In thesociology of culture, asubculture is a group of people within aculturalsociety that differentiates itself from thevalues of themainstream or dominant culture to which it belongs, often maintaining some of its founding principles.[1] Subcultures develop their own norms and values regarding cultural, political, and sexual matters.[1] Subcultures coexist within mainstream society while keeping their specific characteristics intact.[1]
TheOxford English Dictionary defines subculture, in regards to sociological and cultural anthropology, as "an identifiable subgroup within a society or group of people, esp. one characterized by beliefs or interests at variance with those of the larger group; the distinctive ideas, practices, or way of life of such a subgroup."[2] Some subcultures are formed by members with characteristics or preferences that differ from the majority of society, who generally have a preference for body modifications such astattoos, punctures, and certain forms of plastic surgery.[3]
Unlike mainstream social relationships, subcultural communities are characterized by transience, informality, and a lack of typical social kinship relationships.[citation needed]
As early as 1950,David Riesman distinguished between amajority, "which passively acceptedcommercially provided styles and meanings, and a 'subculture' which actively sought a minority style ... and interpreted it in accordance withsubversivevalues".[4] In his 1979 bookSubculture: The Meaning of Style,Dick Hebdige argued that a subculture is asubversion to normalcy. He wrote that subcultures can be perceived as negative due to their nature of criticism to the dominant societal standard. Hebdige argued that subculture brings together like-minded individuals who feel neglected by societal standards and allow them to develop a sense of identity.[5]
In 1995,Sarah Thornton, drawing onPierre Bourdieu, described "subcultural capital" as the cultural knowledge and commodities acquired by members of a subculture, raising their status and helping differentiate themselves from members of other groups.[6] In 2007, Ken Gelder proposed to distinguish subcultures from countercultures based on the level of immersion in society.[7] Gelder further proposed six key ways in which subcultures can be identified through their:
often negative relations to work (as 'idle', 'parasitic', at play or at leisure, etc.);
negative or ambivalent relation to class (since subcultures are not 'class-conscious' and do not conform to traditional class definitions);
association with territory (the 'street', the 'hood', the club, etc.), rather than property;
movement out of the home and into non-domestic forms of belonging (i.e. social groups other than thefamily);
stylistic ties to excess and exaggeration (with some exceptions);
refusal of the banalities of ordinary life and massification.[7]
SociologistsGary Alan Fine andSherryl Kleinman argued that their 1979 research showed that a subculture is a group that serves to motivate a potential member to adopt the artifacts, behaviors, norms, and values characteristic of the group.[8]
Contemporary subcultures typically refer topopular culture, including animation, comics, video games, and popular music.[9]
The earliest sociological studies on subcultures came from the so-calledChicago School, who interpreted them as forms of deviance and delinquency. Starting with what they calledSocial Disorganization Theory, they claimed that subcultures emerged on one hand because of some population sectors' lack of socialization with themainstream culture and, on the other, because of their adoption of alternativeaxiological and normative models. AsRobert E. Park,Ernest Burgess, andLouis Wirth suggested, by means of selection and segregation processes, there thus appear in society "natural areas" or "moral regions" where deviant models concentrate and are re-inforced; they do not accept objectives or means of action offered by the mainstream culture, proposing different ones in their place—thereby becoming, depending on circumstances, innovators, rebels, or retreatists (Richard Cloward andLloyd Ohlin).
