression for new generations. The media has a part to play in the cultural definition of symbols, icons, and behaviour, in what they choose to replicate with their main stream channels. By representing as much as they can, in order to reflect true society, the choices made will end up becoming the foundations for further choices made by society. This creates a feedback loop which validates some and invalidates others. Society's reaction to this in the media is the evolution of alternative style and trend. It is also important to note that the personality of an individual plays a major role in what they are able to adhere to within society. It is often that people choose the line of best fit through life and when offered alternative society, the nature of the movement and trend often feels more suitable. This need to be seen as a real and important factor in the choice to maintain what could be considered as social deviance. Clothing plays a dominant role in the distinction between subcultural styles, exactly which way a person dresses can define their role within a group to a large degree, comparable to their actual behaviour. As a second dimensional costume, the symbols and style simulacra present in the dress suggest a role into the mass consciousness of the group via common perception. The icons of the culture predefine what each difference or symbolic gesture represents, and the association of such carries forward into the subculture as a whole. As behaviour is seen as a strong decisive element in the identification within a trend, the mindset of the societal branch begins to carry its own language of style which carries forward from previous generations via reinvention of the old as well as the fusion between new inventions and older traditions. It is often the case with alternative society that there exists within the group, a certain rebellious agenda which serves to push the boundaries of convention. This is most apparent in the clothing and dress sense, as unlike behaviour, it is much harder to control the way a person will dress. The clothing style has become a form of cultural soft power which continually applies pressure to the normal social consciousness with a barrage of variation and symbols which poke at what is considered to be appropriate. In some cases, the more inappropriate the better, and given negative responses, the attitude only amplifies in its popularity and reach. Style then can act as a genuine indication of attitude and behaviour, as universal symbols of unpleasant or unsightly sensations can be drawn upon to varying degrees. When a person wears a rock t-shirt, the imagery of that clothing will serve as a second dimensional costume that suggests particular feelings, behaviour, and thoughts associated with the image, text, and artist. The music and film of the subculture can equally serve to define the outward appearance in the way that it firstly provides an extension to the clothing, in that it projects a form of image that is instantly identified with the person who is enjoying it. This then could be seen as a third dimensional costume, projecting further association that helps to define the self within the group. The application of the extra layer becomes an archetype for future association and choice, provided it entertains enough, and provides suitable variation to apply to a large audience. This relates to individuals in that the way they choose to identify themselves as associated with a particular subcultural trend, the symbols and styles chosen become semi-extensions of the iconic and general themes that run through it. This in turn defines the behaviour to a degree, and in psychological terms, the input of the cultural material over time will create a mind-set ever more relatable to the themes of the movement. In social circles, the political and artistic tastes generally feed back to one another in bubbles of trend gathering, reinforcing the same beliefs across the consciousness of the group. Those beliefs and cultural-political viewpoints which are dominant in the media of the alternative subculture will be prevailing in the groups that self-identify with it. These styles carry with them a way of being that can be identified throughout trends on large scale geography. Various subcultural movements exist that can be found in most major cities, and then these may have more localised sub-branches which exist as cells within various establishments. The governed mindset creates an image of clothing, body language, and cultural-political perspective which all in turn help to define an individual's identity within their social residence. This leaves subcultural style to be defined in three ways, firstly the image addressed by clothing style and music and film, then body language or demeanour, which comes alongside the ideals and mindsets represented, and finally the argot, which is the combination of vocabulary and viewpoints which form the conversations and agendas within the individual trends and movements. This triple sided approach makes trends quickly identifiable by means of association within the collective subcultural consciousness without necessarily acting on any of the whole range of factors. It is possible to only wear the shirt, but be considered like the shirt. This produces a tiered stream within the individual alternative subcultures, making them more likely to further self define through future expression. In the days of class system rhetoric, we were portioned into groupings according to what we did for a living, what part of town we lived in, and even further back our skin and faith mattered too. For the majority of the world, the class system is a relic barely called upon metaphorically in various circles who enjoy their particular identification, socialist worker's for example. It is now more difficult to identify with something to such an extent so that we can use it as a foundation for our character, when we as people haven't really given enough thought to it. This means that for the most of us, we have our place in life and where ever that is, we tend to be surrounded by people in a similar place. Therefore the ideas about the world, other people, and the self are kept in a feedback loop which continually reinforces the same notions. We don't always have the time or the motivation to think about everything going on with the world, it could be argued even that the world has an infinite number of things we 'need' to know about it, so most of us don't have insight for our own on many topics people often raise. Because of this we have standard thoughts and feelings, scripted conversation cues, that