Journal articles on the topic 'Punk'
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1
Sklar, Monica, Caroline Helfgott, and Farah Kitchens. "Learning punk through its products: Combining fashion merchandising practices and pedagogy to develop a subculture of resistance." Clothing Cultures 6, no. 2 (June 1, 2019): 249–63. http://dx.doi.org/10.1386/cc_00015_1.
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Punk is a lifestyle, ethos and perspective that deals with social unrest and personal discontent. Learning models are applied as framework in this research to contemplate how punk is learned and enacted as a lifestyle by going through daily fashion merchandising and social practices, such as how punks engage with artefacts and the rules of their scene. The punk subculture uses a pedagogy to their fashion production and consumption, employing the garments of their sartorial style with community interactions to create and symbolize their ethos. The community interacts in unision as newcomers to the scene learn from established participants, take in the knowledge available to them, and shift to self-produced ideas to develop their individualized punk ethos. This study used qualitative online surveys, in-person interviews and social media discussions from self-identified punks in the United States and Canada, as well as archival visits to punk-themed collections in order to analyse the experience of individuals who produce, consume and communicate their punk ethos through their garments.
2
Alcântara, Moacir Oliveira de. "MEMÓRIA E IDENTIDADE PUNK NOS EXTRAMUROS DE BRASÍLIA." Revista Sapiência: sociedade, saberes e práticas educacionais (2238-3565) 10, no. 5 (December 8, 2021): 1–20. http://dx.doi.org/10.31668/revsap.v10i5.12622.
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Este artigo discute narrativas de sujeitos punks oriundos de regiões periféricas do Distrito Federal. Trata-se de, sob o prisma historiográfico, investigar memórias e identidades de sujeitos punks imersos no território geográfico e simbólico das cidades-satélites nas décadas de 1980 e 1990. A partir de relatos orais de pessoas que participaram da cena punk tramada nos “extramuros” de Brasília, intenta-se perscrutar narrativas não hegemônicas acerca do punk nesses contextos. Ainda que invisibilizado no discurso da grande mídia e em outros dispositivos difusores das memórias consideradas oficiais do rock de Brasília, o punk articulado nas periferias da Capital Federal corresponde a um longevo cenário musical e comportamental underground, perpassado por múltiplas vivências, experiências e ativismo político de inspiração anarquista.
Palavras-chave: Punk. Memória. Identidade.
3
HAYTON, JEFF. "Crosstown Traffic: Punk Rock, Space and the Porosity of the Berlin Wall in the 1980s." Contemporary European History 26, no. 2 (March 13, 2017): 353–77. http://dx.doi.org/10.1017/s0960777317000054.
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This paper argues that crosstown traffic in the East and West German punk subculture was an essential aspect of how popular music helped to challenge the political legitimacy of the East German government. West German punks frequently crossed the border to attend Eastern punk concerts, meet with friends and trade stories and experiences, connections that helped to foster a transnational community of alternative youths. These interactions denied official claims that punk was the result of capitalist decadence while undermining the East German government's efforts at cultivating a distinctive socialist identity. Nor were border crossings unidirectional, as Eastern punks made daring attempts to connect with their Western cousins. Writing for West German fanzines, appearing in the Western press and even managing to release Eastern recordings smuggled westwards, Eastern punks crossed the Iron Curtain and in so doing, worked to present an alternative vision of Eastern youth to the world and join the global punk scene.
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Sharp, Megan, and Steven Threadgold. "Defiance labour and reflexive complicity: Illusio and gendered marginalisation in DIY punk scenes." Sociological Review 68, no. 3 (September 5, 2019): 606–22. http://dx.doi.org/10.1177/0038026119875325.
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Since punk emerged in the 1970s as a music genre and subculture it has gained significant academic attention. Punk as a concept now alludes to specific places or scenes, and has been established as a general anti-establishment attitude, as well as an anti-consumerist disposition, with a need to do-it-yourself (DIY). Drawing upon ethnographic and interview data from the east coast of Australia, this article analyses struggles that occur within punk spaces where women and queer identifying punks negotiate historically established male dominance. Punk scenes have the general illusio of being resistant to dominant norms and practices, which is attractive to individuals who feel like outsiders. Yet through symbolic violence, systematic oppression can be perpetrated against those who do not invoke idealised forms of masculinity or femininity. Using the affective transference of gendered norms in punk spaces, we find struggles that are often homogenised in punk research which attends critically to subcultural themes of collectivism and resistance. By unpacking these themes, this article puts forth the concepts of reflexive complicity – where men and women reproduce inequality in punk spaces – and defiance labour – moments of overt challenge to symbolic violence within punk spaces and scenes.
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McDowell, Amy D. "“This is for the Brown Kids!”." Sociology of Race and Ethnicity 3, no. 2 (July 8, 2016): 159–71. http://dx.doi.org/10.1177/2332649216647747.
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Recent research shows that non-Muslims “read” Muslim and non-Muslim Others through an Islamophobic lens, whether the victims of Islamophobia are practitioners of Islam or not. Yet how Muslims and non-Muslims band together against anti-Muslim racism in nonreligious ways and venues is less understood. The author draws on a wide range of qualitative data to show how “Taqwacore” punks ( taqwa means “God consciousness” in Arabic and core comes from hardcore punk) create a racial identity as “brown kids” that is panethnic and opposed to the major racial frames used to vilify Muslims and brown-bodied Others. Taqwacore punks do this by (1) using punk rock attitudes to call out whiteness and keep it out of their punk and (2) redefining punk in favor of “brown kids.” These findings expand a new body of scholarship that shows how marginalized youth are using popular culture to create new racial identities against whiteness.
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Oliveira, Antônio Carlos de, and João Augusto Neves Pires. "ACERVO PUNK." Revista Sapiência: sociedade, saberes e práticas educacionais (2238-3565) 10, no. 5 (December 9, 2021): 1–32. http://dx.doi.org/10.31668/revsap.v10i5.12631.
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Este artigo escrito a quatro mãos, pretende fomentar o debate sobre acervo, colecionismo e preservação das memórias de resistência cultivadas no meio punk. Nosso intuito, portanto, é apresentar os anseios e a história da constituição do Acervo Movimento Punk atualmente preservado no Centro de Documentação e Informação Científica da Pontifícia Universidade Católica de São Paulo (CEDIC/PUC). Pretende-se, além disso, indicar algumas caminhos investigativos direcionados pela documentação. Para isso, pontuamos aqui os desejos e os percalços que levaram a formação desse arcabouço documental e ressaltamos algumas evidências que as fontes nos inspiram a pensar sobre os circuítos punks na Região Metropolitana de São Paulo com suas intensas conexões a sociedade globalizada de consumo de massa.
Palavras-chaves. Memória, história, punk
7
Gratzke, Michael. "The Meanie Club – Gendered violence and post-punk narratives of love in Miss Farkku-Suomi by Kauko Röyhkä and Dorfpunks by Rocko Schamoni." Forum for Modern Language Studies 56, no. 2 (September 13, 2019): 135–54. http://dx.doi.org/10.1093/fmls/cqz031.
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Abstract This article examines love, relationships, intimacy and gendered violence in fictionalized punk biographies by authors and post-punk recording artists Kauko Röyhkä and Rocko Schamoni. Punk rock’s DIY aesthetic emphasizes self-fashioning and shock value. Where mainstream impression management, in the sense of Goffman’s micro-sociology, aims at hiding one’s ‘stigma’ in the presentation of the self, punk makes the individual’s ‘stigma’ the main feature of self-fashioning. This attitude is at odds with the ways in which the lover, in particular the Barthesian wretched lover, seeks to appear as attractive to the object of their affection. Miss Farkku-Suomi (‘Miss Denim Finland’, 2003) and Dorfpunks (‘Village Punks’, 2004) tell similar stories of transgressive self-fashioning leading to a re-instatement of hegemonic masculinity and heteronormative love narratives. This article contextualizes these findings regarding male punk writing by comparing them to the autobiography of female punk musician and writer Viv Albertine.
