13-17 july 2015 porto, portugal prograM

Transcrição

KISMIF
international conference
13-17 july 2015
porto,
portugal
Program
convenors
andy bennet
paula guerra
KISMIF
international conference
13-17 july 2015
Porto,
Portugal
Program
Index
08
28
38
80
88 124 First Published July 2015
by Universidade do Porto.
Faculdade de Letras
[University of Porto.
Faculty of Arts and Humanities]
Porto, Portugal
Editors
Paula Guerra
and Andy Bennett
ISBN: 978-989-8648-52-5
Practical Information
Short Program
There's a City in My Head
Parallel Sessions
Summer School
Parallel Sessions
Conference
Detailed Schedule
© Vera Marmelo
kismif
Convenors
Andy Bennett
School of Humanities, Griffith Centre
for Cultural Research, Griffith University,
kismif Project, Australia
Paula Guerra
Faculty of Arts and Humanities, Institute
of Sociology, University of Porto, Griffith
Centre for Cultural Research, kismif
Project Coordinator, Portugal
KISMIF
Scientific Committee
Alastair Gordon
Leicester De Montfort University,
Punk Scholars Network,
United Kingdom
Andy Bennett
School of Humanities, Griffith Centre
for Cultural Research, Griffith University,
kismif Project, Australia
Augusto Santos Silva
Faculty of Economics, Institute of
Sociology, University of Porto, kismif
Project, Portugal
Carles Feixa
Department of Geography and Sociology,
University of Lleida, jovis, European
Youth Studies, International Sociological
Association, kismif Project, Spain
Heitor Alvelos
University of Porto, Portugal
Jeder Janotti Junior
Post-Graduate Program in Communication
for the Communication Department
of Federal University of Pernambuco,
Audiovisual and Music Analysis Laboratory,
Brazil
Paula Guerra
Faculty of Arts and Humanities,
Institute of Sociology, University of Porto,
Griffith Centre for Cultural Research,
kismif Project Coordinator, Portugal
João Queirós
School of Education, Polytechnic Institute
of Porto, Institute of Sociology, University
of Porto, kismif Project, Portugal
Rui Telmo Gomes
Centre for Research and Studies in
Sociology, University Institute of Lisbon,
kismif Project, Portugal
José Machado Pais
Institute of Social Sciences,
University of Lisbon, Portugal
Will Straw
Department of Art History and
Communications Studies, Director of
McGill Institute for the Study of Canada,
McGill University, Canada
Pedro Costa
iscte – University Institute of Lisbon,
dinamia’cet – University Institute of Lisbon,
Portugal
KISMIF
Executive Committee
Pedro Miguel Ferreira
Polytechnic Institute of Leiria, School of
Education and Social Sciences, Preguiça
Magazine, Portugal
Júlio Dolbeth
Faculty of Fine Arts of the University
of Porto, Dama Aflita Gallery, Portugal
Luís Fernandes
Faculty of Psychology and Educational
Sciences, University of Porto,
Manuel Loff
Department of History, Faculty of Arts and
Humanities, University of Porto, Portugal
Matthew Worley
University of Reading, Subcultures
Network, United Kingdom
Mike Dines
Institute of Contemporary Music
Performance, Punk Scholars Network,
United Kingdom
Paula Abreu
Faculty of Economics, Centre for Social
Studies, University of Coimbra, kismif
Project, Portugal
Paula Guerra
Paulo Cunha e Silva
Councillor, Department of Culture, Porto
Municipal Council, Portugal
Pedro Costa
dinamia’cet – University Institute of Lisbon,
Portugal
Ana Oliveira
dinamia’cet– University Institute of Lisbon,
Ana Raposo
ESAD College of Art and Design
Matosinhos, Punk Scholars Network,
kismif Projet, Portugal
Esgar Acelerado
Independent Artist, Mr. Esgar,
Gil Fesch
Institute of Sociology,
Guilherme Blanc
Department of Culture,
Porto Municipal Council, Portugal
João Queirós
School of Education, Polytechnic Institute
of Porto, Institute of Sociology, University
of Porto, kismif Project, Portugal
Pedro Quintela
Project, Portugal
Ricardo Salazar
Lawyer, Owner of the bar radio, Portugal
Rui Telmo Gomes
Centre for Research and Studies in
Sociology, University Institute of Lisbon,
Tânia Moreira
University of Porto, kismif Project,
Portugal
Vítor Massa
Armanda Vilar
Graphic designer, Freelancer, Portugal
Marcos Farrajota
Comics Library of Lisbon/ blx,
Municipality of Lisbon, Chili Com Carne
Association, mmmnnnrrrg label,
Paula Abreu
Project, Portugal
For more information:
http://kismif.eventqualia.net
[email protected]
www.facebook.com/kismif
© Vera Marmelo
Practical information
8
Practical
Information
Venues
Information
Faculty of Arts and Humanities
of the University of Porto
The Faculty of Arts and Humanities of the University of
Porto (flup) is a higher education institution (established in
1928), dedicated to teaching and research in the areas of the
Human and Social Sciences, and is host to 12 Research and
Development Units. flup is an institution renowned not only
for its extensive, high-quality range of academic training but
also for the volume and quality of its scientific production. Also
worthy of note is its integration and interrelations with the surrounding environment, operating as a vector in the promotion
and dissemination of knowledge and in the social, cultural and
economic development of the region and the country itself.
With over 3000 students, flup offers 13 undergraduate
courses (licenciatura), 30 Master’s courses (mestrado) and 18
doctoral courses (doutoramento). Some of these courses are
taught jointly with other Faculties of the University of Porto and/
or other universities. Apart from the degrees offered, flup also
provides a wide variety of vocational training courses as well
as open courses (including a range of language programmes,
from Arabic, Chinese and Japanese to Hungarian, Polish and
Persian). Most of the vocational training courses are certified
by the Portuguese Pedagogical and Scientific Council for InService Training and award credits for career development.
Based on an exchange of knowledge and expertise, the
courses are designed to encourage the production of scientific
knowledge and provide students with the professional skills they
will require to enter the labour market and to pursue endeavours
in entrepreneurship. The Faculty’s teaching staff is highly qualified with almost all its members hold a doctoral degree. They are
vastly prolific in scientific production and have significant international experience in their areas of research and teaching. Both
teaching staff and PhD and master’s students are involved in a
number of on-going national and international research projects
as part of the activities of R&D Units accredited and financed
by the Portuguese Foundation for Science and Technology.
The Faculty’s Central Library holds close to 300.000 volumes,
which are available in its digital catalogue, and is extensively
used by the its students, as well as students from other faculties and universities. It also provides specialized international
databases, and readers can consult a wide range of electronic
publications and journals. Additionally, the Digital Library provides users with full text access to the Faculty’s publications.
© Rik Schuiling
10
Address
Faculdade de Letras
da Universidade
do Porto, Via
Panorâmica, s/n,
4150–564 Porto,
Portugal
Phone number
+351 226 077 105
Website
https://sigarra.
up.pt/flup/en/
web_page.Inicial
Facebook
www.facebook.
com/pages/FLUPFaculdade-de-Letrasda-Universidade-doPorto/34123928
2626290
11
© MusiCult
12
How to get to FLUP?
By Metro
The nearest Metro station to flup is
Casa da Música and it’s approximately
10 minutes away on foot. Once up on the
surface, you can get on bus 204 heading
to Foz and stop at Junta de Massarelos
in Campo Alegre. The Faculty of
Arts is located in Via Panorâmica,
near the motorway junction.