help us along when things get a bit over our head. We all have various one line replies we can use when someone asks us a question we don't really know. Honesty is the best course, but often we believe what we have been told, what we have learned to be true. We don't question it because who ever taught us did a great job of it. There're often many people who teach the same principle in life's situations. So we then lack original thought about a great deal of things that we simply haven't felt the need to examine our-self. This is where the class system was a useful tool in the analysis of society, because it is possible to guess more accurately about a trend within a given area of people by what their class is, or what kind of jobs they do. We would know to advertise professional services to middle class audiences and savings at a warehouse to working class audiences. Since the class system is now used much more rarely, and the borderline between each division is blurring with every generation, it is becoming increasingly more difficult to know information about given groups of people. Subculture provides a method of identification that individuals can relate to and feel relevant benefits from without rationing status in a way that a class system would do. In the forms of expression that predominate the various subcultural style, the same effects of localised feedback of principle and perception will occur. Establishments that cater for one or two particular subcultures will have atmospheres and codes of conduct which reflect the attitudes of those who take part. Now with global reach for any trend, the symbology and soundtracks all count for the joint experience of learning about the world from the perspective offered by the given societal outlook. The lyrics to songs, the themes to the films, and the reasons why the icons are icons in the first place all make the definition of the ideal of the trend, and the arts which work to reflect this revolve around the core themes as they themselves evolve over time. Because class structure still exists and there is still a societal divide between manual and non-manual work, although the pay has evened out more in recent years, there is still a mentality difference too which makes it more likely that members of particular societal groups will be involved in particular subcultures. White middle class people tend to like different music to white working class people, and the same can be said for all the other races. The films we all like are different, and because of the fact we spend the most time around people in a similar cultural position to ourselves, we tend to have similar localised influences. This makes subcultural trend, class, and personality interchangeable in the way we can describe groups of people. The wisdom and knowledge taken from one can translate to another, and so on. It is important to remember that in trends, we cannot know for sure exactly how something is going to be, but it is more manageable when we understand the dynamics of likelihood and possibility. Calling on symbols and themes that run through particular cultures is how some artists represent their work in the most appealing way. By being involved and on the pulse of the flow of ideas within a trend, we stand able to find themes that identify with ourselves and then reflect them back through the work we produce. We also buy the things we like that reflect our feelings and they too go into the inspiration of what we create for ourselves. The loop of ideas is continually turned over, like a field which grows annual grain. Everything is turned around again and again in new lights and new comparisons, creating an ever more diverse cultural landscape we can draw on to identify self with and learn about the world.
Music Based Trends Within Subcultural Style
Before the radio began transmitting the sounds of the popular music industry across the airwaves, what the nobility enjoyed was seen as the high bar for everyone else's tastes. Those who like the same as the Lords and Ladies, the notable gentlemen and his most esteemed wife could be seen as reaching the all important social status they desire. For the others, and for those who wanted to make a stand against the common grain of society, there was folk music. Before popular culture took its grip on the world via media devices in every home, it was the community gathering that provided the entertainment. The traditional folk sounds of an area will of course differ with geography and the further afield we go, what was once folk becomes world music but in essence, it has the same root origin. Communities would pass ideas, stories, and melodies down the generational line as songs that would become ingrained in the consciousness of the given social network. During the 1920's, when the radio became an instrument of media delivery, alongside the classical sounds of what was deemed to be acceptable music from traditional composers, new forms of music began to find its way into the playlist. Swing and jazz became players in the early music scene, and perhaps was the first societal subculture that could be distinguished as having a single origin. Ballroom music with extra energy allowed the younger generation to express themselves in new and exciting ways. Putting jazz and swing into the dance-hall allowed new musicians to experiment with all kinds of new techniques. Rock n roll evolved in the 1950s from the origins of blues and rhythm based dance hall music, and another new breed of subculture came into being. Teddy boys took the titles for the first major influencer in the word of rock music, and the clean cut but violent image that came along with this trend brought in a new set of issues associated with alternative societal archetypes. Suits with ties, slick back hair, and an attitude for trouble gave this new generation of likely suspects an element of gangster affiliation that opened new doors for artistic expression. Mods and rockers split as a distinct branching aspect on the society scene in the 1960s, and perhaps for the first time there was a direct competition marketed between two opposing viewpoints in the art world. As mod music took the noise and energy of rock n roll and concentrated it into something punchy and attitude driven, rock music managed to remain calm and remained true to the ballad and clean cut form that allowed it to stay distinguished despite this new wave of energy. Rock caught on to the attitude it had so far lacked during the 1970s, when disco music had inspired a prolific wave of new synthetic sounding artists to produce variations on what music actually can be. A