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Vieira, Tiago De Jesus. "Punks no Cerrado: considerações Acerca das Primeiras Investigações sobre as Coletividades Punks no Centro-Oeste." Mosaico 11, no. 2 (August 21, 2018): 248. http://dx.doi.org/10.18224/mos.v11i2.6414.
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Este artigo visa analisar os trabalhos acadêmicos que na primeira década do século XXI abordaram a “inserção” do punk na região Centro-Oeste, buscando apresentar elementos relativos à sua condição de emergência, inserção regional e peculiaridades nas cidades de Brasília, Cuiabá e Goiânia. Para tanto, valeu-se dos estudos de Hoana Costa Gonçalves (2006); Ana Paula de Sant’ana (2009); Juliana Mendes de Morais (2009), por lançarem luz acerca do debate identitário punk no Brasil.
Punks in Cerrado: considerations About the First Investigations on Punks Collectives in Brazilian Centro-Oeste
This article aims to analyze the academic works that in the first decade of the 21st century addressed the "insertion" of punk in brazilian Centro-Oeste region, with the of presenting elements related to their emergence, regional insertion and peculiarities in the cities of Brasilia, Cuiabá and Goiânia. For that, it was used the studies of Hoana Costa Gonçalves (2006); Ana Paula de Sant'ana (2009); Juliana Mendes de Morais (2009), for shedding light on the punk identitary debate in Brazil.
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Karisma, Ersalya Firdha, and Rakhmaditya Dewi Noorrizki. "Agresivitas Anak Punk Ditinjau dari Lingkungannya." Flourishing Journal 2, no. 5 (December 14, 2022): 361–67. http://dx.doi.org/10.17977/um070v2i52022p361-367.
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Abstract
The punk community is one that is frequently encountered on the streets. Punks, as members of this community, have distinct and uniform appearances, such as wearing all-black clothing and a variety of body decorations. The presence of these punk kids is frequently regarded as upsetting by the larger population. Punk kids' behavior almost seldom results in aggression. The majority of this community's members are teenagers. The researchers want to know what causes or encourages punk kids to act aggressively. The literature review method was used in this study by analyzing various articles, journals, and books obtained through the Google Scholar search system. The results of this study indicate that punk children's aggressive behavior tends to be caused by a living environment that has less support for their development. Environments with high levels of poverty also influence this aggressive behavior. The aggressiveness shown tends to be active physical aggressiveness that is carried out directly.
Keywords: aggression; punk; environment
Abstrak
Komunitas punk merupakan sebuah komunitas yang sering ditemui di jalanan. Anak punk sebagai anggota dari komunitas tersebut memiliki penampilan yang mencolok dan identik, seperti menggunakan pakaian serba hitam dan beberapa aksesoris di tubuhnya. Keberadaan anak punk ini sering dianggap mengganggu bagi masyarakat luas. Perilaku yang ditunjukkan oleh anak punk tidak jarang mengarah pada suatu agresivitas. Remaja menjadi sebagian besar dari anggota komunitas ini. Peneliti bertujuan untuk mengidentifikasi apa yang menyebabkan atau menjadi motivasi anak punk berperilaku agresi. Dalam penelitian ini, peneliti menggunakan metode literature review dengan menganalisis berbagai artikel, jurnal, dan buku, yang berhasil diperoleh melalui sistem pencarian Google Scholar. Hasil dari penelitian ini menunjukkan bahwa anak punk berperilaku agresi cenderung diakibatkan oleh adanya lingkungan tempat tinggal yang kurang mendukung bagi perkembangan mereka. Lingkungan dengan tingkat kemiskinan tinggi turut mempengaruhi perilaku agresi tersebut. Agresivitas yang ditunjukkan cenderung pada agresivitas fisik aktif yang dilakukan secara langsung.
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Silva, Ademir Luiz da, and Jéssica Meireles Pereira. "Distopias e utopias urbanas no punk rock brasiliense." Revista Coralina (ISSN 2675-1399) 4, no. 1 (September 20, 2022): 268–81. http://dx.doi.org/10.31668/coralina.v4i1.13389.
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Brasília é uma símbolo da modernidade brasileira. Não por acaso o estilo punk rock proliferouna cidade durante a década de 1970, a despeito da censura do Regime Militar. Neste artigo, apresentarmos o contexto no qual as bandas punks de Brasília foram formadas. Investigaremos o rock brasiliense enquanto crítica à cidade de Brasília, seu projeto utópico, bem como ao contexto político do período militar, considerando que os jovens que formavam as bandas punk estavam na capital federal, portanto, muito próximas do centro de poder.
Palavras-chave: Brasília, punk rock, utopia e distopia
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McDowell, Amy D. "Enemies, Allies, and the Struggle for Self-definition in “Muslim Punk” Rock." Social Currents 6, no. 3 (December 22, 2018): 270–83. http://dx.doi.org/10.1177/2329496518820011.
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Research shows that both entertainment and news media coverage of Islam and Muslims generate anti-Muslim attitudes in the wider U.S. public. In this article, I explore how this media trend shaped Taqwacore punks’ struggle to define what it means to be American, Muslim, and punk rock on their own terms. Upon their first U.S. tour, Taqwacore started getting the attention of both independent and mainstream media outlets. Taqwacores initially welcomed this because it helped them expand their audience to other (potential) Taqwacores as well as to a larger non-Muslim public. Their perspective changed, however, as they started to realize that most mainstream media stories were turning their punk protest into sensationalist stories about Americanized “Muslim punks” who oppose Islamic conventions. It was around this time that Taqwacores began imagining their audience as either with them or against them, enemies or allies. This study shows how this understanding of their audience shaped an internal dispute among Taqwacores about whether or not to identify as “Muslim punk.” Findings reveal that their internal debate over the Muslim punk label is structured by a racist media frame that defines Muslims as either good or bad, with or against the United States.
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Robel, Yvonne. "“Protest? Bollocks!” On Public Perceptions of Punk in West Germany." Moving the Social 66 (October 31, 2021): 89–110. http://dx.doi.org/10.46586/mts.66.2021.89-110.
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The article thematizes the phenomenon of punk as an example of “unconventional” and “unwelcomed” protest. It focuses on the public perception of West German punks from the late 1970s into the 1980s. In this early phase, punks caused confusion especially because of their alleged passivity. Their seeming rejection of a concept of being (politically) active was regarded as provocative, as the idea of “activity” largely dominated notions of legitimate political protest at that time. Punk was considered destructive and contentless, but non-political and as such “non-real” as a form of protest. Moreover, “experts” from the social sciences and pedagogy, politicians, and journalists interpreted the behaviour of the youth in social terms and responded to the “problem” with attempts to “understanding” and “help.” From their point of view too, Punks seemed to be unable to detect any political issues of their own or to fulfil notions of meaningful forms of protest. Using the example of punk perceptions, the article examines how collective knowledge about legitimate and proper forms of protest is negotiated through demarcations.
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Silva, Andre Abreu da. "Rachaduras no espelho." URBANA: Revista Eletrônica do Centro Interdisciplinar de Estudos sobre a Cidade 11, no. 3 (May 6, 2020): 86–125. http://dx.doi.org/10.20396/urbana.v11i3.8646357.