Subcultures, however, are not only the result of alternative action strategies but also of labelling processes on the basis of which, asHoward S. Becker explains, society defines them as outsiders. As Cohen clarifies, every subculture's style, consisting of image, demeanour and language becomes its recognition trait. And an individual's progressive adoption of a subcultural model will furnish him/her with growing status within this context but it will often, in tandem, deprive him/her of status in the broader social context outside where a different model prevails.[11] Cohen used the term 'Corner Boys' which were unable to compete with their better secured and prepared peers. Theselower-class youths didn't have equal access to resources, resulting in the status offrustration,marginalization, and search for a solution.[12]
In the work of John Clarke,Stuart Hall, Tony Jefferson, and Brian Roberts of the Birmingham CCCS (Centre for Contemporary Cultural Studies), subcultures are interpreted as forms of resistance. Society is seen as being divided into two fundamental classes, the working class and themiddle class, each with its own class culture, and middle-class culture being dominant. Particularly in the working class, subcultures grow out of the presence of specific interests and affiliations around which cultural models spring up, in conflict with both their parents' culture andmainstream culture. Subcultural groups emphasize voluntary, informal, and organic subordinate relationships formed in unregulated street public spaces.[13] Facing a weakening of class identity, subcultures are then new forms ofcollective identification, expressing what Cohen defined "symbolic resistance" against the mainstream culture and developing imaginary solutions for structural problems. However, the Birmingham School believes that the symbolic rejection of mainstream bourgeois lifestyles by subcultures is illusory.[14]
AsPaul Willis andDick Hebdige underline, identity and resistance in subcultures are expressed through the development of a distinctive style which, by a re-signification and "bricolage" operation, useculturalgoods and services as standardized products to buy andconsume, in order to communicate and express one's own conflict. Yet the culture industry is often capable of re-absorbing the components of such a style and once again transforming them intoconsumer goods for themass society. At the same time themass media, while they participate in building subcultures by broadcasting their images, also weaken subcultures by depriving them of their subversive content or by spreading asocially stigmatized image of them and their members.[15]
The most recent interpretations see subcultures as forms of distinction. In an attempt to overcome the idea of subcultures as forms of deviance or resistance, they describe subcultures as collectivities which, on a cultural level, are sufficiently homogeneous internally and heterogeneous with respect to the outside world to be capable of developing, as Paul Hodkinson points out, consistent distinctiveness, identity, commitment and autonomy. Defined bySarah Thornton as taste cultures, subcultures are endowed with elastic, porous borders, and are inserted into relationships of interaction and mingling, rather than independence and conflict, with the cultural industry and mass media, asSteve Redhead and David Muggleton emphasize. The very idea of a unique, internally homogeneous, dominant culture is explicitly criticized. Thus forms of individual involvement in subcultures are fluid and gradual, differentiated according to each actor's investment, outside clear dichotomies. The ideas of different levels of subcultural capital (Sarah Thornton) possessed by each individual, of the supermarket of style (Ted Polhemus) and of style surfing (Martina Böse) replace that of the subculture's insiders and outsiders – with the perspective of subcultures supplying resources for the construction of new identities going beyond strong, lasting identifications.
The study of subcultures often consists of the study of symbolism attached toclothing,music,hairstyles,jewellery, and other visible affectations by members of subcultures, and also of the ways in which these same symbols are interpreted by members of the dominant culture. Dick Hebdige writes that members of a subculture often signal their membership through a distinctive and symbolic use of style, which includesfashions,mannerisms, andargot.[16]
Subcultures can exist at all levels of organizations, highlighting the fact that there are multiple cultures or value combinations usually evident in any one organization that can complement but also compete with the overall organisational culture.[17] In some instances, subcultures have been legislated against, and their activities regulated or curtailed.[18] Britishyouth subcultures had been described as a moral problem that ought to be handled by the guardians of the dominant culture within thepost-war consensus.[18]