new energy brought rock music into the world of heavy metal and psychedelic rock as disco music began to give rise to new forms of dance based sounds such as funk that used traditional jazz form with new experimental rhythms. The rift between mods and rockers evolved as rock music began to take on the attitude that would previously distinguish the two. In an effort to further inspire chaotic music and a breakdown of traditional flow, punk became popular as a strong alternative voice. Heavy metal differed from punk in many ways, but the theme of anarchy acted as an extra political motivator that metal doesn't use to brand itself. In the 1980s the electronic music scene split into new romantic and goth music, with hip-hop making a splash shortly after. Heavy metal became commercialised and hard rock was the by-product of this fusion of corporate interest and the rock n roll ethic of rebellion and anti-establishment based expression. Punk music became diverse and soon also became targeted for commercialisation. In the 1990s, heavy metal and rock music began to become largely alternative once more, and pop songs began to take more influence on softer and mixable content rather that straight songs. Everything began to standardise during the 90s for music, and with archetypes in place for so many genres, finding new roots was difficult. Disco evolved into techno, hardcore, and house, and the electronic music scene began the main field for the experimental musical projects. Rock began to form cross over sounds that took hip-hop, gothic, or techno sounds to make new fusion albums which produced varying results. As the 2000s came about, the home studio and internet had really opened up what was doable and available for normal people. The amount of music on offer has magnified dramatically, as with the tools for making it. Subculture has reached neo-tribal levels with hundreds of thousands of people coming together for the love of one particular form of music. Each form of previous subcultural style has prevailed to this day and artists in every window are making new and fresh contributions to their genre. As more creators make it into the scene with their angles, extra layers of culture are being formed, and perhaps on an interpersonal level, societal identification of self is no longer so limited to a handful of available archetypes presented by the media. As we each get to stand in our own shoes and present ourselves to many more people based on merit alone, it's becoming easier to self identify with common thinking without subscribing to one particular stereotype.
As we become young adults, often at school or college, we begin to discover our own personal identity by the manner of thinking about the world around us. We form our own independent opinions and feelings on the processes, culture, and methodology that we are subjected to. It is not uncommon to quickly find reasons to dislike an element of the society we are brought up in, as no decent society can claim perfection, with each evolution and change new issues and blind-spots arise that cause problems for some.
At first many people choose to form an objective counter opinion about at least one element of society, and will use this as a means to self-identify for a period of time. However, there tends to be a cut off point in which society insists that the way presented is the best and most virtuous path and will passively assert itself through the media and information in a continual manner. At this cut off point, an individual will choose to either accept society as the best way and drop their disquiet levels to a more viable and conformist approach via many of the official pathways available, or they will make a choice to not accept society and refuse to allow the pressure of culture to 'snip their wings'. The alternative scene offers the subcultural pathways to an emotionally involved and sociological meaningful life via validation of rule-sets and lifestyles that do not adhere to the popular trends. The mainstream offers an official alternative scene that is dominated by a handful of magazines, radio, and television stations, and it does offer a shard of light on the subcultures that it represents however the main agenda is commercial, which creates a reflective feedback loop into more of the same. This filters out new and experimental art in favour of formula driven look-a-likes and icon grooming. The effects of the mainstream alternative scene media are noticeable in the crowds, as many will gladly accept the offerings, however there is yet another, more extreme or hardcore alternative scene participant, who will not accept ideas and opinions from anything that has a commercial agenda. Deeming something worthy of cult status usually requires the creators to have had an element of creative genius or ingenuity that surpassed the need to spend a fortune and therefore lace the product with commercial input to make up for it. Doing something new, fresh, exciting, and without spending a lot of money is how to make a huge impact in an alternative scene, as it validates the notion that commercial interest is a spare wheel in the world of cultural expression. The dualistic paradox is that everyone requires money to live, and apart from the communitarian ideology of a money free society which would require everyone to subscribe to and a massive change in global processes in unison without objection, some form of commercial interest has to be involved in order to sustain the output of underground non mainstream alternative media. Usually a small fan base of dedicated subscribers, listeners, or buyers ensure that the continual upkeep of the art is maintained by buying into the scene they feel a part of, and maintain their connection with the subcultural identity by doing so. Finding the balance between making a living and providing underground media and art is tough, and the choice is often in the hands of the general public. This takes us back to the feedback loop system which creates a system of demand for a particular source of media which is supplied. The success of the media determines how far the demand reaches, and how much the supply can take place. It is a matter of finance and time, which are related to one another in the world of work. Because of this, many underground media producers make a very small living in order to remain within the acceptable norms of their field. The plus side to this equation is that the consumers expect diverse and non-consumer based material which also speaks to their personal identity and helps them to make further facets on the personal gemstone of their personality.