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Este artigo faz parte de um estudo sobre a cidade de São Paulo, sob a perspectiva da cultura punk. Contemplamos, parcialmente, representações do espaço urbano nas produções culturais e experiências dos punks, inseridos na materialidade de São Paulo entre 1982 e 1998. Os punks, reunidos neste contexto como grupo de ação cultural e política da juventude das periferias, elaboraram um conjunto de imagens dialéticas sobre a cidade. Esta última compreendida, entre outras particularidades, como espaço de produção e consumo de representações. Conduzimos a pesquisa por intermédio das análises de produtos da cultura punk: cartazes, panfletos, gravações musicais, entre outras. O resgate das representações de São Paulo pelos punks nos revelou novas dimensões e camadas temporais ocultas da cidade.
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Kristiansen, Lars J. "‘Punks in Vegas’: Punk rock and image repair." Punk & Post Punk 9, no. 1 (February 1, 2020): 23–40. http://dx.doi.org/10.1386/punk_00016_1.
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At their 2018 headlining appearance at the annual Punk Rock Bowling and Music Festival in downtown Las Vegas, NV, California skate punk stalwarts NOFX generated widespread controversy after band members quipped about the mass shooting that occurred eight months prior during the Route 91 Harvest Country Music Festival in neighbouring Paradise, NV. After days of censorious media coverage, which prompted Stone Brewing to summarily terminate the band’s sponsorship contract in a widely circulated news release, the band issued a statement in which members collectively expressed remorse and apologized for the offending comments. Four decades of punk history notwithstanding, NOFX’s decision to apologize and offer mea culpas is something of a unicum. Punks, after all, are not typically in the business of extending olive branches or tendering requests for forgiveness. Accordingly, punk apologia is an understudied and undertheorized area of research. Utilizing Benoit’s Theory of Image Repair, this article adds to the limited stock of available research by critically evaluating the apologetic discourse following NOFX’s comments in Las Vegas through a systematic examination of the band’s letter of apology as well as audiences’ responses to that statement.
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Guerra, Paula. "Raw Power: Punk, DIY and Underground Cultures as Spaces of Resistance in Contemporary Portugal." Cultural Sociology 12, no. 2 (April 16, 2018): 241–59. http://dx.doi.org/10.1177/1749975518770353.
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This article focuses on presenting, analysing and understanding the ‘do-it-yourself’ (DIY) representations of over 200 participants in Portuguese punk music scenes between 1977 and 2014. Through an ethnographic study of punk and the DIY ethos in Portugal, the article depicts its local interpretation and significance, and highlights the singularities of this socio-historical context. Our approach has three focal points: (1) the importance of DIY punk manifestations in the development of youth (sub)cultures, including forms of production and consumption of music, fashion, aesthetics, leisure, the night and cosmopolitanism; (2) the singularity of DIY punk manifestations in Portugal and related resistance practices in their correlation with social, political and economic development in a country outside the Anglo-Saxon context; and (3) the embedding of a DIY ethos and the associated claim to authenticity in the professions and careers in which punks engage today.
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Way, Laura. "Aging, Nostalgia and Older Punk Women’s Fandom." IASPM Journal 14, no. 1 (March 18, 2024): 77–93. http://dx.doi.org/10.5429/2079-3871(2024)v14i1.6en.
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Despite their continued engagement as audience throughout their lives, there is some suggestion that ageing, or older, fans have been at large omitted from fan studies (Middlemost, 2022). This does seem to be shifting, however, and there is a growing body of fandom scholarship concerning ageing fans. Indeed, in the context of punk, there has been a growing recognition of the continued significance of punk to older participants and fans (e.g. Andes, 2002, Bennett, 2006, Davis, 2006), contrasting earlier work which theorized punk as a youth subculture (see, for example, Hebdige, 1998). This reflects the increasing academic interest in the ageing popular music audience more broadly (Bennett and Hodkinson 2012). Despite such positive shifts, ageing women continue to be marginalised in such discussions concerning punk and older fans, meaning that much theoretical and conceptual understandings of ageing punks have failed to fully consider the interaction between ageing, gender and fandom.
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Anggiprana, Mikael Rainer, and Suzy Azeharie. "Budaya Anak Punk di Yayasan Laskar Berani Hijrah (Studi Komunikasi Budaya Anak Punk di Depok)." Koneksi 4, no. 2 (October 1, 2020): 258. http://dx.doi.org/10.24912/kn.v4i2.8119.
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Punk community are a distinguished group with its own unique culture. One of the most striking uniqueness of this community is their appearances which causes discomfort to the public and thus isolates them. Laskar Berani Hijrah Foundation is an institution which seeks to foster this punk community. The method used is based on Islamic teachings and the Holy Quran and its verses in it as a basis for guidance. This action is affecting the culture that the distinguished punk community held in the way they are communicating. The writer conduct a research that related to the cultural communication of the punk community in Laskar Berani Hijrah Foundation. Theories that is used in this research are ethnography theory and cultural theory. This research use qualitative approach that featured phenomenology as its method. Researcher choose four informants, whom are the chairman of the foundation, ustadz that also act as a mentor and two punks in the institution. This research conclude that the punk community in the Laskar Berani Hijrah Foundation performs cultural communication in verbal and nonverbal means, inside and also outside the routine activity that held by the foundation, influenced by two major factors that are their surroundings pressure as well as spiritual values implantation.Anak punk merupakan kelompok yang memiliki budayanya sendiri. Salah satu budaya kelompok ini dapat dilihat dari cara mereka berpenampilan. Namun tampilan yang berbeda tersebut menimbulkan rasa kekhawatiran di masyarakat dan membuat kelompok anak punk menjadi semakin terasing. Yayasan Laskar Berani Hijrah membimbing anak punk untuk mengarahkan dan membimbing mereka menuju arah yang lebih baik dengan dasar agama Islam dan ayat-ayat Al Quran dalam berkomunikasi dalam binaan. Hal ini berdampak pada budaya dalam kelompok anak punk sendiri terutama dalam berkomunikasi. Penulis melakukan penelitian yang berkaitan dengan komunikasi budaya anak punk di Yayasan Laskar Berani Hijrah. Teori yang digunakan adalah teori etnografi komunikasi dan teori budaya. Penulis menggunakan pendekatan penelitian kualitatif dengan metode fenomenologi. Penulis memilih empat informan yang antara lain adalah ketua yayasan, ustad sekaligus pembimbing dan dua anak punk di yayasan tersebut. Kesimpulan dari penelitian ini adalah anak punk di Yayasan Laskar Berani Hijrah melakukan komunikasi budaya secara verbal dan nonverbal di dalam maupun di luar kegiatan rutin bersama yayasan yang dipengaruhi oleh dua faktor yaitu tekanan lingkungan serta penanaman keimanan dan spiritualitas kepada anak punk.
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Davis, John R. "I want something new: Limp Records and the birth of DC punk, 1976‐80." Punk & Post Punk 9, no. 2 (June 1, 2020): 177–204. http://dx.doi.org/10.1386/punk_00030_1.
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Recountings of the Washington, DC punk rock scene’s history often start with the founding of Dischord Records in 1980 and focus on the subsequent ascent of Dischord co-owner Ian MacKaye’s bands like Minor Threat and Fugazi. As seminal as Dischord remains in the narrative of DC punk ‐ a community still thriving today ‐ the years just prior to the label’s founding generated the scene’s true incunabula. Beginning with the self-released debut EP from the Slickee Boys in 1976, this first wave of DC bands ‐ also including Razz, Nurses, White Boy and others ‐ combined elements of art rock, surf, proto-punk, pub rock and power pop together to craft a protean version of punk that embraced eccentricity and humour, serving as the city’s own defiant rebuke of the staid state of 1970s rock music. No record label was more central to the nascent punk scene in DC than Limp Records. Operated by Skip Groff, Limp provided the punk community with its first proper record label. Rather than a label that centred around the efforts of a single band ‐ as most other new DC punk labels did ‐ Limp issued singles for several groups, collaborating with the fledgling Dacoit and O’Rourke labels to co-release defining singles for the Slickee Boys and Razz. DC punk would not have taken shape the way it did without Groff’s efforts, particularly considering his connections with bands like Bad Brains and the Slickee Boys and his musical and entrepreneurial influence on local teenage punks like MacKaye, Jeff Nelson and Henry Rollins. This article is a history of DC punk record labels from 1976 to 1980 and seeks to establish this overshadowed era of the scene as one of the most critical in the community’s 43-year existence. Considering the outsize influence the DC scene ultimately had on punk culture ‐ whether through the eponymous clean living philosophy inspired by the Minor Threat song ‘Straight Edge’, the unwaveringly independent business model of Dischord or the pacesetting music reliably turned out each decade by participants in the scene ‐ the impact of Groff and his first wave DC punk peers must be acknowledged.