It may be difficult to identify certain subcultures because their style (particularly clothing and music) may be adopted by mass culture for commercial purposes. Businesses often seek to capitalize on the subversive allure of subcultures in search ofCool, which remains valuable in the selling of any product.[19] This process ofcultural appropriation may often result in the death or evolution of the subculture, as its members adopt new styles that appear alien to mainstream society.[20]
Music-based subcultures are particularly vulnerable to this process; what may be considered subcultures at one stage in their histories – such asjazz,goth,punk,hip hop, andrave cultures – may represent mainstream taste within a short period.[21] Even religious groups can be seen as subcultures.[22] In his research on British punk rock in the late 1970s, Hebdige proposed a controversial proposition at the time: punk portrayed the entire history of post-war working-class youth culture in a "cut" form, blending elements that originally belonged to completely different eras.[citation needed] Some subcultures reject or modify the importance of style, stressing membership through the adoption of anideology which may be much more resistant to commercial exploitation.[23] Thepunk subculture's distinctive (and initially shocking) style of clothing was adopted by mass-market fashion companies once the subculture became a media interest.Dick Hebdige argues that the punk subculture shares the same "radical aesthetic practices" as theDadaist andSurrealist art movements:
Like Duchamp's 'ready mades' - manufactured objects which qualified as art because he chose to call them such, the most unremarkable and inappropriate items - a pin, a plastic clothes peg, a television component, a razor blade, a tampon - could be brought within the province of punk (un)fashion ... Objects borrowed from the most sordid of contexts found a place in punks' ensembles; lavatory chains were draped in graceful arcs across chests in plastic bin liners. Safety pins were taken out of their domestic 'utility' context and worn as gruesome ornaments through the cheek, ear or lip ... fragments of school uniform (white bri-nylon shirts, school ties) were symbolically defiled (the shirts covered in graffiti, or fake blood; the ties left undone) and juxtaposed against leather drains or shocking pink mohair tops.[24]
"Urban tribe" redirects here. For the American musician, seeUrban Tribe.
In 1985, French sociologistMichel Maffesoli coined the termurban tribe orneotribalism. It gained widespread use after the publication of hisThe Time of the Tribes (1988).[25] In 1996, this book was published in English.[26] According to Maffesoli, neo tribes are microgroups of people who share common interests in urban areas. The members of these relatively small groups tend to have similar worldviews, dress styles and behavioral patterns.[27] Theirsocial interactions are largelyinformal and emotionally laden, different fromlate capitalism'scorporate-bourgeoisie cultures, based on dispassionate logic. Maffesoli claims thatpunks are a typical example of an "urban tribe".[28]
In the context ofconsumer culture, the notion of consumer tribes indicate ephemeral groups of individuals that often share a common interest and a share a subculture.[29] Unlike traditional tribes that share kinship and language, consumer tribes are elective and ephemeral because they disperse without necessarily building long-term relationships.[30] Consumer tribes often fluctuate around a common hobby or interest but lack permanent social bonds to become abrand community.[31]
TheSexual Revolution of the 1960s led to acountercultural rejection of the established sexual and gender norms in theWestern world, particularly in the urban areas of Europe, North and South America, Australia, and South Africa. A more permissive social environment in these areas led to a proliferation ofsexual subcultures—cultural expressions ofnon-normative sexuality. As with other subcultures, sexual subcultures adopted certain styles of fashion and gestures to distinguish themselves from mainstream Western culture.[35]
In a 2011 study, Brady Robards and Andy Bennett said thatonline identity expression that proliferated through early online communities, including message boards andUsenet groups, has been interpreted as exhibiting subcultural qualities. However, they argue it is more in line withneotribalism than with what is often classified as subculture.Social networking websites are quickly becoming the most used form of communication and means to distribute information and news.[44] They offer a way for people with similar backgrounds, lifestyles, professions, or hobbies to connect.[44] According to a co-founder and executive creative strategist for RE-UP, as technology becomes a "life force", subcultures become the main bone of contention for brands as social networks rise through cultural mash-ups,viral phenomenons, andmemes on the internet.[45]