For concepts and their creating artists to make a path into a particular subculture in society, the symbols and thinking involved need to be talked about. By the passing on of ideas along with emotional relevance, concepts, constructs, and even constitutions can become reinforced by nature of repetitive conversation. To be talked about, an artistic concept has to involve an audience via an emotional connection to its abstract meaning. Once this connection is made, the artistic philosophy given will be called upon to base new ideas and thoughts in general activity. The work has to make an impact and therefore an impression on the audience.
Reviewing of art work is one of the major injections to culture of what the art is and how it is meant to be interpreted. For the untrained eye or ear, the word of experts means a great deal and by listening to expert opinion, individual thoughts are eventually formed. In this way, the media holds an influence on culture by the manner of what they talk about to the general public. This is not to say they have power, as a bad review doesn't necessarily put people off, and vice versa, but the attention of a crowd can be drawn of the presence of something, and a few facts about it can be given. The major magazines hold a huge amount of potential readers, as their copies are distributed on a large scale. By reaching large numbers of people on national levels, the main culture magazines for all the arts have become established household names. Online media has increased the reach further-fold, and now international audiences can be reached without the cost of printing. Truly international media came into being when the world went online, and for most of us, it's an open and free community. The online revolution created a new form of subculture, that spans entire communities on a global scale. Like minded artists and appreciators from all societal alternative trends can interact and share their ideas, passions, and tastes to anyone who happens to be there. The major media outlets were able to publish online versions of their content which can be shared indefinitely, and by utilising social media, the power of the share took off. As live gigs and performances are usually the interaction that creates a passionate connection between the art and the individual, the memory of the experience fuels creativity and decision making. When talked about, the experience of the artistic encounter be it a show, an album, film, or even a t shirt, the animation in the body language and tones of voice will serve to emotionalise the piece. In this communication, the concepts are transferred from one mind to another. Each individual will interpret the work in their own way, and have their own takes on it, however the more social capital a person has within a subcultural scene, the more likely it is their opinions will be repeated. Having work talked about and made desirable by the rewarding and validating network of appreciation is what gives an artist their journey into establishment. Making a connection between the artist and the audience via an artwork means that the artwork has to represent something that the audience feels and thinks prior to the engagement. Once it can do that, and reinforce then fuel the positive element that it represents, then the work will carry itself through the scene via the communication of those within it.
As the pre-occupation with an alternative culture becomes an act of rebellion against the main stream trend, subsequent involvement exposes us to a consciousness bubble in which all the ideas and mentalities of the scene, reinforced by the popular media within it, become a path of living which is rewarded by kudos and capital in the social sphere. Definitive counter mentalities to the main stream normality emerge as key elements in the alternative crowd, and often with political arguments forming groups of like-minded thinkers within specific communities, art and political messages easily become fused into a tool for protest.