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A, Amalia Hening, Kamalludin Kamalludin, and Gunawan Ikhtiono. "Penerapan Jurnalisme Investigasi Terhadap Film Dokumenter “Punk Berani Hijrah”." Komunika: Journal of Communication Science and Islamic Dakwah 4, no. 1 (June 19, 2020): 34. http://dx.doi.org/10.32832/komunika.v4i1.4894.
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<p class="15bIsiAbstractBInggris"><em>This research discusses Investigative Journalism with the topic of the documentary film Punk Berani Hijrah by the Laskar Berani Hijrah community in Depok City. The background of this problem is the emergence of knowledge that documentary films can be called journalistic products with the aim of making documentary films, namely conveying information to the public. There is a real correlation between investigative journalism and the documentary film itself, namely the similarity in its purpose to convey, show, show real truth or information. So, the purpose of this study is to discuss whether the documentary film under study is included in investigative journalism research by raising the formulation of the problem, namely: How is the application of investigative journalism in the Documentary Film Punk Berani Hijrah? And what is the purpose of the documentary film. This study uses a qualitative approach and uses the type of content analysis research. This method is used to analyze the documentary film "Punk Berani Hijrah" whether the process of making and the content of its delivery represent investigative journalism coverage. The result of this research is that the essence, elements and characteristics of the documentary film "Punk Berani Hijrah" are imperfect so that it cannot be called investigative journalism coverage. However, it contains impeccable journalistic elements. The purpose of making the documentary film "Punk Berani Hijrah" is to change the stigma of society on negative views of punks and as a da'wah movement by showing and conveying the message that street punks need to be embraced together towards a better way of life.</em></p><p class="15bIsiAbstractBInggris"><em></em><strong>Abs</strong><strong>trak</strong></p><p>Penelitian ini membahas tentang Jurnalisme Investigasi dengan topik pada film dokumenter Punk Berani Hijrah garapan komunitas Laskar Berani Hijrah di Kota Depok. Latar belakang masalah ini adalah munculnya pengetahuan bahwa film dokumenter dapat disebut sebagai salah satu produk jurnalistik dengan tujuan pembuatan film dokumenter tersebut yaitu menyampaikan informasi kepada publik. Terdapat korelasi yang nyata antara jurnalisme investigasi dan film dokumenter itu sendiri, yaitu kesamaannya pada tujuannya yang ingin menyampaikan, menunjukkan, memperlihatkan kebenaran atau informasi yang nyata. Maka tujuan penelitian ini membahas apakah film dokumenter yang diteliti termasuk ke dalam penelitian jurnalisme investigasi dengan mengangkat rumusan masalah, yaitu: Bagaimana penerapan jurnalisme investigasi pada Film Dokumenter Punk Berani Hijrah? Serta apa tujuan dibuatnya film dokumenter tersebut. Penelitian ini menggunakan metode pendekatan kualitatif dan menggunakan jenis penelitian analisis isi. Metode ini digunakan untuk menganalisis film dokumenter “Punk Berani Hijrah” apakah proses pembuatan dan isi penyampaiannya mewakili peliputan jurnalisme investigasi. Hasil dari penelitian ini ialah tidak sempurnanya esensi, elemen serta karakteristik dari film dokumenter “Punk Berani Hijrah” sehingga tidak dapat disebut sebagai liputan jurnalisme investigasi. Namun, mengandung unsur-unsur jurnalistik yang sempurna. Tujuan daripada dibuatnya film dokumenter ‘Punk Berani Hijrah” adalah untuk mengubah stigma masyarakat atas pandangan negatif terhadap anak-anak punk dan sebagai gerakan dakwah dengan cara memperlihatan dan menyampaikan pesan bahwa anak-anak punk jalanan perlu dirangkul bersama menuju jalan kehidupan yang lebih baik.</p>
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Brandão, Leonardo, and Fernando Lucas Garcia de Souza. "“EFÊMERO, DOENTE E EQUIVOCADO”:." Revista Sapiência: sociedade, saberes e práticas educacionais (2238-3565) 10, no. 5 (December 8, 2021): 1–21. http://dx.doi.org/10.31668/revsap.v10i5.12623.
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punk é um movimento de contestação associado à música (punk rock), ao comportamento, à política, à estética e à juventude. Ele nasceu na Inglaterra durante a desmontagem do Estado de Bem-Estar Social e logo espraiou-se pelo mundo, em especial para a América do Norte e América Latina (com destaque para Brasil e Argentina). Aqui, ele ganhou expressividade em cidades como São Paulo, Rio de Janeiro, Brasília e outras. Neste artigo, propomos um estudo sobre as representações deste movimento na mídia impressa, centrando a análise na revista Veja por ela ser a de maior vendagem à época. Deste modo, o objetivo é compreender a maneira como este veículo de comunicação de massas representou a subcultura do punk para seus leitores, tomando como recorte temporal o momento de ascensão deste movimento, o qual coincide com os últimos anos do regime militar; época em que bandas punks como Inocentes e Garotos Podres tiveram músicas censuradas pela Ditadura. Trata-se de um estudo situado no campo da História Cultural e que, através da análise do discurso em Veja, visou problematizar as representações veiculadas nesse periódico.Palavras-chave. Punk; Revista Veja; Juventude.
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Sihombing, Lambok Hermanto, Puji Lestari, and Addina Isaputri. "Movie Analysis : Punk Subculture Depicted in Punk in Love Movie." Celt: A Journal of Culture, English Language Teaching & Literature 21, no. 2 (December 30, 2021): 184–202. http://dx.doi.org/10.24167/celt.v21i2.3406.
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Abstract: Punk is subculture that has affected several aspects of life such as music, film or lifestyle. Punk has become part of Indonesian society. They are various point of view when society sees how the Punk is. Some people think that Punk is identical with rebellion and crime. On the other hand, some of them also think that Punk people are independent and always willing to help each other. ‘Punk in Love’ is one of the movies that tried to show how Punk is. The researchers analyzed how Punk subculture was depicted in ‘Punk in Love’. In order to help the researchers doing the analysis, the researchers used the theory of Stuart Hall’s Representation. The data sources were taken from “Punk in Love” movie, websites, articles, and journals. The results of this study showed that Punk in ‘Punk in Love’ was portrayed as the community that has a strong solidarity. Keywords: movie, Punk, representation, solidarity, subculture Abstrak: Punk merupakan cabang kebudayaan yang telah memberikan pengaruh di beberapa aspek kehidupan seperti musik, film ataupun gaya hidup. Punk telah menjadi bagian dari kehidupan bangsa Indonesia. Ada banyak sudut pandang ketika sesorang melihat apa arti Punk yang sebenarnya. Beberapa orang melihat bahwa Punk identik dengan pemberontakan dan kekerasan. Namun, sebagian dari mereka juga melihat bahwa Punk itu mandiri dan selalu berusaha untuk saling tolong-menolong. Film ‘Punk in Love’ merupakan salah satu film yang berusaha menampilkan bagaimanakah Punk itu. Dalam hal ini, penulis menganalisa cabang budaya Punk ini ditampilkan di film ‘Punk in Love’. Untuk membantu penulisan ini, penulis menggunakan teori Representasi dari Stuart Hall. Adapun sumber data penulisan ini diperoleh melalui film, websites, artikel, dan jurnal yang beruhungan dengan ‘Punk in Love’. Hasil penelitian ini menunjukkan bahwa Punk di dalam film ‘Punk in Love’ digambarkan sebagai komunitas yang memiliki solidaritas yang sangat kuat. Kata kunci: film, Punk, representasi, solidaritas, cabang budaya
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Lusty, Heather. "Punk Crisis: The Global Punk Rock Revolution." Popular Music and Society 43, no. 5 (May 18, 2020): 569–73. http://dx.doi.org/10.1080/03007766.2020.1765282.