For more information
www.metrodoporto.pt
By Bus
The Faculty of Arts of the University of
Porto is served by the following bus
lines: 200, 204, 207, 902, 903. Regardless
of the departure point, the closest bus
stop to flup is Junta de Massarelos
in Campo Alegre. If you do not have a
metro or bus ticket (‘Andante’ or ‘Passe’),
you can purchase one on board.
www.stcp.pt | www.itinerarium.net
By Train
If you want to get to Porto by train, you
should get off in one of two main stations: Campanhã or S. Bento. If you get
off at Campanhã, there are 2 means
of public transport available: (a) by
metro: take any of the lines that go by
Campanhã because any one of them
will take you to Casa da Música without
having to transfer (To learn how to go
from Casa da Música to flup, please
see ‘By Metro’ above); (b) by bus: bus
207 passes by Campanhã and heads
towards Foz. This bus will take you to
Rua do Campo Alegre, where you will
have to stop at Junta de Massarelos.
If you get off at S. Bento, there are also
2 means of public transport available:
(a) by metro: the metro station of St.
Bento is right outside the train station
to the left and is an underground station. You should take the Metro heading towards Hospital de S. João. You
will have to make the transfer at the
Trindade Station, get on another Metro
and then get off at Casa da Música. To
learn how to go to flup, please see ‘By
Metro’ above; (b) by bus: when getting
off at the train station, go to: (1) Praça da
Cordoaria (in the upper end of Rua dos
Clérigos) and get on bus 902 or 903; (2)
Praça D. João I and get on bus 200 or
207. You will have to get off at Junta de
Massarelos in Rua do Campo Alegre.
By Car
flup is located in Pole 3 of the University
of Porto, at the road junction of Campo
Alegre. If coming from North or East, you
should follow the main collector road of
vci, towards Lisbon (Ponte da Arrábida)
and exit in Campo Alegre. If coming from
South, follow the direction towards Ponte
de Arrábida and exit in Campo Alegre
(1st exit immediately after the bridge).
flup
0th Floor
Coffe Breaks Area
[1st floor, Out-of-door]
Acess to the
2nd Floor
Main
Entrance
WC
Library, Faculty
of Arts of the
University of Porto
Room for One
[Anfiteatro Nobre]
Registration
Desk
flup
2nd Floor
No Room for You
[203]
Two People in
a Room [207]
WC
Secondary Entrance
(1st Floor)
Just One More
Room For You [210]
Room to Breathe
[201 ]
Secondary Entrance
(1st Floor)
Lost in Room
[Anfiteatro 2]
DIY DIY
My Darling
[202]
Room For
One More
[208]
WC
Teacher's
Lounge
Room at the Top
[Sala Reuniões]
Coffe Breaks Area
[1st floor, Out-of-door]
Hall the Love of
the Room
[Entrada Sala
Reuniões]
13
14
How to get to Casa da Música?
By Metro
The nearest Metro station to Casa
da Música is the Metro station with
the same name – Casa da Música. To
go to this Metro Station you can take
the following lines: a, b, c, e and f.
www.metrodoporto.pt
Casa da Música
Address
Av. da Boavista,
604-610, 4149-071
Porto, Portugal
Phone number
(+351) 220 120 220
Website
www.casa
damusica.com
Facebook
www.facebook.com/
casadamusica
Casa da Música was conceived to mark 2001, the year in
which Porto was Cultural Capital of Europe, and it is the
first new building in Portugal to be entirely dedicated to
music – to the presentation and public enjoyment of music, to music education and to the creation of music.
The project took shape in 1999 after the Rem Koolhaas
& Ellen van Loon – Office for Metropolitan Architecture
won the international architectural competition. Work began in 1999 on the site of Porto's former central tram garage on the Rotunda da Boavista, and Casa da Música
opened its doors to the public on April 15th, 2005.
Casa da Música was planned as a home for all types of
music and it is not only part of the urban redevelopment
of Porto but also part of a network of cultural facilities, for the
city of Porto and for the wider world. Underlying it is an innovative and wide-ranging cultural project, which aims to make an
exciting contribution to the national and international music
scene, as an arena for all types of musical events – from classical music to jazz, from fado to electronic music, from great
international productions to more experimental projects.
Besides concerts, recitals and other types of performance,
Casa da Música also organises events for musicians and
musicologists and invests in research into the origins of
Portuguese music. In addition, it plays a very important role
in music education. It is a cultural meeting point between
music and other areas of artistic creation and knowledge,
providing a space for all kinds of audiences and creators.
By Bus
Casa da Música is served by the following bus lines: 201, 202, 203, 204, 208,
209, 303, 402, 501, 502, 503, 504, 507, 601,
803, 902, 903. Regardless of the departure point, the closest bus stop to Casa
da Música is a bus stop with the same
name – Casa da Música. If you do not
have a metro or bus ticket (‘Andante’ or
‘Passe’), you can purchase one on board.
By Train
If you want to get to Porto by train, you
should get off in one of two main stations:
Campanhã or S. Bento. If you get off at
Campanhã, you can take any of the lines
that go by Campanhã because any one
of them will take you to Casa da Música
without having to transfer. If you get off at
S. Bento, the metro station of S. Bento is
right outside the train station to the left and
is an underground station. You should take
the Metro heading towards Hospital de
S. João. You will have to make the transfer at the Trindade Station, get on another
Metro and then get off at Casa da Música.
15
16
How to get to TM Rivoli?
By Metro
The nearest Metro stations to TM Rivoli
are the Metro stations with the name
‘Trindade’ or ‘Aliados’. To go to the Metro
Station ‘Trindade’ you can take any of
the lines of the Metro. To go to the Metro
Station ‘Aliados’ you can take the line D.
www.metrodoporto.pt
© Porto., www.porto.pt
By Bus
Nearest to TM Rivoli, there is a bus stop
called ‘Pr.D.João I’. This bus stop is served
by the following bus lines: 200, 207, 300,
302, 305, 400, 801, 904, 905, 22, 11. If you do
not have a metro or bus ticket (‘Andante’ or
Address
Praça D. João I,
4000–295 Porto,
Portugal
Phone number
(+351) 223 392 201
Email
geral.tmp@
cm-porto.pt
Website
www.teatromunicipaldoporto.pt
Facebook
www.facebook.
com/Teatro
MunicipaldoPorto.
cmp
The Rivoli Municipal Theatre (TM Rivoli), owned by the Porto
City Council, is one of the two poles of the Municipal Theatre of
Porto (the other pole is the Municipal Theatre Campo Alegre).
It is located at Praça D. João I and presents an own and regular programming, directed by Tiago Guedes and under the
umbrella of the Department of Culture of the municipality.
If we go back in the history of this theater, we can say that in the
1970s, the image of the theater suffered a setback, caused by a
bad financial situation. Rivoli began to deteriorate, with obsolete
equipment and without regular schedule or own target public. At
that time, the Porto City Council decided to buy the structure in
order to return it to the city and its inhabitants. In 1992, the Theater
closed for a complete refurbishment with a project of the architect
Pedro Ramalho. The existing area of 6.000m² was expanded to
more than 11.000m², creating a secondary auditorium, a Cafeconcert, one Rehearsal Room and one Foyer of Artists, as well
as spaces for Administrative Services and Technical Services.
In October of 1997, Rivoli reopened its doors. In 2014, the
Department of Culture of the Porto City Council definitely
took the destiny of the Municipal Theatre (Rivoli and Campo
Alegre). For the first time conceived in its entirety by the
new artistic direction, the proposal of Rivoli opens to multiple arts, with emphasis on dance, but with space for performance, theater, cinema, thought, music, literature, exhibitions,
workshops, artist residencies, puppetry and new circus.
