Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Art as a catalyst for social change
Art in its social context
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Art as a catalyst for social change
We often wonder why we act a certain way in certain places and there must be a reason why? Why is that we act a certain way when we go to concerts or when we go to the library? Through a showcase of articles, we will discover the reason why we act a particular way. This is because we are entering a liminal space that has its own set of rules and boundaries where people can act out differently than the social norms because it is acceptable. We will specifically be looking at how the punks and ravers of the ‘70s entered the liminal space and what they experienced while they were in that space, along with a ritual clown from a Native American tribe. In the article, “Anarchy in the UK: ‘70s British Punk as Bakhtinian Carnival”, Peter Jones illustrates that the British punks in the ‘70s were trying to redefine themselves by covering their bodies with tattoos and piercing and symbolically wearing dog collars to showcase how society viewed them as animals. They also wrote and sung lyrics about the repressed social classes and genders at their outlandish concerts that could be compared to carnivals, seeing people with white make up faces and their eccentric fashion statements. Jones then expressed that “Carnivals brings together, unifies, weds and combines the sacred with the profane, the lofty with the low, the great with the insignificant” (3). He compared how the carnivals and the ‘70s British Punk concerts brought people of all backgrounds into one place. Also, in the social sphere they have created, they were able to have a large group of people to follow their rite-of-passage. They accepted the role of being the ‘outcasts’ or the ‘clowns’ of the society because they knew they were the ‘tricksters’ of the society by attending the c... ... middle of paper ... ...s that were set of their social group. In conclusion, since the punks were breaking the rules of society, they were able to provide “a liminal space in which observers and ritual participants may fruitfully contemplate the vagaries of life” (Van Ham 320). They were able to provide a space where people were able to express themselves and not care what society thought of them because of the sacred power that was over them when they entered their concert, their under-ground dance club, or their ritual meeting. The people felt safe from the sense of control and authority their liminal space provided them. They did not have to fear anything knowing that what they were doing was a whole different experience then what any person would feel following the social norm, which they often find monotones. The liminal space provided them the excitement they have been waiting for.
Ten minutes after lining up, I went inside the nightclub. From the door, I could hear the song and the beat of the bass so loud that my heart could feel it. Inside the nightclub, I saw people were dancing everywhere, on dancing floor, on their own seats, everywhere. They would dance and take a big gulp of their beer. Even the bartenders were dancing too, following the rhythm of the loud funky music. The rainbow rays of light moved through the club to make the mood even more exciting and funky.
In Justin Pearson's memoir, From the Graveyard of the arousal Industry, he recounts the events that occured from his early years of adolesence to the latter years of his adulthood telling the story of his unforgiving and candid life. Set in the late 1970s "Punk" rock era, From the Graveyard of the Arousal Industry offers a valuable perspective about the role culture takes in our lives, how we interact with it and how it differs from ideology.
Firstly, the group of friends and writers most commonly known as the Beats evolved dramatically in focal points such as Greenwich Village and Columbia University, and subsequently spread their political and cultural views to a wider audience. The three Beat figureheads William S. Burroughs, Allen Ginsberg and Jack Kerouac each perceived an agenda within American society to clamp down on those who were in some way different from the accepted ‘norm’, and in response deliberately flirted with the un-American practices of Buddhism, drug use, homosexuality and the avant-garde. Ginsberg courted danger by lending a voice to the homosexual subculture that had been marginalised by repressive social traditions and cultural patterns within the United States.
In closing, the undoubtable influence of music, more specifically of Rock ‘n’ Roll on American society is responsible for a number of changes to the status quo. These range from sexual liberation and racial desegregation all culminating with other influences to create an intergenerational identity. Despite the desperate attempts of older generations to smother these influences, these changes ultimately shaped the years that followed, molding the country into what it is today. Along the way these changes as well as individual involvement in them has also eased the lives of many through empowerment and a feeling of community and purpose. Despite a lull and renewal Rock ‘n’ Roll continues to serve as an agent of influence and change in today’s youth culture and continues to burn in the heart of past generations of loyal fans.
“To me, punk rock is the freedom to create, freedom to be successful, freedom to not be successful, freedom to be who you are. It's freedom”.(Brainyquotes.com)
Raves are often thought of as a “religious experience” displaying the audience as a “dance tribe” causing these electronic dance music culture “as spiritualties of life” (St John 12). There is no denying that the rave consists of “cultures whose participants committed to an ethos most famously expressed as Peace, Love, Unity and Respect (PLUR)” (St John 3). These participants have reported life- changing experiences, transcendence, and even conveying anecdotes of “ascension and re- enchantment” (St John 3). According to Graham St. John, “ [the] rave exemplifies the cultural phenomenon of religion, particularly that which, Bastide regarded ‘instituant’ or ‘savage’ religion rather than the domesticated or ‘instituted’ forms associated with institutional religion,” (St. John 3). Essentially, the rave functions as a religious community but not in the traditional sense; the DJ is thought of as the shaman and the dance floor is the communita (St John 5). Additionally, both the “ecstatic” experiences and ritual framework of raves intensifies the sense of belonging and demonstrates communal characteristics. The ravers experience a reconnection endemic and is considered to be “tribal” by the participants (St. John 9-10). Furthermore, this tribal nature of the ravers allows them to experience a sense of connectedness and inner peace with themselves. When a raver described this feeling as stating, “The MDMA experience makes you perceive by a kind of intuition, the real essence of your being. It’s not something elaborated by your conscious or unconscious mind, it’s something you suddenly realize you know without any doubt. You know the truth because you have experienced it. Now that you know that you, me, everything is one, or God as you wi...