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Tranmer, Jeremy. "Rock Against Racism, Punk and Post-Punk." Études anglaises 71, no. 1 (2018): 85. http://dx.doi.org/10.3917/etan.711.0085.
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Lussier, Martin. "« Riot City »: La gestion du « problème » punk à Montréal." Quebec Studies 70, no. 1 (December 1, 2020): 127–46. http://dx.doi.org/10.3828/qs.2020.19.
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Suite à de nombreux affrontements entre policiers et punks à Montréal et à la difficulté de ces derniers d’avoir accès à des salles de concert, un projet de salle voit le jour, mené par un groupe de punks souhaitant se doter d’un espace autogéré. Prise en étau entre logiques DIY et instrumentalisation de la culture, la salle de l’X est ainsi mise sur pied en 1998 et devient rapidement un lieu accueillant concerts, projets d’intégration sociale et ateliers d’éducation. À partir d’une archive de documents de l’époque et d’entrevues menées avec des personnes ayant travaillé à l’X, cette contribution se penche à la fois sur la logique mobilisant la salle comme outil de gestion spatiale d’un « problème punk » perçu par les autorités municipales, et celle du DIY propre au quotidien des personnes y œuvrant ainsi que du développement de la communauté punk.
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Stiffler, Brad. "Punk Subculture and the Queer Critique of Community on 1980s Cable TV: The Case of New Wave Theatre." Television & New Media 19, no. 1 (January 13, 2017): 42–58. http://dx.doi.org/10.1177/1527476416687040.
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If histories of television recognize it all, the relationship between punk subculture and the mass cultural medium of television is often rendered as a story of misreprentation, conflict, or mutual avoidance. Such studies overlook a rich history of punks throughout North America who produced numerous programs for cable television, especially the non-commercial forum of public access, in the late 1970s and early 1980s. Conceiving of TV as a kind of social technology, some punks actively and critically engaged in producing subculture both on and through the medium. This article looks at the case of New Wave Theatre (Theta/KSCI 1979–1983), a Los Angeles–based cable program that featured punk and new-wave bands, performance art, and interviews. It argues that through distinctive performance tactics and production practices, New Wave Theatre developed a form of “subcultural television” rooted in queer “antisociality.”
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Rokvity, Alekszandra. "Sign as Battlefield." JAAAS: Journal of the Austrian Association for American Studies 2, no. 1 (December 31, 2020): 67–82. http://dx.doi.org/10.47060/jaaas.v2i1.17.
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If we assume that culture is built by signs and their meanings and that ideology is what naturalizes those meanings, what follows is that the battle between the classes is often but a battle over the sign. Punk was an anti-capitalist movement that used this logic, making the attire of the individual the battlefield over the meaning of signs. Punks rebelled against the dominant ideology through the subversion of signs on the level of fashion, challenging hegemonic rule by destabilizing the meaning of its signs. However, as punk slipped from subculture into popular culture, the meaning of the signs once again shifted as they became re-integrated into mainstream culture. Punk thus proves to be a case study for the fluidity of the meaning of signs, one which furthermore foregrounds the sexist nature of meaning-making processes. In this context, the contemporary fashion industry functions as a weapon that the bourgeoisie deploys to sabotage the use of style as a vehicle for carrying anti-hegemonic messages. This article aims to foreground the significance of gender in the mechanisms that attempt to preserve hegemonic rule. As I demonstrate, the journey of the meaning of the signs employed by punk illustrates the significance of female voicelessness to maintain capitalist ideology as the ruling ideology.
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Bestley, Russ. "Editorial." Punk & Post-Punk 12, no. 2 (June 1, 2023): 155–57. http://dx.doi.org/10.1386/punk_00197_2.
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Punk & Post-Punk questions, critiques and problematizes our expanded field of research and practice. This issue reflects on notions of punk agency, temporality and the rhetoric of punk chronotypes, decolonial thinking, punk stereotypes in film and the intersections between punk, art history and (sub)cultural commentary.
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Musse, Christina Ferraz, and Susana Azevedo Reis. "Rebeldes com causa: a ressignificação da cidade pelo movimento punk // Rebels with cause: the ressignification of the city by the punk movement." Contemporânea Revista de Comunicação e Cultura 16, no. 2 (October 7, 2018): 539. http://dx.doi.org/10.9771/contemporanea.v16i2.23368.
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Este artigo busca analisar como o movimento punk, na década de 1980, ressignificou o espaço urbano da cidade de Juiz de Fora, localizada no estado de Minas Gerais, com seu visual e suas atitudes consideradas estranhas e perturbadoras, realizando intervenções e performances, que causavam espanto e desconforto entre aqueles que transitavam pela área central do munícipio. Discutiremos a ocupação do espaço urbano aproximando os ideais punks com o pensamento Situacionista, o conceito de tribo, de Michel Maffesoli, e de corpografia urbana, de Paola Berenstein Jacques, entre outros. Analisaremos o movimento punk de Juiz de Fora, cidade de tradição industrial e pólo operário, utilizando como referência rastros dessa memória, que se materializam em fotografias da época e entrevistas realizadas através da metodologia de história oral.
This article seeks to analyse how the punk movement, in the 1980s, give new meaning to the urban space of the city of Juiz de Fora, located in the state of Minas Gerais, with its visual and attitudes considered strange and disturbing, performing interventions and performances that caused amazement and discomfort among those who transiting through the central area of the municipality. We will discuss the occupation of urban space by approaching punk ideals with the Situationist thought, the concept of tribe, by Michel Maffesoli, and urban corpography by Paola Berenstein Jacques, among others. We will analyze the punk movement of Juiz de Fora, a city of industrial tradition and worker’s center, using as reference traces of memory, which are materialized in photographs of the time and interviews conducted through the methodology of oral history.
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Setyanto, Daniar Wikan. "Makna dan Ideologi Punk." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 1, no. 02 (August 18, 2015): 134–41. http://dx.doi.org/10.33633/andharupa.v1i02.964.
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Punk Sebagai sebuah subkultur telah diadaptasi oleh para remaja Indonesia bukan hanya sebagai semangat bermusik, namun merambah sebagai ideologi dan gaya hidup. Punk merupakan warisan budaya dari barat yang awalnya bergerak pada bidang musik, namun lambat lain punk telah menjadi sebuah identitas global yang mewakili para remaja radikal yang memiliki visi anti kemapanan dan anti pemerintah. Selain ideologinya yang kontroversi, punk mempengaruhi dinamika fashion di dunia. Asesoris punk diadaptasi oleh budaya bopuler sebagai pernak-pernik fashion. Kini punk, telah menjadi bagian dari dunia fashion di seluruh dunia. Apa sebenarnya yang melatar belakangi munculnya Punk? bagaimana Punk bisa berkembang di Indonesia? Kata Kunci: punk, fashion, budaya populer
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Adwil Masdhianri and Ratri Rizki. "Resepsi Penggiat Punk Bandung terhadap Tayangan ‘Punk Kuba’ di Vice Indonesia." Jurnal Riset Jurnalistik dan Media Digital 1, no. 2 (December 23, 2021): 64–70. http://dx.doi.org/10.29313/jrjmd.v1i2.423.
