Failed States and Creative Resistances: The Everyday Life of Punks in Belfast, Banda Aceh, Mitrovica and Soweto

该项目旨在探索贝尔法斯特（北方爱尔兰）、班达亚齐（印度尼西亚）、米特罗维察（科索沃）和索韦托（南非）朋克社区的日常生活和创造性活动。这些“朋克腹地”社区的日常生活世界提供了一套关于他们的“失败国家”背景的批判性观点，这些背景经历了一系列的忽视/限制。朋克自己的DIY文化和媒体生产实践使人们认识到文化价值超越了企业家、工业和国家话语的狭隘经济主义，并与之相对立-这种创造性塑造了朋克的抵抗主体性。通过这种DIY文化产业生产的人工制品是“全球朋克”的共同语言的一部分，该项目的方法学通过在每个地区制作的汇编记录产生背景间对话，（除参与者观察和访谈外）.这种关键的区域主义、交叉比较、定性和以参与者为中心的分析方法提出了五项关键挑战：这个项目是当代的。我们感兴趣的是“现在的朋克”，而不是朋克历史或“作为历史的朋克”。我们选择朋克是活的，当代的和相关的死，钙化朋克怀旧。这个项目挑战了新殖民主义的文化流动。对朋克的分析仍然常常局限于英美特定的地方（纽约'76，伦敦'77等）。我们与这4个“腹地”背景的接触是批判性的分散，并提供了对当代朋克充满活力的全球传播的欣赏。该项目质疑主导创意产业分析的“创业理性”。我们批评朋克DIY文化生产，特别是在直接挑战国家和行业规范的生产在这个替代领域。这个项目是关于“失败国家”的经验。每一个这样的背景都有最近的国家内部暴力的历史，我们通过密切关注朋克自己的机构和生活经验来探索这种“冲突后”/“失败的国家”框架。这是这些朋克社区所经历的“失败国家”的忽视/约束的背景，他们对此做出了回应。我们的分析是由生产力之间出现的紧张关系，“失败的国家”作为一个功能失调的社会形态和忽视/约束的生活经验。该项目的方法具有创新性、参与性、交叉比较性和对话性。这种方法是非剥削性的，因为它是由PI的内部人士对全球朋克的看法。它让参与者参与研究，并邀请他们与研究人员以及在4个研究背景下相互对话。本次对话特别关注的是汇编记录，这些记录是朋克自己DIY的文化生产中出现的物质文物，在全球朋克场景中作为“共享语言”运作。通过交叉比较对话，这一研究过程为这些朋克场景及其个体参与者的自我认知提供了批判性转变的机会。作为这项研究的一个关键成果，朋克们将通过自我反思，通过创造性地分享这种反思的过程，以及通过参与世界其他地方的朋克同志的反思，来更好地理解他们在“失败国家”背景下的创造性抵抗经历。通过汇编记录，在提高朋克的创造性产出方面也将产生直接影响。在这一过程中产生的见解和批评将通过共同撰写的专著，一系列学术文章，一系列朋克杂志，项目网站，研讨会（包括记录显示）和汇编记录本身传播。

This project seeks to explore the everyday lives and creative activities of punk communities in Belfast (Northern Ireland), Banda Aceh (Indonesia), Mitrovica (Kosovo), and Soweto (South Africa). The everyday life-worlds of these 'punk hinterland' communities offer a set of critical perspectives on their 'failed state' contexts, experienced across a spectrum of neglect/restraint. The punks' own Do-It-Yourself cultural and media production practice grounds a recognition of cultural value beyond, and in opposition to, the narrow economism of entrepreneurial, industry and state discourses - this creativity shapes the resistant subjectivities of punk. The artefacts that are produced through this DIY cultural industry are part of the shared language of 'global punk', and the project's methodologies draw on this by generating inter-contextual dialogue through compilation records produced in each locale (in addition to participant observation and interviews).This critical-regionalist, cross-comparative, qualitative and participant-centred method of analysis sets out five critical challenges:- This project is contemporary. We are interested in 'punk-now' not a punk history or 'punk-as-history'. We choose punk that is alive, contemporary and relevant over dead, calcified punk nostalgia.- This project challenges neo-colonial flows of culture. Analyses of punk are still too often confined to Anglo-American place-specific moments (New York '76, London '77, etc.). Our engagement with these 4 'hinterland' contexts is critically decentring and provides an appreciation of contemporary punk's vibrant global spread.- This project questions the 'entrepreneurial rationality' that dominates analysis of the creative industries. We critique punk DIY cultural production, especially in terms of the direct challenge to state and industry norms represented in this alternative field of production.- This project is about the experience of 'failed states'. Each of these contexts has recent history of intra-state violence, and we explore this 'post-conflict'/'failed state' framework by focusing closely on the punks' own agency and lived experience. It is the context of neglect/restraint by the 'failed state' that these punk communities experience and to which they respond. Our analysis is informed by the productive tension that emerges between 'failed state' as both a dysfunctional social formation and the lived experience of neglect/restraint.- This project's methodologies are innovative, participatory, cross-comparative and dialogical. This approach is non-exploitative, informed as it is by the PI's insider perspective on global punk. It involves the participants in shaping the research, and invites them into dialogue with the researchers and with one another across the 4 research contexts. This dialogue is especially focussed on the compilation records as material artefacts emerging from the punks' own DIY cultural production, which operate as a 'shared language' across the global punk scene.This research process offers the opportunity for critical transformation in the self-perception of these punk scenes and their individual participants through cross-comparative dialogue. As a key outcome of this research, the punks will come to better understand their own experience of creative resistance in a 'failed state' context by self-reflection, through the process of sharing that reflection creatively, and by engaging with the reflections of their comrades elsewhere in the world's punk hinterlands. There will also be a direct impact in terms of enhancing the punks' creative output, via the compilation records. The insights and critiques generated in this process will be disseminated via a co-authored monograph, a series of academic articles, a series of punk zines, a project website, a symposium (including display of the records), and the compilation records themselves.