Urban Music Culture: Underground Musical Scene

Ovaj rad bavi se pojmom urbanosti, urbanim gradom i društvenim odnosima u njemu. U kontekstu supkulturalne teorije i postsupkulturalne paradigme promatra se stvaranje zajednica i funkcioniranje glazbenih scena. Procesi kojima se unutar društvenih grupa razvija kolektivni i individualni identitet također su u središtu promatranja. Na samom početku prikazani su metodološki alati koji su korišteni tijekom pisanja rada i prilikom samostalne analize queer feminističkog kolektiva POSSY. Analizom dijela underground zajednice potkrepljuje se teza da stvarna, proživljena iskustva u društvenim i humanističkim znanostima uvijek iznova dokazuju važnost priča kroz koje se opisuje društvo i kulturološko funkcioniranje u određenom vremenskom periodu. Zatim se sociološkim diskursom u fokus stavljaju urbana glazba i glazbene reprezentacije kao reakcije na društvene nejednakosti. Marginalizirane društvene skupine se kroz cijeli rad konceptualno izdižu kao bitne. Kritičko izučavanje funkcioniranja individue u društvu, sagledavanje njezinih potreba te preispitivanje socioekonomskih, političkih struktura koje neminovno utječu na život iste prikazane su kroz razne primjere underground scena. Povijest i položaj FLINTA* people of color osoba supkulturama i underground glazbenim scenama od punka do rave generacije pomažu kako bi se shvatile neprestane promjene u shvaćanju društvenih promjena.This thesis scrutinizes whit the concept of urbanity, the urban city and social relations in it. In the context of subcultural theory and the post-subcultural paradigm, the creation of communities and the functioning of music scenes are observed. The processes which collective and individual identity are developed within social groups are also at the center of observation. At the very beginning, the methodological tools that were used during the writing of the paper and during the independent ethnomusicological research of the queer feminist collective POSSY are presented. Ethnomusicological research supports the thesis that real, lived experiences in the social humanities prove time and time again the importance of stories through which society and cultural functioning are described in a certain period of time. Then, the sociological discourse focuses on urban music and musical representations as reactions to social inequalities. Marginalized social groups are conceptually elevated throughout the work as essential. The critical study of the functioning of the individual in society, the assessment of his needs and the questioning of the socioeconomic and political structures that inevitably affect his life are presented through various examples of underground scenes. The history and position of FLINT* people of color subcultures and underground music scenes from punk to the rave generation help to understand the constant changes in the understanding of social change