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Abstract. The rapid development of punk in Indonesia, especially in Bandung, however literacy and research on punk are still very little. Advances in technology and the internet also make information much easy and faster to obtain. The presence of new media and social media provides a choice for the punk community to find news and information. Using the Youtube channel, Vice Indonesia reported about the punk community in Cuba who protested against the government by injecting HIV into themselves as a form of resistance. The variety of thoughts, experiences, and knowledge of punk activists in Bandung led to various receptions that emerged after seeing the show. Punk activists held a message reception from Vice Indonesia about the punk protests in Cuba. The show was interest and informative for the punk activists in Bandung. It gives new perspectives and insights for them regarding social conditions of the community influenced punk in Cuba. The negative stigma from society occurs because the community is unfamiliar with the punk, and it has to be countered by blending in with them. However, not all of them receive the full message given by this reportage. Their reception is not absolute depending on which points and issues they received. Punk activists in Bandung internalize media messages about the punk values into their daily lives by applying them to the aspects of life and spreading them through their works.
Abstrak. Semakin pesatnya perkembangan punk di Indonesia, khususnya di Bandung, namun literasi dan penelitian mengenai punk masih sangat sedikit. Kemajuan teknologi dan internet juga membuat informasi semakin mudah dan cepat untuk didapatkan. Kehadiran media baru dan media sosial memberikan alternatif pilihan bagi komunitas punk untuk mencari berita dan informasi. Vice Indonesia melalui media sosial Youtube memberitakan mengenai komunitas punk di Kuba yang memprotes pemerintah dengan menyuntikan virus HIV ke diri mereka sendiri sebagai bentuk perlawanan. Beragamnya pemikiran, pengalaman dan pengetahuan dari penggiat punk di Bandung menyebabkan timbul beragam resepsi yang muncul sesudah melihat tayangan tersebut. Penggiat punk melakukan sebuah resepsi pesan dari tayangan Vice Indonesia mengenai aksi protes punk di Kuba, bagi para penggiat punk di Bandung tayangan tersebut menarik dan informatif, memberikan sudut pandang dan wawasan baru, mereka menyadari bahwa kondisi sosial masyarakat berpengaruh terhadap punk di Kuba. Menurut mereka stigma negatif dari masyarakat terjadi karena kurang mengenalnya masyarakat terhadap punk, dan stigma negatif itu harus dilawan dengan cara membaur dengan masyarakat. Meskipun begitu, tidak semua dari mereka menerima pesan sepenuhnya yang diberikan oleh tayangan ini dan posisi hipotekal mereka tidak selamanya mutlak, tergantung kepada poin dan pesoalan mana yang diterima. Penggiat punk di Bandung meng-internalisasikan pesan media mengenai nilai-nilai punk yang mereka terima kedalam kehidupan sehari-hari dengan cara menerapkannya dalam aspek kehidupan serta menyebarluaskannya melalui karya–karya mereka.
Kata Kunci: Analisis Resepsi, Penggiat Punk, Posisi Hipotekal, Media Sosial
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Efendi, Lutfi, Sukamto Sukamto, I. Dewa Putu Eskasasnanda, and Siti Malikhah Towaf. "Konstruksi sosial Komunitas Punk dan perilaku remaja di Desa Karangkates Kecamatan Sumberpucung Kabupaten Malang." Jurnal Integrasi dan Harmoni Inovatif Ilmu-Ilmu Sosial (JIHI3S) 2, no. 4 (April 20, 2022): 341–48. http://dx.doi.org/10.17977/um063v2i4p341-348.
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This study was conducted to describe and explain several things regarding (1) how the characteristics of teenagers who follow the Punk community in Karangkates Village, Sumberpucung District, Malang Regency; (2) the ideology applied by the Punk community in Karangkates Village, Sumberpucung District, Malang Regency; and (3) how are the social construction of the Punk community and adolescent behavior in Karangkates Village, Sumberpucung District, Malang Regency. This research uses a qualitative approach with the type of case study research. The results showed that: (1) the characteristics of a teenager who joined the Punk community were the majority of men, aged 20-23 years. The background of teenagers following the Punk community has several factors, including family circumstances, school conditions, living environment, interest in Punk appearances, the freedom offered, and the art of Punk music. (2) The ideology applied by the Punk community in Karangkates Village is freedoms, do it yourself (independence), anti-capitalist, and anti-establishment attitude. (3) Changes in the behavior of teenagers who follow the Punk community are feeling more independent, free, have skills, and have responsibility.
Penelitian ini dilakukan untuk mendeskripsikan serta menjelaskan beberapa hal mengenai (1) bagaimana karakteristik remaja yang mengikuti komunitas Punk di Desa Karangkates Kecamatan Sumberpucung Kabupaten Malang; (2) ideologi yang diterapkan komunitas Punk di Desa Karangkates Kecamatan Sumberpucung Kabupaten Malang; serta (3) bagaimana konstruksi sosial komunitas Punk dan perilaku remaja di Desa Karangkates Kecamatan Sumberpucung Kabupaten Malang. Penelitian ini menggunakan pendekatan kualitatif dengan jenis penelitian studi kasus. Hasil penelitian menunjukkan bahwa: (1) karakteristik seorang remaja yang mengikuti komunitas Punk adalah mayoritas laki-laki, dengan usia 20-23 tahun. Latar belakang remaja mengikuti komunitas Punk ada beberapa faktor, di antaranya adalah keadaan keluarga, keadaan sekolah, lingkungan tempat tinggal, ketertarikan penampilan Punk, kebebasan yang ditawarkan, dan seni musik Punk. (2) Ideologi yang diterapkan komunitas Punk di Desa Karangkates adalah freedoms (kebebasan), do it yourself (kemandirian), anti kapitalis, dan sikap anti kemapanan. (3) Perubahan perilaku remaja yang mengikuti komunitas Punk adalah merasa lebih mandiri, bebas, memiliki skill, dan memiliki tanggung jawab.
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Tyfus, Dennis, and Nico Dockx. "Punk Pong." Forum+ 25, no. 3 (November 1, 2018): 21–28. http://dx.doi.org/10.5117/forum2018.3.tyfu.
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Het merendeel van het drukwerk dat kunstenaars Nico Dockx en Dennis Tyfus produceren met hun respectievelijke labels Curious en Ultra Eczema komt tot stand via samenwerkingen met andere kunstenaars, schrijvers, muzikanten, architecten en performers. Collega’s uitnodigen, met hen in interactie treden, ideeën uitwisselen en ten slotte ook samen creëren, is een even essentieel als noodzakelijk gegeven binnen hun artistieke praktijk. De persoonlijke relaties die ze hebben met andere kunstenaars vormen hierbij het belangrijkste uitgangspunt. Als uitgevers willen ze zich niet alleen inzetten voor, maar ook communiceren over zowel hun eigen als andermans praktijk, vanuit een onmiddellijk en wederzijds begrip van elkaars werk. Dit alles is gebaseerd op ideeën over vriendschap en commoning, een nieuwe, in de marge gegroeide en op de praktijk gestoelde ideologie binnen de samenleving en binnen de kunsten.Most of the printed material that artists Nico Dockx and Dennis Tyfus produce under their respective Curious and Ultra Eczema imprints comes into being as a result of collaboration with other artists, writers, musicians, architects and performers. Getting together with colleagues, interacting with them, exchanging ideas and finally creating something together, is an element of their artistic practice that is just as essential as it is necessary. The personal relationships they have with other artists is the primary jumping-off point. As publishers they not only want to promote and communicate about their own practice but about that of others as well on the basis of an immediate and mutual understanding of each other’s work. This is based on ideas about friendship and commoning, a new ideology that has grown up in the margins of society and the arts and which is rooted in practice.