© Teatro Municipal do Porto
TM Rivoli
17
Matéria Prima
18
Address
Rua da Picaria,
n.º 84, 4050-477
Porto, Portugal
Email
materiaprima
@materiaprima.pt
Phone number
(+351) 223 226 040
Website
www.materia
prima.pt
Edifício Montepio
Matéria Prima has begun with a service of orders and deliveries of
records but quickly became a true cultural epicenter in Oporto for
those interested in the most contemporary music scenes. Much
more than just a music store, this is a meeting point for professionals and lovers of less mainstream music, ideal space for the
discovery of innovative and alternative styles. A sort of cult spot
that deserves the attention of those who constantly seek for new
sounds and experiences, from a unique and selected range of
cds and vinyl, but also maga zines, books, dvds, all connected
to the world of music. Always getting a wider dynamic, Matéria
Prima is also associated to a lot of gigs and artists that have been
in Porto over the recent years, and keeps on seeking the promotion of events in partnership with other local cultural spaces.
Address
Av. dos Aliados, 90
R/C, 4000-065
Porto, Portugal
Since the end of the year 2012, Edifício Montepio is part of a
project (coordinated by the Porto City Council through Porto
Vivo and Porto Lazer) which aims to promote the attractiveness of the center of Porto, promoting their rehabilitation
and revitalization. It is intended not only to attract new people, but also to create a greater affinity of the inhabitants of
Porto with the city. Thus, this project seeks to strengthen
the dynamics of creativity and social and cultural intervention on the city center and to approximate the various poles
of downtown, serving as a main center of a set of initiatives
and interventions which should have the ability to contaminate the entire downtown, strengthening and sustaining the
long-term process of rehabilitation and revitalization.
How to get to Matéria Prima?
By Bus: Nearest to Matéria Prima,
there is a bus stop called ‘Praça Filipa
de Lencastre'. This bus stop is served
by the following bus lines: 200, 201, 207,
208, 300, 302, 305, 501. If you do not
How to get to Edifício Montepio?
© Diego Delso
© Matéria Prima
By Metro: The nearest Metro stations to Edifício Montepio are the Metro
stations with the name ‘Trindade’ or
‘Aliados’. To go to the Metro Station
‘Trindade’ you can take any of the lines
of the Metro. To go to the Metro Station
‘Aliados’ you can take the line D.
www.metrodoporto.pt
By Bus: Nearest to Edifício Montepio,
there are a bus stop called ‘PR.D.JOÃO
I’ and ‘AV. ALIADOS’. This bus stops are
served by the following bus lines: 200, 201,
202, 207, 208, 300, 302, 305, 400, 501, 600,
801, 900, 901, 904, 905, 906, 22, 11. If you do
not have a metro or bus ticket (‘Andante’ or
19
Palacete Viscondes Balsemão
20
Address
Praça de Carlos
Alberto, 71
4050–157 Porto
Email
dmcultura
@cm-porto.pt
Phone number
(+351) 223 393 480
Palacete dos Viscondes de Balsemão is a manor house
built in the second half of the 18th century, and underwent profound changes in the two subsequent centuries.
Commissioned by José Alvo Brandão Coutinho Perestrelo
Pereira da Azevedo, it came into the possession of the Balsemão
family, by marriage of D. Maria Rosa with Luís Máximo Alfredo
Pinto de Sousa Coutinho. Around 1840, it was leased to António
Bernardino Peixe, who set up a renowned inn, where King Charles
Albert of Sardinia stayed in 1849, during his exile in Porto. In 1854,
the 1st Viscount of Trindade bought the palace and refurbished
it. After the death of his widow in 1895, the building came into the
possession of their daughter, D. Josefina Henriqueta Sousa Basto.
From 1907 until the First World War (1914–1918), it housed
the Gas Company of Porto, and later, in 1988, the Municipal
Gas and Electricity Services and edp. Since 1996, it houses
the Municipal Directorate for Culture and Tourism, of the City
Council of Porto, and the Numismatic Office which has one
of the most complete and important collections in the country (since the origins of the coin, with Roman, Visigoths, Arabs
pieces and Portuguese coins of monarchy and republic).
The building still boasts its ceilings decorated with stucco
work, paintings and coffered ceilings, sliding doors with tinted
glazing, and commemorative medals of distinguished guests.
How to get to Palacete
Viscondes Balsemão?
By Bus: Nearest to Palacete Viscondes
de Balsemão, there is a bus stop called
‘Carmo'. This bus stop is served by the
following bus lines: 200, 201, 207, 208,
300, 302, 305,501, 507, 601. If you do not
Plano B
Address
Rua Cândido dos
Reis, 30 Porto,
Portugal
Email
plano.b.geral
@gmail.com
Website
www.planobporto.net
Facebook
www.facebook
.com/planobclub
Plano B is more than a club, it’s a space of ‘cultural association’, divided over two floors and a set of large rooms with different atmospheres, sometimes being a cultural space with good
conditions for holding exhibitions of visual arts, design and
architecture, conferences, gatherings and workshops, sometimes being a commercial space with shop, bar and coffee supporting, or a multipurpose space for music concerts, from jazz
to rock, passing by electronic or experimental music, film and
documentaries cycles, theatre, dance and other performances.
With a chic décor (for an alternative space), full of mirrors and
retro objects, Plano B is a local established in December 2006
from the concerted effort of the architects Bernardo Fonseca and
Filipe Teixeira, and of the plastic artist and musician João Carlos
Teixeira. Plano B is a space where we know we can find new national values in areas such as fashion, design, literature, music,
etc.., as well as a careful selection of national quality products
such as wines, cheeses, jams, teas and other delicacies. With an
urban and cosmopolitan concept, worthy of any of the coolest cities in the world, for sure Plano B will call your attention and visit.
How to get to Plano B?
By Bus: Nearest to Plano B, there is
a bus stop called ‘Cordoaria'. This
bus stop is served by the following bus lines: 200, 201, 207, 208, 301,
303, 305,501, 601. If you do not have a
21
Taylor’s Port Cellars
Address
Rua do Choupelo
nº 250, 4400-088
Vila Nova de
Gaia, Portugal
Phone number
(+351) 223 772 956
Website
www.taylor.pt/en
Facebook
www.facebook.com/
taylors.port.wine
For many, Taylor’s is the archetypal Port house and its wines
the quintessential Ports. Established over three centuries ago in 1692, Taylor’s is one of the oldest of the founding Port houses. It is dedicated entirely to the production
of Port wine and in particular to its finest styles.
Above all, Taylor’s is regarded as the benchmark for Vintage
Port. Noted for their elegance and poise as well as for their
restrained power and longevity, Taylor’s Vintage Ports are
blended from the finest wines of the firm’s own quintas or estates, Vargellas, Terra Feita and Junco. Taylor’s is also respected
as a producer of wood aged ports and holds one of the largest reserves of rare cask aged wines from which its distinguished aged tawny Ports are drawn. The house is also known
as the originator of Late Bottled Vintage, a style which the firm
pioneered and of which it remains the leading producer.
Based in Oporto and the Douro Valley the company is closely
involved in all stages of the production of its Ports, from the planting of the vineyard and the cultivation of the grapes to the making,
ageing, blending and bottling of the wines. The family’s commitment to the future of Port is demonstrated in its single minded
dedication to the highest standards in Port production, its continued investment in all aspects of the firm’s operations and its determination to preserve the unique environment of the Douro Valley
through the promotion of sustainable and responsible viticulture.
How to get to Taylor’s Port Cellars?