There was an emergence of numerous pioneering female punk and rock musicians from the UK, throughout the period of the late 1970 and early-mid 1980’s who ultimately served to influence the ‘Riot Grrrl’ movement (Sabin 1999). Musicians such as ‘The Slits’, ‘Siouxie Sioux’, ‘Poly Styrene and X-Ray-Spex’ ‘Au Pairs’ and ‘The Raincoats’ are all examples of British Musicians who later went on to inspire ‘Riot Grrl’
The American rock band Nirvana impacted American culture and society by paving the way for the punk rock subculture into mainstream corporate America. Punk rock music stems from the rock genre but has its own agenda. The crux of punk rock is that it is a movement of the counterculture against the norms of society. Punk rock in itself is made up of a subculture of people who rejected the tameness of rock and roll music during the 1970s. (Masar, 2006, p. 8). The music stresses anti-establishment and anti-authoritarian ideas in its lyrics as well as scorns political idealism in American society. Before Nirvana unintentionally made punk rock a multi-million dollar commercialized genre of music, underground rock paved the way for the punk rock genre by creating core values that punk rockers drew upon.
... middle of paper ... ... Relating to Bakhtin’s 1968 Carnivalesque, “Here in the town square, a special form of free and familiar contact reigned among people who were usually divided by the barriers of caste, property, profession and age”. Yanina Arnold (2005) writing for the Toronto electronic journal states “While carnival offers an alternative vision of people and their identities-sinful, un-transformed, too scared to act or speak freely, or even unaware of their own thoughts about the official system and discourse-the rather non-flattering portrait of self that emerges via carnival is important.” Carnival can re-unite people, from many a different background or community.
Beginning with the late 1960’s counterculture in San Francisco, music and drugs will forever be inter-linked. Hippie bands such as the Grateful Dead, the Allman Brothers, and Phish are associated with marijuana, mushrooms, and LSD. Modern electronic “rave” , or club music is associated with MDMA or Ecstasy. When one thinks of rock and roll, sex and drugs immediately come to mind. While the use of drugs is not essential for the creation or performance of all new music, it was certainly in important factor for the counterculture music of the late 1960’s. While some of the most important and influential music was made with the help of psychoactive drugs, it was often to the detriment of the artist. Janis Joplin, Jimi Hendrix, Jim Morrison, and countless other tremendously talented artists had their lives cut short due to drug use. Drugs were most often good for the music, but deadly for the music makers.
We’ve all seen them before. Maybe at a bus stop, in our schools, or at the coffee shop. “They” look odd enough to frighten a circus clown, but for some reason, they always smile when you look their way. Perhaps it’s that their hair is the color of the sunset or that their pants look like they could house a small family. It could be that their headphones seem permanently glued to their ears and that they’re never afraid to groove on the sidewalk. Whatever the reason, you know that “they” are not quite normal. You may call them “freaks,” or “punks,” or simply “those crazy kids.” But if you did, you’d be misled for “they” are not you’re average young people, no, “they” are ravers.
By the late ‘70s, punk had finished and become an amazing genre with a following triple the size from when it was just garage musicians. Becoming the solid musical force no one in that time saw coming. With this rise in popularity comes many sub-genres of punk. New musicians embraced the DIY movement and began to create their own individual scenes with specific sounds.
So began my two-year ethnography on the American rave subculture. The scene described above was my initiation into the underground subculture where rave kids, typically under twenty-one years old, are given secret invitations to attend private warehouse parties with dancing, drugs, and thousands of their closest friends. Because of my youthful and unorthodox appearance, I was invited to join the then-highly-exclusive underground scene and attended numerous raves in several major cities in North Carolina. Although my chosen subculture was not typically examined by academia, I conducted an academic ethnography of what Maton (1993) describes as a "group whose world views, values and practices diverge from mainstream North American and social science cultures" (747). As a result, I received three graduate credit hours for "supervised research in ethnography" and conducted what may be the only academic ethnography on raves.
People who conform to society have expectations of how other people should act and what they wear in public. Anarcho-punk achieved resistance in one way by the clothes they wore. Instead of looking ‘fashionable’ they c...
Seeking Refuge The writer of the article entitled "Seeking refuge from the rhetoric" begins the article by stating factual information that he personally watched along with hundreds of journalists and witnesses the first plane load of Kosovan refugees arrive at Leeds Bradford airport. He then goes on in the article to express his own personal opinion of the events that went on to take place some months later. To sway the reader to his way of thinking he then proceeds to quote information he has found from another source to describe the conditions that surround this subject, he then quotes another article as saying that a "fight at a fairground in Dover resulted in a stream of anti-refugee rhetoric" from politicians and journalists. The writer then starts to use negative language that initial makes the reader feel that he is anti-refugee. He then uses statements made by commentators on this subject such as "Floods of refugees are swamping us" and also that this country has been "taken for a ride".