Youth subcultures (Anthropology)

Historically, emerging music and music-engendered forms of youth expression and aggregation have been considered a threat to mainstream culture, due to the belief that they can corrupt it at a societal level. Expanding on these insights, this article examines how one of these music-inspired youth cultures transforms oft stigmatized traits and behaviors (e.g., clothing, slang, tattoos) into communicational and bonding elements of an “alternative family.” Conducting a multimodal analysis of video documentaries, this study explores how the Juggalo community (a fan culture initially associated with the band Insane Clown Posse) socially constructs its identity as a countercultural family that embraces outcasts, rejects, and people who feel unfit for society. Specifically, this study looks into how the participants of this culture implement and negotiate multimodal forms of representation and communication at the “Gathering of the Juggalos,” a kaleidoscopic music/arts festival that functions as an annual “family reunion” for Juggalos from around the world.

An analysis of the emergence and rise of an alternative sport scene using social movement theory. The rise of Freestyle BMX in "Pro-Town, USA" (Greenville, NC) from local kids erecting guerrilla ramp parks on vacant lots to a residential concentration of top pros.

The impact, influence, and legacy of the Sex Pistols have inspired a considerable number of
works, with those of Jon Savage being perhaps the most paradigmatic. However, these studies
are generally centered on Anglo perceptions of the Sex Pistols and of punk more broadly. We
believe that it is important to understand the Sex Pistols cultural and economic impact
globally, and, thus, to realize the influence of the English or Anglo-Saxon culture in non-English
speaking countries through the lens of popular music. In this article, our main aims are as
follows: to understand the current and previous representation of the Sex Pistols in Portugal;
to evaluate the group’s legacy in Portuguese society and its punk scene, its influence on the
formation of bands and their respective consideration of questions relating to authenticity and
market; to define the role of the Sex Pistols in the dissemination of the Do It Yourself (DIY)
ethic and concept among punks in Portugal; and to examine the importance of the Sex Pistols
in the ever unfinished construction of what represents the mainstream and the underground
in music.

En este artículo nuestro objetivo es analizar la música trap y su desarrollo en España en los  últimos años. Intentamos comprender el impacto que tiene entre los jóvenes, identificando  sus éticas y estéticas y averiguando cómo son percibidas entre sus consumidores. Entendien-
do las culturas juveniles como metáforas de cambios sociales y políticos, estudiamos el trap  español para averiguar qué nos cuenta de nuestra sociedad y de sus recientes transformaciones. Metodológicamente, nos servimos del análisis de canciones y videoclips, del desarrollo de entrevistas y grupos de discusión a jóvenes consumidores, traperos y productores, y  del estudio de biografías traperas representativas. Aparecido durante la crisis iniciada en
2008 en zonas empobrecidas como un canto de la juventud excluida y despolitizada, el trap  se popularizará reflejando las inquietudes de una juventud precarizada. El trap, concluimos,  es un género contradictorio que reproduce la lógica del capitalismo a la vez que abre espacios para su contestación.

PALABRAS CLAVE. Música trap, culturas juveniles, crisis económica, España.

The paper focuses on the football Ultras and their involvement
in the stadium as a social situation and contextual environment
from a sociolinguistical point of view. The tribes of the Ultras differ one from the other and the study focus on the Fiorentina Ultras as it is a very big community of football followers with an historical role in the Ultras phenomenon and also because the team has often been penalized by referees’ decisions.
Among the different means of communication and the many
ways of conceiving the Ultras Viola identity, the study focuses
on the analysis of the Fiorentina Ultras’ banners exposed in the
stadiums. The banners are, together with the choruses, the foremost mean adopted by the Ultras to communicate and they can be seen as a sort of crystallization of the Ultras’ messages. The
sample of banners analysed in the present study is made of 114
banners exposed by the Fiorentina Ultras from the season
2004/2005 to the present. The media has launched the concept
of a viola style (from club's taditional violet colour) that combines
passion for football and fair play: what does this style
consist in? A sociolinguistical analysis of the banners, both at
the Artemio Franchi stadium in Florence and in other stadiums,
allows us to identify the styles of communication and the different
ways of expression as well as the constitutional dynamics of
the Fiorentina Ultras’ identity.
The present study on this subgroup of Ultras applies it’s results
into the foremost theoretical contributions (sociology, sociolinguistics, sociosemiotics, etc.). The study aims also to open
up to a new research perspective (the analysis of the Ultras selfrepresentation) that could be implemented by investigating other Ultras groups, to study other communication means and to
conceive a comparative analysis of different Ultras communities.

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.

The third KISMIF International Conference “Keep It Simple, Make It Fast! (KISMIF) DIY Cultures, Spaces and Places” was help in Porto, Portugal, between 18th July and 21st July 2016. This edition was once again focused on underground music, but directing its attention this time towards the analysis of DIY cultures’ relationship to space and places. Thus, we challenged 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. Our intention was 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.

Cet ouvrage organise la comparaison entre les pratiques funéraires des Luba du nord du Katanga telles qu’elles se déployaient jusqu’il y a quelques décennies et les funérailles lushoises d’aujourd’hui. Au fil des chapitres, ruptures et continuités entre manières de faire rurales d’autrefois et façons de procéder urbaines du Katanga contemporain apparaissent clairement. À travers l’évolution des pratiques funéraires et de l’organisation du deuil, ce sont des dynamiques sociales, générationnelles, familiales et religieuses qui sont mises en évidence. Les funérailles urbaines d’aujourd’hui apparaissent ainsi comme moins saturées par l’univers de la parenté, même si celle-ci continue à y jouer un rôle fondamental, tandis que les groupes d’affiliation religieuse prennent une part croissante dans la gestion sociale de la mort. Au final, le livre offre au lecteur une image nuancée des reconfigurations contemporaines de la prise en charge de la mort au Congo, et une perspective originale sur le changement social au prisme des funérailles.