By Metro: The nearest Metro stations to
Taylor’s Port Cellars are the Metro stations
with the name ‘General Torres’. To go to this
Metro Station you should take the line D.
www.metrodoporto.pt
© bar Radio
22
Rádio bar
Address
Praça de Dona
Filipa de Lencastre
18, 4050–259
Porto, Portugal
Phone number
(+351) 936 320 033
Facebook
www.facebook.
com/barRadio
By Bus: Nearest to Taylor’s Port Cellars,
there is a bus stop called ‘General Torres'.
This bus stop is served by the following bus lines: 904 or 905. If you do not
In the downtown of Porto city, there is a bar called Radio and
has dual frequency, with different waves but which supplement and complement each other. In an emblematic building,
with historical and architectural value, where in the nineteenth century worked a court and Camilo Castelo Branco
was tried, and in the early twentieth century was the stage for
a cabaret. Now is the space that houses this bar with a very
own character, overlooking a square and extending to an interior garden, with an area to talk and dance floor where the
music is a fusion between the recent and the oldest.
Downstairs we find the FM space, with a frequency marked by
the dancing waves. The first floor includes the AM space, with
more relaxed frequency waves, excellent to conversations. In this
floor should be highlighted the restoration that preserved the
building’s original traces and revived their memories, keeping
details of refinement, paintings, stained glass windows, doors,
woods. The building has several rooms that are now decorated
with contemporary notes, showing each one its own personality.
© www.taylor.pt
How to get to Rádio bar?
By Bus: Nearest to Rádio bar, there is a
bus stop called ‘Pr. Filipa de Lencastre'.
This bus stop is served by the following bus lines: 200, 201, 207, 208, 300,
302, 305, 501, 22. If you do not have a
23
1
24
2
4
3
6
7
5
8
1
Casa da Música
Av. da Boavista
604-610
4149-071 Porto
2
Faculdade
de Letras, U. Porto
Via Panorâmica, s/n,
4150-564 Porto
3
Palacete Visconde
de Balsemão
Praça de Carlos
Alberto 71,
4050-157 Porto
4
Matéria Prima
Rua da Picaria 84
4050-477 Porto
5
Plano B
Rua Cândido
dos Reis 70,
Porto
6
Teatro M. Rivoli
Praça D. João I.
4000-295 Porto
7
Edífico Montepio
Av. dos Aliados,
90 R/C
4000-065 Porto
8
Taylor's
Port Cellars
Rua do Choupelo,
250 / 4400-088
Vila Nova de Gaia
25
26
More Than Loud
O Meu Espelho
[My Mirror]
Discussion.
As Palavras do Punk
[The words of Punk]
Tó Trips
After 35 years of 'Subculture',
with interview to Dick Hebdige
Lost Histories of
Youth Culture
TM Rivoli
Psicotronics
and Tracy
Vandal
The Festivalization
of Culture
Casa da Música
Bastardos
[Bastards]
Facadas na Noite
[Stabs at Night]
Matéria Prima
One Chord
Wonders
Before Surgery
Teenage
All the Love
in the World
Rock me Like
The Devil
De la Genaración
@ a la#Generacion
Subcultures:
The Basics
KISMIF
Conference
2015
DIY DIY DIY Darling!
Plano B
d3ö
Live Fast!
Die Punk
Edifício Montepio
Rise up
Taylor’s
Port Cellars
Faculty of Arts and
Humanities of the
University of Porto
We Love 77
On the Road
to American
Underground
KISMIF
Summer
School
10 Covers
Ain't Art, Bastards!
KISMIF Conference
Dinner
Under-Ventures
Search &
Destroy
Our Favourite
Room 3×3×3
Palacete Visconde
Balsemão
27
© vera marmelo
Short Program
28
Short
Program
07–17 July
30
Tuesday,07
18h00 – 18h30
Official opening
and Welcome Speeches
‘There’s a City in My Head’
Foyer 3rd Floor, TM Rivoli, Porto
18h30 – 19h00
Opening Exhibition
‘DIY DIY My Darling! @Rivoli.
Outspace Zines & Records’
Friday,10
14h30 – 15h30
Opening Exhibition
‘Under-Ventures by Ondina’
Palacete Viscondes Balsemão, Porto
16h30 – 17h00
Opening Exhibition
‘Ain’t Art, Bastards! Exhibition
of Esgar Acelerado’
Edifício Montepio, Porto
17h00 – 17h30
Opening Exhibition
‘We Love 77’
17h30 – 18h00
Opening Exhibition
‘DIY DIY My Darling! @Montepio.
Short Program
Monday,13
09h00 – 09h30
Official opening and
Welcome Speeches
Room For One [Anfiteatro
Nobre],Faculty of Arts and Humanities
09h30 – 10h40
Discussion Lectures
Carles Feixa and Ross Haenfler
Room For One [Anfiteatro Nobre],
10h40 – 11h00
Coffee-Break
Gardens Faculty of Arts and Humanities
11h00 – 12h30
Work Sessions 1/2
Working Group 1
Room to Breathe [201], Faculty of Arts and
Humanities of the University of Porto
Working Group 2
No Room for You [203], Faculty of Arts and
12h30 – 13h30
Lunch
Room at The Top [Sala de Reuniões],
13h30
Opening Exhibition
‘All the Love in the World’
Hall the Love of the Room [Entrada da
Sala de Reuniões], Faculty of Arts and
13h30
Opening Exhibition
‘Search & Destroy’
Two People in a Room [207], Faculty of Arts
and Humanities of the University of Porto
13h30
Opening Exhibition
‘DIY DIY My Darling! @FLUP.
DIY DIY my Darling [202], Faculty of Arts and
31
32
14h00 – 14h30
Opening Exhibition
‘On the Road to the American
Underground’
Library, Faculty of Arts and Humanities
14h30 – 15h00
Book Launch
‘Subcultures: The Basics’,
by Ross Haenfler
15h00 – 15h10
Discussion Lectures
Andy Bennett and François Ribac
16h10 – 16h30
Coffee-Break
Gardens, Faculty of Arts and Humanities
16h30 – 18h00
Work Sessions 3/4
Working Group 3
Working Group 4
18h30 – 19h00
BOOK LAUNCH
‘De la Generación@ a la
#Generacion’, by Carles Feixa
Short Program
Cibermúsica [Cybermusic], Casa da Música
19h00 – 19h30
BOOK LAUNCH
‘Lost Histories of Youth Culture’
by Christine Feldman-Barrett
Tuesday,14
09h00 – 10h10
Discussion Lectures
Alastair Gordon and Mike Dines
10h10 – 10h30
Coffee-Break
10h30 – 12h00
Work Sessions 5/6
Working Group 5
Room to Breathe [201], Faculty of Arts
Working Group 6
No Room for You [203], Faculty of Arts
12h00 – 13h00
Lunch
13h00 – 13h30
OPENING EXHIBITION
‘Live Fast! Die Punk!’
Teacher’s Lounge, Faculty of Arts and
13h30 – 14h00
BOOK LAUNCH
‘Rock me Like The Devil: a assinatura
das cenas e das identidades
metálicas [Rock me Like The Devil:
the signature of the metal scenes
and identities]’ by Jeder Janotti Jr.
