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Punk Culture in Contemporary China PDF

223 Pages·2018·1.896 MB·English
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JIAN XIAO P U N K CULTURE IN CONTEMPORARY CHINA Punk Culture in Contemporary China Jian Xiao Punk Culture in Contemporary China Jian Xiao School of Communication and Design Sun Yat-sen University Guangzhou, China ISBN 978-981-13-0976-2 ISBN 978-981-13-0977-9 (eBook) https://doi.org/10.1007/978-981-13-0977-9 Library of Congress Control Number: 2018952908 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover image © Diana Johanna Velasquez / Alamy Stock Vector Cover design by Akihiro Nakayama Printed on acid-free paper This Palgrave Macmillan imprint is published by the registered company Springer Nature Singapore Pte Ltd. The registered company address is: 152 Beach Road, #21- 01/04 Gateway East, Singapore 189721, Singapore A cknowledgements The research upon which this book is based was made possible with the funding by ‘The Fundamental Research Funds for Sun Yat-sen University in 2017’ (17000-31610138) and ‘The Bilingual Curriculum Training Project –Communication Studies’ (17000-18822604). A previous version of Chap. 3 was published in the European Journal of Cultural Studies 2017, 20(6): 707–723, @2017 European Journal of Cultural Studies; a previous version of Chap. 6 was published in the Chinese Journal of Communication 2017, 10(3): 246–263, @2017 Chinese Journal of Communication. I would like to thank all those who participated in the research and my family and friends who supported me. I would particularly like to thank Professor Paula Guerra and Dr. Jim Donaghey who contributed their research in Portugal and Indonesia. v c ontents 1 I ntroduction: Context, Method, and Theoretical Framework 1 Jian Xiao and Paula Guerra Introducing Punk 1 Interpreting Chinese Society 3 The Punk Scene in China 5 The Theoretical Framework 7 The Location 12 The Fieldwork 14 An Overview of the Major Questions 18 The Structure of the Book 18 References 21 Part I Punk in China 25 2 P unk in China: History, Artefacts, and Blogs 27 The Emergence of Punk in China 28 The Development of Punk in China 31 Blogs 38 References 44 vii viii CoNTENTS 3 The Biographical Approach: The Story of a Chinese Punk Musician 47 Introducing Mr. Li 48 Entering the Punk Scene: Interest 49 Reaction to Neighbours and the General Public 50 Critical Moments: Reaction to the Authorities 52 Being Marginal to Society 54 Being Marginal on the Street 55 Involvement in Punk Activities 58 Talking About Resistance 64 Conclusion 67 References 68 4 The Path to Punkhood, and Being a Punk 69 Becoming a Punk 69 Being a Punk 78 The Ideal Punk Lifestyle 86 Conclusion 98 References 99 5 Punk Performance, Hangouts, and Alternative Norms 101 Punk Performance 102 The Conflicts Within Punk Performance 107 Localising Punk Music 119 Hangouts 120 Conclusion 125 References 126 6 Boundaries and Identity: Understanding Online Punk Practices 127 Two Fora: ‘Punk’ and ‘Punk Is Not Dead’ 128 Boundary-Breaking: Communicating with Outsiders 138 Boundary Construction: Shaping Forum Norms 141 Different Approaches to Punk 145 Creating Shared Identities 146 Conclusion 149 References 150 CoNTENT S ix Part II A Comparison with Intra-Asian and European Punks 153 7 A Comparison Between Indonesian and Chinese Punks: Resistance, Hangouts, and DIY 155 Jim Donaghey and Jian Xiao The Emergence of Punk in Indonesia and China 155 Responding to Punk 156 Punk and Activism in Indonesia and China 159 Punk Space: Hangouts, Distros, and Infoshops 164 DIY Production and Distribution 166 DIY Gig Organising 168 Conclusion 173 References 174 8 A Comparison Between Portuguese and Chinese Punks: A Genealogy, Style, and Space 177 Paula Guerra and Jian Xiao A Genealogy of Punk Between Portugal and China 177 Style 179 DIY Practices and Lifestyle 183 Social Movements 186 Punk Space 190 References 195 9 Conclusion 201 The Development of the Chinese Punk Phenomenon 201 Punk Resistance in China 204 Reflections on the Book 211 References 212 Appendix: Biographical Characteristics of Respondents 213 Index 217 n A otes on uthors leAd Author Jian Xiao (Loughborough University) works at School of Communication and Design, Sun Yat-sen University. She has published in European Journal of Cultural Studies, Chinese Journal of Communication, Punk & Post-Punk, and so on. Her research interests focus on new media and cultural studies. E-mail: [email protected]. co-Authors Jim Donaghey (Loughborough University) is a punk anarchist working in academia, at Queen’s University Belfast. Jim is an active participant in his local punk and anarchist scenes and is also the web editor of www. AnarchistStudies.blog and member of the editorial board of Punk & Post- Punk journal. Jim is in several punk bands, including Gulder and Lawfucker. E-mail: j. [email protected]. Paula  Guerra (University of Porto) is an associate professor in the Department of Sociology of the Faculty of Arts and Humanities at the University of Porto and researcher at the Institute of Sociology of the same University (IS-UP), where she coordinates the subgroup Artistic Creation, Cultural Practices and Policies. She is coordinator and founder of the KISMIF Conference. She co-authored various books and her numerous journal articles have been published. E-mail: [email protected]. xi l f ist of igures Fig. 3.1 The performance of Mr. Li’s band 60 Fig. 5.1 Moshing in punk performance 105 xiii

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