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Peter Webb and John Lynch. "“Utopian Punk”:." Utopian Studies 21, no. 2 (2010): 313. http://dx.doi.org/10.5325/utopianstudies.21.2.0313.
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Thompson, Stacy. "Punk Cinema." Cinema Journal 43, no. 2 (2004): 47–66. http://dx.doi.org/10.1353/cj.2004.0013.
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Ryde, Robin, and Russ Bestley. "Thinking punk." Punk & Post Punk 5, no. 2 (June 1, 2016): 97–110. http://dx.doi.org/10.1386/punk.5.2.97_1.
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Pomeroy, Robert P. "Punk Rockers." City Society 1, no. 1 (June 1987): 80–89. http://dx.doi.org/10.1525/city.1987.1.1.80.
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Gunckel, Colin. "Defining Punk." Journal of Popular Music Studies 30, no. 1-2 (March 1, 2018): 155–70. http://dx.doi.org/10.1525/jpms.2018.000010.
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Hannibal, Bryce. "Performing Punk." Contemporary Sociology: A Journal of Reviews 45, no. 4 (June 24, 2016): 446–47. http://dx.doi.org/10.1177/0094306116653953x.
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Bode, Matthias. "Punk style." Consumption Markets & Culture 20, no. 2 (November 17, 2015): 187–91. http://dx.doi.org/10.1080/10253866.2015.1109165.
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Karpowicz, Agnieszka. "Azbest Punk." Kultura Popularna 3, no. 53 (February 26, 2018): 11–20. http://dx.doi.org/10.5604/01.3001.0010.8262.
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The article analyses the lyrics of Polish punk rock songs showing their relationship with urban culture. By considering punk culture as an urban culture it interprets an impact of architecture and its materiality on the character of music and texts.
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O'Meara, Caroline Polk, Don Letts, Michael Gramaglia, and Jim Fields. "Punk: Attitude." American Music 24, no. 3 (October 1, 2006): 372. http://dx.doi.org/10.2307/25046040.
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Gimferrer, Pere. "Túa punk." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 7 (October 18, 2020): 1317. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.202074819.
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Schreiber, Falk. "naiver punk." tanz 15, no. 4 (2024): 4–7. http://dx.doi.org/10.5771/1869-7720-2024-4-004.
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Niemelä, Riikka. "Punk taidesuuntauksena." Tahiti 13, no. 2 (October 24, 2023): 122–25. http://dx.doi.org/10.23995/tht.136059.
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Silva, Maiara Rodrigues dos Santos. "A VIOLÊNCIA DE GÊNERO PELAS VOZES DO PUNK DOS ANOS 90." Revista Sapiência: sociedade, saberes e práticas educacionais (2238-3565) 10, no. 5 (December 9, 2021): 1–15. http://dx.doi.org/10.31668/revsap.v10i5.12629.
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A proposta deste artigo é fazer uma análise discursiva comparativa da temática da violência de gênero presente nas letras de bandas de punk identificadas com o feminismo no Brasil e na Argentina durante os anos de 1990. Para tanto, analisamos canções das bandas argentinas Fun People e Penadas Por La Ley e das bandas brasileiras Kaos Klitoriano e Bulimia com base nos estudos discursivos. Nota-se que o surgimento de movimentos sociais como o Riot Grrrl e o Anarcofeminismo, em conformidade com cenários de inflexão aos valores de liberdade e diversidade tanto no Brasil quanto na Argentina após longos períodos de ditadura civil-militar, cederam espaço a um tipo de discurso que se apropria da violência direcionada às mulheres para incitar a mobilização de jovens contra a desigualdade de gênero. A partir dos resultados, comparamos como as violências são expressas nas composições punks de acordo com as idiossincrasias históricas e sociais inerentes a cada um dos dois países analisados.
Palavras-chave: Punk brasileiro. Punk argentino. Violência de Gênero. Estudos Comparados. Estudos Discursivos.
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Way, Laura. "Rebelling in different ways: Older punk women, employment and ‘being/doing’ punk." Punk & Post-Punk 00, no. 00 (March 10, 2021): 1–14. http://dx.doi.org/10.1386/punk_00070_1.
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How do older women negotiate employment and the workplace alongside being and ‘doing’ punk? This article takes this question as its focus, exploring three key areas that a sample of older punk women raised in regard to relationships between punk identification and work – dress, work/life balance and punk values. Drawing upon qualitative data with 22 older punk women, this article will argue the need to understand continued punk affiliation ‘post-youth’ not only through a lens that views ageing as social construct but also through a lens that sees experiences as gendered. Highlighted here are some of the various ways older punk women negotiate being/doing punk alongside their employment, acknowledging ways this can be constrained (or not) by gendered social ageing and demonstrating an adaptability of punk values that can help in accommodating adulthood.
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VIEIRA, TIAGO DE JESUS. "A ESCRITA DO PUNK NO BRASIL NO INáCIO DA DÉCADA DE 1980: uma análise dos primeiros trabalhos." Outros Tempos: Pesquisa em Foco - História 14, no. 23 (June 26, 2017): 63–79. http://dx.doi.org/10.18817/ot.v14i23.540.
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Este estudo tem por finalidade analisar as obras ”O que é punk”, de Antônio Bivar (1982), e ”Absurdo da Realidade: o movimento Punk”, de Helenrose Pedroso e Heder Souza (1983), procurando evidenciar as condicionantes que compuseram o seu lugar social de produção, para, num segundo momento, focalizar aspectos acerca da emergência do punk no Brasil, em consoná¢ncia com a análise das aproximações teóricas e metodológicas que permearam estes empreendimentos.Palavras-Chave: Punk. Antônio Bivar. Helenrose Pedroso & Heder Souza.THE PUNK WRITING IN BRAZIL AT THE BEGINNING OF THE 1980'S: an analysis of the first pieces.Abstract: This study has the purpose of analyzing the pieces ”what is punk ", by Antônio Bivar (1982) and ”Absurd of Reality: the punk movement” (Absurdo da Realidade: o movimento Punk), by Helenrose Pedroso and Heder Souza (1983), trying to show the conditions that composed its Social place of production, in order to, secondly, focus on aspects of the emergence of punk in Brazil, in consonance with the analysis of the theoretical and methodological approaches that permeated these ventures. Keywords: Punk. Antônio Bivar. Helenrose Pedroso & Heder Souza. ESCRITURA DEL PUNK EN BRASIL EN LOS PRINCIPIOS DE LA DÉCADA DE 1980: un análisis de los primeros trabajosResumen: Este estudio tiene como objetivo analizar los trabajos ”O que é punk”, de Antônio Bivar (1982), y ”Absurdo da Realidade: O movimento Punk”, de Helenrose Pedroso y Heder Souza (1983), tratando de poner las condiciones que sirvieron de lugar social de las producciones, para, en un segundo momento, centrarse en los aspectos de la aparición del punk en Brasil, en análisis de los enfoques teóricos y metodológicos que impregnaron estos desarrollos.Palabras clave: Punk. Antonio Bivar. Helenrose Pedroso y Heder Souza.
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Kuswandi, Iwan, Mafruhah Mafruhah, Adirasa Prasetya, and Wildan Prasasti. "PERUBAHAN PERILAKU SOSIAL KOMUNITAS PUNK DI PELABUHAN KALIANGET MELALUI BK DI LUAR SEKOLAH." SHINE: JURNAL BIMBINGAN DAN KONSELING 2, no. 1 (August 2, 2021): 50–62. http://dx.doi.org/10.36379/shine.v2i1.185.