14h00 – 15h10
DISCUSSION LECTURES
Jeder Janotti Junior and Pedro Costa
15h10 – 16h40
Work Sessions 7/8
Working Group 7
Working Group 8
No Room for You [203], Faculty of Arts
16h40 – 17h00
Coffee-Break
17h30 – 18h30
OPENING EXHIBITION
‘Facadas na Noite [Stabs at Night]’
Matéria Prima, Porto
19h00 – 19h45
PRE-RELEASE
‘O Meu Espelho [My Mirror]’
by Paula Guerra
Café-Concerto, TM Rivoli, Porto
19h45 – 20h15
BOOK LAUNCH
‘More Than Loud’,
edited by Paula Guerra
21h30 – 23h00
SCREENING/RELEASE
Documentary ‘Bastardos. Trajetos
do Punk Português (1977–2014)’
[Bastards. Pathways of the
Portuguese Punk (1977–2014)]’
Pequeno Auditório [Small
Auditorium], TM Rivoli, Porto
23h30 – 00h30
GIG
Tó Trips. ‘Guitarra Makaka. Danças
a um Deus Desconhecido [Monkey
Guitar. Dancing to a God Unknown]’
Sub-palco [Under Stage], TM Rivoli, Porto
Wednesday,15
From 08h00
Opening and Registration
09h15 – 10h30
PLENARY LECTURE
Andy Bennett and Dick Hebdige
10h30 – 11h00
Coffee-Break
11h00 – 12h15
PLENARY LECTURE
Carles Feixa and Paula Guerra
12h15 – 13h30
Lunch
13h30 – 15h15
Parallel Sessions
1.1./2.1./3.1./4.1./5.1.
1.1.
Hybridism and glocalization
in popular music
Room to Breathe [201], Faculty
of Arts and Humanities of
the University of Porto
33
34
2.1.
Always louder than anywhere
else: punk in between the
global and the local
No Room for You [203], Faculty
3.1.
‘Between Heaven And Hell’:
Music, resistence, authority
and social change
Just One More Room for You [210],
5.1.
5.2.
Creativity, entrepeneurship
and cultural resistance
in contemporaneity
17h00 – 17h30
Coffee-Break
17h30 – 19h15
Parallel Sessions
1.3./2.3./3.3./5.3./6.1.
1.3.
Lost in Room [Anfiteatro 2],
15h15 – 17h00
Parallel Sessions
1.2./2.2./3.2./4.2./5.2.
1.2.
The troubled paths from
underground to mainstream
2.2.
‘I Was a Teenage Werewolf!’
Punk, style, authenticity
and commodification
Short Program
3.2.
Cultural cartographies of
popular music scenes, cities
and creative industries
Room For One More [208],
4.2.
‘High on Rebellion’: Gender,
diference, subversion
and (sub)culture
Carreers, jobs and arts:
challenges and persistences
Paranoid images,
kaleidoscopes of sound
4.1.
Whatever Happened to Rock
‘n’ Roll?: popular music
heritage and memories
2.3.
Destroy all monsters! Punk
rock pedagogy, subversion,
resistance and community
3.3.
Crossing borders of
underground music scenes
through arts and creativity
5.3.
Rebellious Jukebox: Dream
narratives and challenges
in current artistic work
19h00 – 19h30
Performance
‘The Conversation Blows Up’,
by Mary Fogarty and Helen Simard
19h30 – 20h15
BOOK LAUNCH
‘One Chord Wonders: Power and
Meaning in Punk Rock’, by Dave Laing
20h15 – 21h00
TRIBUTE
‘After 35 years of ‘Subculture:
The Meaning of Style’, with
interview to Dick Hebdige
21h30 – 23h00
SCREENING
Documentary ‘Teenage’
Pequeno Auditório [Small
Auditorium], TM Rivoli, Porto
23h30 – 00h30
GIG
Psicotronics and Tracy Vandal
Sub-palco [Under Stage], TM Rivoli, Porto
Thursday,16
09h15 – 11h00
Parallel Sessions
2.4./3.4./5.4./6.2./7.1.
2.4. The punk scene in France (1976–
2016): Identities and specificities
Alive Tonight! Electronic
dance music, post-colonial
studies and borders
3.4.
The city is mine! Cities,
transformation, activism
and intervention
‘Revolution Ballroom’: Social
innovation, creativity, diy
and social inclusion
2nd Floor, Faculty of Arts and
6.1.
5.4.
6.2.
Power, loud and darkness:
the persistence of metal
7.1.
‘Everybody Everywhere’:
Mediation, strategies
and audiences
11h00 – 11h30
Coffee-Break
11h30 – 12h15
PLENARY LECTURE
Matthew Worley
12h15 – 13h00
PLENARY LECTURE
Mary Fogarty
13h00 – 14h30
Lunch
14h30 – 16h15
Parallel Sessions
1.4./2.5./4.3./6.3./8.1.
1.4.You Can Put Your Arms Around
a Memory: authenticity and
identity in popular music
35
36
2.5.
I Wanna Be Your Bastard! Punk
rock in the midst of social
changes in Portugal (1977–2014)
6.4.
4.3.
‘The Correct Use of Soap’:
Resisting subcultures?
8.2.
6.3.
Shaping the past: heritage
and memories in current
music scenes
8.1.
Countercultures, comics,
and alternative press
16h15 – 16h45
Coffee-Break
16h45 – 18h30
Parallel Sessions
1.5./2.6./4.4./6.4./8.2.
1.5.
Take Me Out! Underground,
authenticity and local
music scenes
Short Program
2.6.
Punk, transformation
and hybridism
4.4.
‘Wrong place, Right time’:
Autenthicty, counterculture and
subcultural (re)emergence
‘Driving You Insane’. Aesthetic
and styllistic fragmentation:
the multiple worlds of indie rock
Fanzines, music magazines and
19h00 – 20h00
BOOK LAUNCH
‘The Festivalization of Culture’,
by Andy Bennett, Jodie Taylor
and Ian Woodward
20h30 – 00h00
KISMIF CONFERENCE DINNER
‘The Cost of Loving’
Taylor’s Port Cellars, Porto
23h00 – 04h00
PARTY
‘This is Radio kismif’
8.3.
Sala de Ensaio 3 [Rehearsal
Room 3], Casa da Música
11h15 – 11h45
Coffee-Break
09h30 – 11h15
Parallel Sessions 6.5./7.2./8.3.
6.5. ‘Waiting Underground’:
Indie rock, global, local and
glocal music scenes
Cibermúsica [Cybermusic],
Casa da Música
7.2.
Fandom, music lovers,
audiences and popular music
16h45 – 18h30
Parallel Sessions
4.5./6.7./8.5.
4.5.
Foyer Sul Superior [Foyer South
Superior], Casa da Música
11h45 – 12h30
PLENARY LECTURE
Paul Hodkinson
Sala 2 [Room 2], Casa da Música
12h30 – 13h15
PLENARY LECTURE
Dave Laing
13h15 – 14h30
Lunch
Foyer South (Bar 1) and Foyer
West (Bar 2), Casa da Música
14h30 – 16h15
Parallel Sessions
6.6./7.3./8.4.
6.6.
RADIO, Porto
Friday,17
Popular music heritage,
nostalgia and retromania
Shakin’ All Over! Mobilities,
transnational identities,
transglobal sounds
Casa da Música
7.3.
Born to be alive! Festivals, live
music venues, festivalization
of culture and musicscapes
8.4.
Gatekeeping, online social
media and youth cultures
‘Dreams Never End’.
Genealogy and history of youth
cultures and subcultures
6.7.
