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为他们的“失败状态”提供了一套批判性的视角，这些背景经历了一系列的忽视/约束。朋克自己的DIY文化和媒体制作实践，奠定了对文化价值的认识，超越了企业、工业和国家话语的狭隘经济主义--这种创造力塑造了朋克的抵触主观性。通过DIY文化产业产生的人工制品是全球朋克共同语言的一部分，该项目的方法利用了这一点，通过在每个地点制作的汇编记录(以及参与者观察和采访)产生相互背景对话。这种批评-地区主义的、交叉比较的、定性的和以参与者为中心的分析方法提出了五个关键挑战：--这个项目是当代的。我们感兴趣的是‘朋克现在’，而不是朋克历史或‘朋克作为历史’。我们选择活的、当代的和现实的朋克，而不是死气沉沉的朋克怀旧。-这个项目挑战了新殖民主义的文化潮流。对朋克的分析仍然经常局限于英美地区特定的时刻(纽约76年、伦敦77年等)。我们与这四个腹地背景的接触是批判性的偏向，并提供了对当代朋克活跃的全球传播的欣赏。-这个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，特别是在这个替代生产领域所代表的国家和行业规范面临的直接挑战方面。-这个项目是关于“失败国家”的经验。这些背景中的每一个都有最近的国家内部暴力历史，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”/“失败国家”的框架。这些朋克社区所经历的就是‘失败国家’忽视/约束的背景，他们对此做出了回应。我们的分析是从“失败的国家”作为一种功能失调的社会形态和被忽视/约束的生活经历之间出现的生产性紧张中得到启发的。-这个项目的方法是创新的、参与性的、交叉比较的和对话的。这种方法是非剥削性的，因为它是从PI对全球朋克的内部观点中了解到的。它让参与者参与形成研究，并邀请他们与研究人员对话，并在4个研究背景下相互对话。这一对话特别聚焦于汇编记录，作为从朋克自己的DIY文化生产中涌现出来的物质人工制品，在全球朋克场景中作为一种共同的语言运作。这一研究过程提供了通过交叉比较对话对这些朋克场景及其个别参与者的自我认知进行批判性转变的机会。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，以及通过参与世界朋克腹地其他地方的同志的反思，来更好地理解自己在失败状态下的创造性抵抗经历。通过汇编记录，这也将在提高朋克的创造性产出方面产生直接影响。在这一过程中产生的见解和批评将通过一本共同撰写的专著、一系列学术文章、一系列朋克杂志、一个项目网站、一个研讨会(包括展示记录)和汇编记录本身来传播。

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.