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Komunitas punk lebih terkenal dengan cara berpenampilannya dan perilakunya yang dipandang negatif oleh masyarakat. Dengan dandanan yang tidak pada sewajarnya seperti menggunakan gaya rambut Mohawk, baju yang lusuh, celana super ketat ini membuat masyarakat takut ketika berdekatan dengan komunitas punk. Tujuan dalam penelitian ini adalah untuk mengetahui perilaku anggota komunitas punk dan mengetahui dampak pemberian stigma negatif yang diberikan oleh masyarakat.dalam penelitian ini, peneliti menggunakan pendekatan secara personal, observasi dan wawancara mendalam kepada subyek.
Penelitian ini bertujuan untuk mendiskripsikan dan menganalisa pola perilaku komunitas punk di Pelabuhan Kalianget. Penelitian ini menggunakan pendekatan kualitatif yang mengungkapkan temuan dengan mendeskripsikan secara komprehensif mengenai data yang diperoleh di lapangan yang menggambarkan tentang perubahan perilaku komunitas punk di Pelabuhan Kalianget dan penerapan BK di luar sekolah.
Dari hasil penelitian ini menyimpulkan bahwa perilaku anggota komunitas punk dipengaruhi oleh peran komunitas punk dan stigma negatif yang diberikan oleh masyarakat terhadap anggota komunitas punk tidak mempengarahui perilaku anggota komunitas punk, tetapi anggota komunitas punk justru melakukan kegiatan positif dengan membantu masyarakat di Pelabuhan Kalianget.
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Ashari, Dwi Firli. "Identitas Komunitas Punk di Aceh: Sebuah Kajian Historis." Syntax Literate ; Jurnal Ilmiah Indonesia 7, no. 1 (January 11, 2022): 537. http://dx.doi.org/10.36418/syntax-literate.v7i1.5728.
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Punk, sebagai salah satu subkultur yang berawal dari Amerika Serikat dan Inggris, kini telah tersebar ke seluruh dunia, termasuk Indonesia. Subkultur ini menghasilkan para anggota yang tergabung dalam komunitas-komunitas punk. Di Indonesia, komunitas-komunitas punk telah tersebar hingga ke banyak provinsi, termasuk Aceh. Eksistensi komunitas punk di Aceh sudah terlihat sejak 1990-an. Pada saat itu, Indonesia masih berada di bawah kekuasaan Orde Baru. Tentu saja, pembatasan yang dilakukan oleh Orde Baru membuat komunitas punk sulit berkembang di Aceh. Namun, komunitas punk di Aceh tetap eksis walaupun jumlah anggotanya tidak sebanyak di kota-kota lain di Indonesia. Eksistensi komunitas punk setelah masa Orde Baru pun tidak kalah menyedihkan. Pemprov Aceh memutuskan untuk menerapkan hukum syariat secara menyeluruh sejak awal 2000-an. Hal ini tentu saja menimbulkan pertentangan ideologi. Hukum syariat yang diberlakukan bagi masyarakat tentu saja bertentangan dengan ideologi komunitas punk di Aceh. Implementasi dari hukum syariat ini menghasilkan tindakan-tindakan yang dilakukan Pemprov Aceh sebagai upaya merepresi eksistensi komunitas punk di Aceh. Puncaknya, pada Desember 2011, 65 anggota komunitas punk ditangkap pada saat mengadakan konser amal karena dinilai melanggar hukum syariat. Para anggota komunitas punk yang ditangkap kemudian dimasukkan ke kamp khusus untuk direhabilitasi moralnya. Peristiwa penangkapan ini kemudian mencuri perhatian pers lokal hingga internasional. Lima tahun berselang, Vice Indonesia membuat video dokumenter yang menjelaskan bahwa setelah peristiwa penangkapan tersebut, jumlah anggota komunitas punk berkurang drastis, hingga tersisa 19 orang saja. Berdasarkan fakta tersebut, studi ini akan berusaha membongkar bagaimana identitas komunitas punk di Aceh dikontestasikan dengan penegakan hukum syariat oleh Pemprov Aceh. Studi ini menggunakan metode deskriptif kualitatif dengan berfokus pada kajian historis. Studi ini menggunakan sebuah dua video dokumenter yang membahas kehidupan komunitas punk di Aceh. Selain itu, studi ini juga akan melengkapi data dengan terkait kontestasi identitas komunitas punk melalui eksistensi mereka dan penerapan hukum syariat di Aceh dengan menggunakan sebuah esai yang ditulis oleh salah seorang anggota komunitas punk di Aceh
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Saragih, Hendra Maujana, Nella Agustiani, and Dewi Lestari. "Respon Anak Punk Terhadap Stigma Sosial Masyarakat Melalui Komunitas Tasawuf Underground." Himmah: Jurnal Kajian Islam Kontemporer 7, no. 2 (December 29, 2023): 731–60. http://dx.doi.org/10.47313/jkik.v7i2.2970.
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AbstrakRespon Anak Punk Stigma Sosial Masyarakat Melalui Komunitas Tasawuf Underground. Skripsi Program studi Sosiologi Fakultas Ilmu Sosial dan Ilmu Politik Universitas Nasional, Jakarta. Penelitian ini didasarkan atas sebuah maraknya fenomena sosial dimana adanya keberadaan punk yang semakin berkembang di masyarakat. Pandangan negatif sudah melekat pada diri punk terutama punk yang berada di jalanan yang biasa disebut punk street. Bagi masyarakat luas punk dianggap sebagai perilaku yang menyimpang yang identik dengan sebuah hidup bebas, seks bebas, narkoba, minum-minuman beralkohol yang mengakibatkan anak punk ini membuat kekacauan di lingkungan masyarakat pada kenyataannya juga punk tidak sepenuhnya dapat diterima masyarakat luas hal tersebut dipengaruhi oleh citra yang dibangun media dan yang mereka yang bergaya punk tetapi tidak mengetahui arti makna punk yang sebenarnya. Tujuan dari penelitian yang ingin dicapai yaitu untuk mengetahui bagaimana bentuk respon anak punk terhadap stigma sosial dari masyarakat dalam mengikuti kegiatan-kegiatan di komunitas Tasawuf Underground. Adapun hasil penelitian ini menggunakan metodologi penelitian metode kualitatif deskriptif untuk menjelaskan secara teliti dan dalam serta menggambarkan bagaimana bentuk respon anak punk terhadap stigma sosial dari masyarakat dalam mengikuti kegiatan-kegiatan di komunitas Tasawuf Underground, dari hasil penelitian ini dapat menjawab dari permasalahan yang ada mengacu pada teori Peter L Berger dan Thomas Luckman bahwa konstruksi sosial terbentuk melalui dialektika momen eksternalisasi, objektivasi, dan internalisasi maka dapat dianalisis bahwa konstruksi sosial pada masyarakat luas dibentuk oleh dialektika tersebut, bagi pihak-pihak komunitas punk terkhususnya anak punk jalanan, mereka mengalami proses eksternalisasi berupa perolehan kebudayaan dan norma sosial. Dengan hadirnya Komunitas Tasawuf Underground dengan tujuan untuk memberdayakan anak punk jalanan sendiri itu karena ingin mengikis stigma negatif yang terlanjur disematkan oleh masyarakat dengan memperdalam agama dan juga melakukan kegiatan-kegiatan positif lainya, dan memberikan inspirasi untuk masyarakat umum dan pemerintah untuk sama-sama memperbaiki permasalahan sosial ini dengan cara yang lebih manusiawi lagi, dengan menjadi kan mereka sahabat dan dibina dengan baik, yang sejatinya mereka ingin lagi kembali masuk kedalam kehidupan masyarakat.Kata Kunci: Respon; Anak Punk ; Stigma Sosial ; Masyarakat