Transmissions, migrations,
diasporas, cultural identities
and music scenes
Casa da Música
8.5.
diy, new music, new
technologies and media
18h30 – 19h00
FINAL DISCUSSION
19h00 – 19h20
GIG PERFORMANCE
‘No Punk, No Science, No
Now’, by Before Surgery
19h30 – 20h30
DISCUSSION
‘As palavras do punk [The words
of punk]’, by Augusto Santos
Silva and Paula Guerra
23h00 – 01h30
GIG
d3ö
Plano B
16h15 – 16h45
Coffee-Break
37
38
‘There’s a City in My Head’ constitutes the
cultural, artistic and musical program of
kismif Conference. With activities in many
places of Porto city (Faculty of Arts and
Humanities of the University of Porto, Casa
da Música, tm Rivoli, Edifício Montepio,
Palacete Viscondes Balsemão, Matéria Prima
and Plano B). ‘There’s a City in My Head’ tries
to approximate the city, the general public,
the academy and the underground culturalmusical-artistic manifestations. Between July
7th and July 17th, all the interested people can
visit our exhibitions, attend to our gigs and
book launches, among other activities.
There’s
a City
in My Head
‘[Music is] something which brought people
together, so they realized something [is] possible’.
Pete Shelley (Buzzcocks)
© rui oliveira
Official opening
and Welcome Speeches:
07 July 2015
Foyer 3rd Floor,
tm Rivoli, Porto
40
Exhibitions
diy diy My Darling!
@Rivoli/ flup/ Montepio.
Outspace Zines & Records
Artists: Esgar Acelerado, Chili Com
Carne, mmmnnnrrrg, Ondina Pires, Victor
Torpedo, Noé Alves, Anoik, João Belga,
Rudolfo, Chaputa Records and others
Since the 1970’s uncommon cultural products have been produced in Portugal, many
of them without official records to prove
them. From comic books and graphic novels to music, from poetry to politics, there
are several artists, writers and editors that,
unwilling to follow the rules of official labels.
Since then they have been taking the matter into their hands and working towards
producing and distributing publications
(many times free) that don’t fit in the bookshelves, music that is extremely loud in oldfashioned media (vinyl, K7…) and images
printed with forgotten techniques, etc…
Also, content-wise, there is total liberty.
The mounting of this exhibition
has the special collaboration of the
Centro Português de Fotografia
[Portuguese Center of Photography].
© Marcos Farrajota
07 – 17 July 2015 / TM Rivoli, Faculty of Arts
and Edifício Montepio, Porto / Curated by
Esgar Acelerado, Paula Guerra, Marcos
Farrajota, Noé Alves and Tânia Moreira
41
42
© Marcos Farrajota
© Esgar Acelerado
43
44
Ain’t Art, Bastards!
Exhibition of Esgar Acelerado
Under-Ventures
by Ondina
People with a Sweet Tooth, on the magnificent work of Esgar Acelerado by valter
hugo mãe. ‘I always have the idea that the
characters of Esgar Acelerado bring with
them a look of gluttony for things, gluttony for life with their frequently bulging appearance, with a hard and intense
expression. They are a very tender group
of figures that mix the cartoon imaginary world with that of illustration, from
the more pragmatic of the former genre
to the more lyrical aspects of the latter.
I always have a sense of fun to which is
added ferment sensitivity which many
times lead to a tone that is also dramatic,
even melancholic and hence romantic’.
Ondina Pires: the show of art and wiseinsanity. Ex-musician in bands like Ezra
Pound and The Madness, Pop dell’Arte,
The Great Lesbian Show; writer, collage
and scraps addicted; collector of bizarre
items. ‘I was born on November 9, 1961, in
Lisbon downtown, within a very humble
family that, nevertheless, had some intellectual references at home: books, newspapers, drawings, small oil paintings and a
love for music. (…) With April 25, 1974 (The
Revolution of Carnations) other artistic
references came along and were added to
the previous (…). It was the time of ‘discovering the Others’ – Camões High School
mates, the reactionary neighbours, films,
rock music (At the age of 11 years old, I had
a crush for Susi Quatro band hard-glamour
rock!). As I hated the clothes bought by my
mother and godmother I also used to modify them…In 1977 – the second big musical
passion – The Sex Pistols! And I’ve never
stopped. So, to cut the long story short,
while I was trying to ‘digest in the same
basket’ Punk mouvement, countercultures
like the Beat Generation and Hippie, Black
American music, the classics of English
literature (…), dada, Surrealism, Futurism
art, plus Leninism, Marxism, Anarchism,
Fascism and an amount of ‘isms’, I had to
‘endure’ public education with its boring school ‘pedagogic’ programs. At
the same time, I was rehearsing the first
musical and poetic steps with some of
my best pals of Camões High School.
Artist: Esgar Acelerado
url: www.mr-esgar.com/2010/11/about/
10 – 17 July 2015 / Edifício Montepio,
Porto / Curated by Esgar
Acelerado and Paula Guerra
Artist: Ondina Pires
Ondina Pires In www.preguicamagazine.
com/2015/01/29/ondina-pires-oshow-da-arte-e-da-loucura/
10 – 17 July 2015 / Palacete Viscondes
Balsemão, Porto / Curated by Ondina
Pires and Esgar Acelerado
© Ondina Pires
45
46
© Ondina Pires
© Víctor Torpedo
47
48
We Love 77
Artist: Sardine & Tobleroni
(Victor Torpedo and Jay Rechsteiner)
We Love 77 is an exhibition of Sardine &
Tobleroni. Victor Torpedo is Sardine and
Jay Rechsteiner is Tobleroni. They are a
so-called art duo which means they do
stuff together. They started off as painters – Sardine doing the right hand-side and
Tobleroni the left hand-side. However, they
soon started doing other things as well
such as videos, installations, online art and
all that crap. They describe what they do as
Conceptual Art Brut, the equivalent to what
Punk is in music. ‘We Love 77’ is an exhibition of 77 paintings of 77 highly influential
Punk bands, featuring names from the early American precursors like the Stooges,
to contemporary bands like the Libertines.
This exhibition wants to give a profound
and detailed insight into one of the most
important cultural and social movements
of the last century: Punk. It has had a great
impact on the political and social landscape as well as on contemporary art and
music, questioning and rejecting existing
moral values and the creation of a fertile
ground for new ideas that have changed
the world politically and socially ever since.
url: www.welove77.wordpress.com/
www.youtube.com/
watch?v=zeJxJcov_gk#t=162
10 – 17 July 2015 / Edifício Montepio,
Acelerado and Victor Torpedo
10 Covers
Artist: Júlio Dolbeth
The Faculty of Arts and Humanities of the
University of Porto will not be large enough
to accommodate all the great artists
who collaborate with kismif Conference
2015. And among these artists, is Júlio
Dolbeth that will certainly mark once again
kismif Conference, surprising us with
their fascinating and distinctive illustrations. 10 Covers is an exhibition where
Dolbeth reinterprets 10 emblematic record covers that are part of the collective memories of the public. Albums like
‘Thriller‘ by Michael Jackson, ‘Houses
of the Holy’ by Led Zeppelin, ‘Heroes’ by
David Bowie and ‘Kind of Blue’ by Miles
Davis are some of the records whose
covers were ‘redesigned’ with a graphite
pencil and Chinese ink Júlio Dolbeth.
13 – 17 July 2015 / Room For One [Anfiteatro
Nobre], Faculty of Arts and Humanities
of the University of Porto / Curated by
Esgar Acelerado and Júlio Dolbeth
All the Love in the World
Artists: Cobraprima
Organized as a parody of the making off
and reflections on durational projects, this
exposition imagines Kayl Worska (alter ego
of Carolina Val do Rio) was created by a multidisciplinar artistic team over 10 years ago.
Reflecting on the life of the character as a
duality between the social and the individual, the work (conceptual designs, blueprints
of the Caldas’ house, sculptures, videos and
documents) seek to deconstruct the organization of self-constructed identity. Seeking
a diy ethos in both its production and its
themes, this exposition seeks to reflect the
Portuguese independent culture, understanding it in light of an individual past.