For an artist to use their work to make a political point, they must accept the sacrifice of the people who do not agree, as political thought can be very territorial when it comes to taste and fashion. In other words, something can lose its cool very quickly if the politics involved are against the grain. We all have different ideas of what is right and wrong for the places where we live, and art makes a great method of delivering our ideas to a wide audience without being boring or over everyone's head. A simple diagram or cartoon strip in print or online, about an important subject, can increase awareness on a much larger scale than a small pamphlet left at the library. An interesting documentary was on BBC Radio recently, about sedition and punk art which deliberately attacked the image of a head of state in Malaysia. Punk as a scene has been very vocal in the political world, with both left and right wing ideas to high extremes growing from both poles of the same crowd. In the way the ideas differ, the styles of music and dress sense differ too, and the imagery used by each side of the subculture can often be quite different. A political divide isolates one half of the crowd, and it's not only punk that has embraced this side of art. Folk has been a source of political discussion and inspirational sound tracks to counter capitalism movements for some time, meaning it's gained an image of being for socialist jumper wearing beer drinkers. Sedition is when someone expresses an opinion that directly encourages a revolutionary spark, or blatantly goes against national policy. In some countries sedition is a crime, and so art must be used responsibly in this situation. A passive approach of designing deliberately away from the cultural trends, but staying clear of any form of counter policy expression can be enough to ensure alternative thinking takes place without fuelling the possibility of harm. In many ways, the entire point of alternative media is that it is raw and uncensored, with little regard for rules and regulations. The commercialisation and standardisation of an alternative culture results in it becoming non alternative, or even main stream, which is a deadly blow for the underground social capital in any established cultural movement. It can take a while for the trends to forget and for the alternative scene to forget too. Using art to make shocking images and gut wrenching depictions of the raw truth enforces the idea that something is happening and it is not good. By delivering often complicated truths in a simple way, perhaps even with a sense of humour, it allows people to identify with problems in the world that perhaps are too abstract to deal with properly. Art is also used as a passive aggressive tool to undermine the personalities and ideas of opposing people and parties, and it can become quite viscous and personal. In this realm of using art as a weapon to hurt, a line is crossed in which something meant for good is being used for bad. Finding a balance between expression of the truth and deliberately disturbing people with horrors or character decimation is important for any protest art, having good moral foundation behind the message is the only way it will stand the test of time and critique. If hypocrisy or lack of integrity are found in a political argument, then it is mostly considered void.
Because of the requirement to participate in order to achieve status within an alternative culture movement, and social capital is accumulated by manner of being at events, wearing the right clothes, and buying/enjoying the right products, in order to become independently significant within a crowd, a significant amount of sacrifice must be made. Dedication to the movement comes at a cost of time, energy, and money. Events are rarely free, and subculture requires that we dress appropriately when attending them. If we want to be recognised by our peers as part of an alternative scene, we must look right and be in the right places. We need to also know about the right things, and have a conversational back catalogue that allows us to take part in the social interactions that revolve around the scene.
Showing our face in the right clothes and at the right time and place is all a lot of work, and for those who take their artistic direction seriously, for many it is worth it. Finding a place within a subculture is rewarding for many reasons. Not only does it help an individual to feel validated in their reluctance or inability to conform to the demands of normal culture, but it also provides a way of channelling unwanted emotional energy into something that can be sociable and fun. Finding a place within a safe artistic community or alternative subculture is a healthy alternative to many other forms of coping mechanism to deal with the pressures of life in the modern world. The paradox perhaps is in the creation of art and material for the subculture to draw from, a person has to work hard and for long hours, with very little return. This results in good thought-out and relevant products with real subcultural value, but come at the cost of social time on the scene. The knowledge required to put together media of any kind is substantial, and for artists and media producers, the time taken to master and hone their creativity into something of real significance is another form of sacrifice, and one that doesn't have the same social rewards as spending that time in the scene, participating in the art that others have created. The almost geek status of the cultural creatives who take their time to produce literature and media, albums and films, means that these people find it difficult to relate directly with those who they're creating for. Almost a separate mindset to the scene participants, finding the methods and routines for the creation of art requires a professional and self validating, headstrong mentality that doesn't necessarily correlate to the group mentality found in crowds of like-minded appreciators. In the journey from appreciator to creator, at some point the artist must sacrifice appreciation directly for the indirect approach of adding to what is there to be enjoyed. This takes time to get right and to establish, and during this process the social capital dwindles as they work on their creations and techniques. Finding a balance between being in the scene and creating for it needs to happen, and eventually an artist will rediscover the social side to their work, once it reaches a level that allows them to go to events as the artist and not the geeky fan. Of course, this is hypothetical, and it's known that many contributors to the subcultural scene are reclusive while working, but very outgoing on their time off. In the beginning, however, artists don't get a great deal of time off as their projects and creativity require a lot of attention and work in order to achieve the right standards required to make a noise in any scene. |
Alternative Fruit is reader supported. You can support the production of quality online media with a small donation. Thank you so much.
Categories
All
|
Shop to Support Alternative Fruit
|
Thanks for supporting Alternative Fruit
Read our Privacy Policy here For people, for peace, with love. Made in the UK by Homunculus Media |