Punk-Style and Sub-Cultural Theory
Punk-Style and Sub-Cultural Theory
The role and significance of sub-cultural style and its relationship to mainstream culture, moreover its political connotations have been an area of contention within sub-cultural theory. A seminal account of sub-cultural dynamics was postulated by Hebdige who drew on theories from disciplines diverse as Semiotics and Anthropology. Hebdige considered sub-cultural style to be grounded in the re-appropriation and subversion of the mainstream cultural order by alienated groups. This implies that style itself has a political dimension and that sub-cultural style is innately politically challenging (effectively or not) within the power relations of society. The task of this paper will be to shed further light on Hebdige’s theory of sub-cultural style as a form of re-appropriation and insubordination, building up from the theoretical antecedents to an application of the theory to punk subculture. Additionally, I will evaluate Hebdige’s thesis on the nature of sub-cultural style and its political dimensions.
The thesis advanced by Hebdige on the dynamics and significance of sub-cultural style has been influenced by a number of paradigms and theorists including but not limited to; The Birmingham School of Cultural Studies, Gramsci’s theory of Hegemony, Barthes’ semiotics and Levi-Strauss’s notion of Bricolage (Nilan, 2007, p. 116; Hebdige, 1981, pp. 101-103). The Birmingham School of Cultural Studies was itself heavily influenced by Antonito Gramsci’s theory of cultural hegemony. That is, that within a class society the ruling class cannot maintain power over subordinated classes by the violence of the state alone. Concurrently, the ruling classes must mobilise intellectual dominance in the form of normalised ideologies (Gramsci, 1988, pp 193-4). Birmingham school scholars utilised the concept of hegemony in explaining the nature of working-class youth sub-cultures in terms of a resistance to hegemony. They saw this class as reacting
The role and significance of sub-cultural style and its relationship to mainstream culture, moreover its political connotations have been an area of contention within sub-cultural theory. A seminal account of sub-cultural dynamics was postulated by Hebdige who drew on theories from disciplines diverse as Semiotics and Anthropology. Hebdige considered sub-cultural style to be grounded in the re-appropriation and subversion of the mainstream cultural order by alienated groups. This implies that style itself has a political dimension and that sub-cultural style is innately politically challenging (effectively or not) within the power relations of society. The task of this paper will be to shed further light on Hebdige’s theory of sub-cultural style as a form of re-appropriation and insubordination, building up from the theoretical antecedents to an application of the theory to punk subculture. Additionally, I will evaluate Hebdige’s thesis on the nature of sub-cultural style and its political dimensions.
The thesis advanced by Hebdige on the dynamics and significance of sub-cultural style has been influenced by a number of paradigms and theorists including but not limited to; The Birmingham School of Cultural Studies, Gramsci’s theory of Hegemony, Barthes’ semiotics and Levi-Strauss’s notion of Bricolage (Nilan, 2007, p. 116; Hebdige, 1981, pp. 101-103). The Birmingham School of Cultural Studies was itself heavily influenced by Antonito Gramsci’s theory of cultural hegemony. That is, that within a class society the ruling class cannot maintain power over subordinated classes by the violence of the state alone. Concurrently, the ruling classes must mobilise intellectual dominance in the form of normalised ideologies (Gramsci, 1988, pp 193-4). Birmingham school scholars utilised the concept of hegemony in explaining the nature of working-class youth sub-cultures in terms of a resistance to hegemony. They saw this class as reacting
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