13–17 July 2015 / Hall the Love of the Room
[Entrada da Sala de Reuniões], Faculty
of Arts and Humanities of the University
of Porto / Curated by Cobraprima
© Júlio Dolbeth
49
50
© cobraprima
© armanda vilar
51
52
On the Road to the American
Underground
+ book launch
Underground’ by Paula
Guerra and João Leite
The exhibition ‘On the Road to the
American Underground’ will agglomerate the most interesting publications
on the American underground acquired
by the Library of the Faculty of Arts and
Humanities of the University of Porto in recent times. It is an exhibition that will result
in the release of the book ‘On the Road to
the American Underground’ authored by
Paula Guerra and João Leite. This book,
inspired by the homonymous book of Jack
Kerouac, will serve as basis also for the
tribute to Ross Haenfler, us natural, key
speaker invited to the kismif Conference
2015 and lover/ researcher of subcultures.
13 July – 30 September 2015 / Library,
Faculty of Arts and Humanities of
the University of Porto / Curated
by Ana Carolina Avillez, Isabel Leite,
João Leite, Laura Gil, Marlene Borges,
Paula Guerra and Tânia Moreira
Our Favourite Room 3×3×3
Artists: Anoik, João Belga and Rudolfo
3 artists, 3 exhibitions, 3 rooms. Thus
is the exhibition Our Favorite Room
that will bring new colors and lines to
the walls of four rooms of the Faculty of
Arts and Humanities of the University
of Porto. This is to show recent, emerging and underground dynamics of
the city’s illustration. The exhibition
will run from 13th to 17th July 2015.
13–17 July 2015 / Room to Breathe
[201], No Room for You [203], Room For
One More [208], Faculty of Arts and
/ Curated by Esgar Acelerado
Search & Destroy
Journals: Interactions, Metal Music
Studies, Journal of Urban Cultural Studies,
Punk and Post Punk, Fashion, Style &
Popular Culture, Journal of Community
Music, Journal of Music, Technology
and Education, Scene, Cidades,
Comunidades e Territórios, among others.
The second edition of kismif Conference
makes a new bet and organizes an exhibition of scientific journals that will bring to
the Faculty of Arts and Humanities of the
University of Porto some of the most interesting journals (national and international)
of the scientific community most dedicated
to the theme of popular music, cultural
studies, sociology of art and sociology of
culture. The aim is to increase the knowledge and generate interest and exchange.
13–17 July 2015 / Two People in a Room
[207], Faculty of Arts and Humanities
of the University of Porto / Curated
by Michael Spanu and Tânia Moreira
© rudolfo
53
Live Fast! Die Punk!
54
+ book launch
by Rui Oliveira
Photo exhibition authored by the photojournalist Rui Oliveira, a punk lover that
captures heart and soul of the tribes,
dispossessed of the city and the underground. Thus, in partnership with the
project ‘Keep it Simple, Make it Fast!‘, Rui
sought to portray some of the day-to-day
aspects of the of the actors involved in
the Portuguese punk scene. The result of
this search is a set of live pictures to be
presented at kismif Conference 2015.
14–17 July 2015 / Teacher’s Lounge, Faculty
of Arts and Humanities of the University of
Porto / Curated by Rui Oliveira e Ana Oliveira
Facadas na Noite [Stabs at Night]
+ Listening music through
Walkman (cassette)
+ dj Set Matéria Prima
+ Drinks
Exhibition which aims to foster a deepening of multidisciplinary reflection on the
processes of change in contemporary music
marking the 25th anniversary of the iconic
record store Matéria Prima and simultaneously the kismif Conference inside the
doors of this store. At the same time, and
through the approach to traditional production and dissemination modes – namely,
in cassette format – offers an accurate
reflection on the ‘retromania’ and nostalgia
that, as several authors (Simon Reynolds,
Gilles Lipovetsky, among others) have been
emphasize, feature the contemporary and,
in particular, the sphere of urban popular
music and graphic design. In an innovative
way, this event will have an impact object
that despite the (national and international)
cult around it, remains largely to study in
an academic context – Facadas na Noite
[Stabs At Night], a Portuguese cassettes
publisher, located between Porto and Braga,
dedicated to ‘radical’ sounds and whose
activity mainly took place between late
1980 and mid-next decade. The mounting
of this exhibition has the special collaboration of the Museu Nacional Soares dos
Reis [National Museum Soares dos Reis].
url: http://anos80.no.sapo.pt/fnn.htm;
http://underrrreview.blogspot.pt/2009/08/
facadas-na-noite.html; http://underrrreview.
blogspot.pt/2011_08_28_archive.html
14–18 July 2015 / Matéria Prima,
Porto / Curated by Paula Guerra,
Paulo Vinhas and Pedro Quintela
© ana raposo
55
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Book Launches
Presentation
Subcultures: The Basics
by Ross Haenfler
+ Port Wine Welcome Drink
‘Subcultures: The Basics’ is an accessible, engaging introduction to youth
cultures in a global context. Blending
theory and practice to examine a range
of subcultural movements including
hip hop in Japan, global graffiti writing crews, heavy metal in Europe and
straight edge movements in the usa, this
text answers the key questions posed
by those new to the subject. Tracing the
history and development of subcultures
to the present day, with further reading and case studies throughout, this
text is essential reading for all those
studying youth culture in the contexts
of sociology, cultural studies, media
studies, anthropology and criminology.
13 July 2015 / Library, Faculty
of Arts and Humanities of the
University of Porto / Curated by
Presentation
De la Generación@ a la
#Generacion by Carles Feixa
+ Autograph Session
‘De la Generación@ a la #Generacion’
presents and systematizes a set of outstanding features for those who are dedicated to the study of youth and youth
cultures not only with an anthropological
approach but also with an approach that
lies at the heart of the social sciences
in general. Within the line that has been
developing over the last 15 years, Carles
Feixa – one of the most cited anthropologists in Spain and Latin America
– does a youth approach articulating
both the subcultural approach, whether
the contemporary neo-tribalism and the
post-subcultural theories, proposing
an integrating analysis model of youth
cultures (and an happy one, we would say)
of theoretical positions to address the
context of youth culture in late modernity.
13 July 2015 / Cibermúsica [Cybermusic],
Casa da Música / Curated by Paula
Guerra and Tânia Moreira
BOOK LAUNCH
Lost Histories of Youth Culture
+ Autograph Session
Young people and their activities have
always been a part of history – yet such
narratives have remained mostly untold
and often lost in the sands of time. This
unprecedented and international collection sheds light on youth’s hidden histories
from the nineteenth century to the early
twenty-first century: whether from the
American Civil War, Maoist China, postcolonial Greenland, or contemporary Iran.
These tales of leisure, identity, and belonging take readers into the heart of youth
history and uncover heretofore unrecognized cultural contributions that young
people have made throughout the ages.
Pre-release
O Meu Espelho [My Mirror]
by Paula Guerra
+ dj Set Esgar Acelerado
11 Portuguese rock biographies are the
motto of this book of Paula Guerra:
Adolfo Luxuria Canibal, Alexandre Soares,
Gustavo Costa, João Peste, João Vieira,
Paulo Furtado, Pedro Ayres Magalhães,
Rui Reininho, Tó Trips, Xana e Zé Pedro.
With them, one traces the sociologic
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course of the statement of Portuguese
rock in the last 30 years, showcasing the
specificities and contours of this pioneering path in Portugal. The trajectories of
these actors are shown as translating
a group of shared values, in the face of
which several practices of Portuguese
contemporary society are highlighted.