Discrimination-based harassment and violence are sometimes directed towards a person or group based on their culture or subculture.[48][49][50][51] In the United States and the United Kingdom, the concept of subculture has always been the main explanatory tool for sociological and criminological understanding of deviant behavior.[52] In 2013, theGreater Manchester Police in the United Kingdom began to classify attacks on subcultures such asgoths,emos,punks, andmetalheads as hate crimes, in the same way they record abuse against people because of their religion, race, disability, sexual orientation or transgender identity.[51] The decision followed themurder of Sophie Lancaster and beating of her boyfriend in 2007, who were attacked because they were goths.[50] In 2012,human rightsactivists have denounced the occurrence ofemo killings in Iraq, which consisted of between at least 6 and up to 70 teenage boys who were kidnapped, tortured, and murdered inBaghdad and elsewhere inIraq, due to being targeted because they dressed in a "Westernized" emo style.[48][49]
^abcdefCutler, Cecelia (2006). "Subcultures and Countercultures". In Brown, Keith (ed.).Encyclopedia of Language & Linguistics (2nd ed.).Amsterdam,Netherlands:Elsevier. pp. 236–239.doi:10.1016/B0-08-044854-2/01312-2.ISBN978-0-08-044854-1.One of the assumptions implicit in the term 'subculture' is the lower, subordinate, or deviant status of social groups that receive this label. Many groups labeled as subcultures have lower social status due to class, ethnicity, linguistic background, or other social factors (e.g., poor and working class people, ethnic minorities). In other cases groups considered subcultures see themselves or are seen by others as deviant (e.g., gays and lesbians, drug users). Unlike communities, subcultures are characterized by their transience, their informality, and the absence of the sort of kinship ties that typify communities. They are commonly perceived to embody an oppositional stance to the normative ideals of mainstream adult society. [...] In the 1990s and 2000s, the term subculture came to be used in a much wider sense to describe any group of people who orient to norms of behavior, values, beliefs, consumption patterns, and lifestyle choices that differ to varying degrees from those of the dominant, mainstream culture.
^Anheier, Helmut K., Stefan Toepler and Regina List, eds.,International Encyclopedia of Civil Society, (Springer, 2010)
^abHall, Stuart, Tony Jefferson, Resistance Through Rituals: Youth Subcultures in Post-War Britain (Routledge, 1993).
^Howes, David.Cross-cultural consumption: global markets, local realities. New York: Routledge, 1996. Print.
^Goldstein-Gidoni, Ofra. "Producers of 'Japan' in Israel:Cultural appropriation in a non-colonial context."Ethnos:Journal of Anthropology 68.3 (2003): 365. Print.
^Blair, M. Elizabeth, "Commercialization of Rap Music YouthSubculture." Journal of Popular Culture 27.3 (1993): 21–33. Print.
^Lewin, Phillip, J. Patrick Williams. "Reconceptualizing Punk throughIdeology and Authenticity".Conference Papers--American Sociological Association. 2007 Annual Meeting, 2007.
^Green, Jonathon (2006).Cassell's Dictionary of Slang. Sterling Publishing. p. 893.ISBN978-0-304-36636-1. Retrieved2008-03-19.down low n. [1990s+] (US Black) a state of secrecy. down low adj. [1990s+] () covert, secret (i.e. keeping a low profile)
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McKay, George (1996)Senseless Acts of Beauty: Cultures of Resistance since the Sixties. (London: Verso.ISBN1-85984-028-0.)
McKay, George (2005)Circular Breathing: The Cultural Politics of Jazz in Britain. Durham NC: Duke University Press.ISBN0-8223-3573-5.
Riesman, David (1950). "Listening to popular music",American Quarterly, 2, p. 359-71. Cited inMiddleton, Richard (1990/2002).Studying Popular Music, p. 155. Philadelphia: Open University Press.ISBN0-335-15275-9.
Thornton, Sarah (1995).Club Cultures: Music, Media, and Subcultural Capital. Cambridge: Polity Press. Cited in Negus, Keith (1996).Popular Music in Theory: An Introduction. Wesleyan University Press.ISBN0-8195-6310-2.
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Lewin, Phillip, J. Patrick Williams. "Reconceptualizing Punk throughIdeology and Authenticity".Conference Papers—American Sociological Association. 2007 Conference Papers, 2007.
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