Presentation
14 July 2015 / Café-Concerto,
TM Rivoli, Porto / Curated by
‘Rock me Like The Devil’ is the result of
Jeder Janoti Jr’s research in the Federal
University of Pernambuco on music scenes
and genres. It also has a very personal and
biographical touch, given that, more than
a professor, Jeder is also a music critic, a
musician, and a fan of rock. The first part of
the book concerns itself with discussions
on the aesthetic and performance of taste
for mass-produced popular music, disucssing the politics and poetics of the discussion on what constitutes ‘good music’. In
the second part, the book brings these
discussions to the identities of heavy metal.
BOOK LAUNCH
More Than Loud
edited by Paula Guerra
This book explores the ‘many worlds
that exist within each sound’. Indeed, if
we situate ourselves in the field of pop
rock, we can easily realize that the different arrangements of this gender and style
have been over the last seventy years,
the core of the structuring of experiences and leisure and cultural sociability
around the world, giving rise to a profusion of tastes, spaces, works, (sub)cultures
and styles. Given its importance, it
is no wonder that over the last three decades, music has come to constitute a priority area of sociological reflection on how
this relates to the social structure, the way
whereby the worlds of music are designed,
configured
and canonized and the importance of
music in the identity formation of his
listeners. In this book, we present some
research on music developed in Portugal,
in the social sciences and humanities field, bringing together researchers
from different generations and theoretical and institutional affiliations.
14 July 2015 / Café-Concerto,
Rock me Like The Devil:
a assinatura das cenas
e das identidades metálicas
[the signature of the metal
scenes and identities]
by Jeder Janotti Jr.
14 July 2015 / Library, Faculty of Arts and
Humanities of the University of Porto /
Curated by Paula Guerra and Tânia Moreira
book launch
One Chord Wonders: Power
and Meaning in Punk Rock
by Dave Laing
+ Autograph Session
Originally published in 1985, One Chord
Wonders was the first full-length study
of the glory years of British punk rock.
The book argues that one of punk’s most
significant political achievements was
to expose the operations of power in the
British entertainment industries as they
were thrown into confusion by the sound
and the fury of musicians and fans. Through
a detailed examination of the conditions
under which punk emerged and then declined, Dave Laing develops a view of the
music as both complex and contradictory.
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Special attention is paid to the relationship between punk and the music
industry of the late 1970s, in particular
the political economy of the independent record companies through which
much of punk was distributed. The rise of
punk is also linked to the febrile political
atmosphere of Britain in the mid–1970s.
Casa da Música / Curated by Paula Guerra
and Tânia Moreira
Presentation
The Festivalization of Culture
by Andy Bennett, Jodie Taylor
and Ian Woodward
+ Autograph Session
The festivalization of culture explores
the links between various local and
global cultures, communities, identities and lifestyle narratives as they are
both constructed and experienced in
the festival context. Drawing on a wide
range of case studies from Australia
and Europe, festivals are examined as
sites for the performance and critique
of lifestyle, identity and cultural politics; as vehicles for the mobilization and
cementation of local and global communities; and as spatio-temporal events
that inspire and determine meaning in
people’s lives. Investigating the manner
in which festivals are no longer merely
periodic, cultural, religious or historical
events within communities, but rather a
popular means through which citizens
consume and experience culture, this
book also sheds light on the increasing diversity of contemporary societies and the role played by festivals as
sites of cohesion, cultural critique and
social mobility. As such, this book will
be of interest to those working in areas
such as the sociology, consumption
and commodification of culture, social
and cultural geography, anthropology,
cultural studies and popular music studies.
Discussion
As palavras do punk
[The words of punk]
by Augusto Santos Silva
and Paula Guerra
Punk came to Portugal relatively early.
Among the latter years of the 1970s and
early 80s, it was formed a first national
punk scene. It endures to the present day,
and to prove it there are the three hundred
bands in activity, directly or indirectly related to punk. This book covers the scene
from the discourses that it generates about
the country and the role of punk. It does
so from interviews with 214 protagonists
of the punk scene and the content analysis of the names of the bands, the song
lyrics, the album covers, the fanzines or
the video clips. Thus the book proposes a
sociological interpretation of punk development in Portugal that is combined and
enriched by the reflections of musicians,
promoters, fans and other agents of the
scene. The book seeks to answer some
key questions: who are the protagonists
of the Portuguese punk? How had they
constituted a separate scene? How is this
scene structured? Who are the people,
the bands? Which are the emblematic
songs? What do the punks say on themselves and on society? Which messages
do they seek to transmit? How do they
define their collective identity? What divides and opposes them? Does punk make
sense today? So this debate on ‘Words
of Punk’ will be guided by these issues.
Casa da Música / Curated by
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Screening of
Documentaries
Bastardos. Trajetos do Punk
Português (1977–2014)
Portuguese Punk (1977–2014)]
Documentary about the socio-musical
manifestations of punk in Portugal, since
1977 and up to today. It is based in documents and statements gathered and
archived during an research project, as
well as the results of the field work of Keep
it Simple Make it Fast! (kismif). Given the
invisibility of punk rock manifestations,
both the investigators and the general
public, this documentary will serve as a
path through the history of Portugal in the
last four decades. The emergence of punk
in Portugal was marked by the opening
and the transformation of post–25 of April,
and is characterized by the mimesis/reappropriation of north-American realities.
We are in front of an important case of
cultural hybridism which wavers between
mimesis and recreation – which is strongly
felt in the Portuguese case. It is assumed
as a journey in Portugal, given the relevance and visibility of the lifestyles and
narratives marked by the punk universe.
Teenage
Film of 2013 directed by Matt Wolf based
on the book Teenage: The Creation of
Youth Culture, 1875–1945 de Jon Savage.
Teenagers did not always exist. In this living collage of rare archival material, filmed
portraits, and voices lifted from early 20th
Century diary entries, a struggle erupts
between adults and adolescents to define
a new idea of youth. The film gives a voice
to four young people of different eras and
countries, and uses their stories to capture the teenage spirit of the time and the
‘pre-history’ of youth: from party-addict
flappers and swingers, to the Hitler youth.
15 July 2015 / Pequeno Auditório [Small
Auditorium], TM Rivoli, Porto / Curated
by Porto/Post/Doc and kismif
14 July 2015 / Pequeno Auditório [Small
Auditorium], TM Rivoli, Porto / Curated
by Paula Guerra and Tânia Moreira
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© Teenage Documentary
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© Paulo Peixoto and Cristina Mamede
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gigs
© Tó Trips
Tó Trips. Guitarra Makaka.
Danças a um Deus Desconhecido
[Monkey Guitar. Dancing to a God
Unknown]
Tó Trips presents his second solo record
in the kismif Conference 2015. ‘Those
who remember Tó Trips as the guitarman
in Amen Sacristi or as the leader of Lulu
Blind, are not entirely convinced of the
transformation. The man who shouted on
stage, guitar just below the knee, is the
same who today reaches for his acoustic
guitar, in silence, seemingly unaware of
the noise of the public. What happened?
Growing older and wiser, the need for introspection, the fatigue led by the excess
electricity. These are all plausible motives,
but it leaves out the most prosaic – his
interests simply shifted. It so happens that
in his solo work, the strings of the acoustic
guitar, the ressonance of the instrument
and the solitude of the chords, have taken
place as sovereignity. And as for the musical identity of the project, Tó Trips' ‘voice’,
it is being built, progressively, with the
melodies, the rhythms, the compositions
and the possibilities and chances which
live in acoustic music. It is not a musical
monologue either, since, since the beginning of the project, Trips has established
dialogues with Carlos Paredes, Joseph
Spence, the Andaluzia, Peter Walker, or
African blues – without privileging any
of them, listening to all of them with the
same attention and pleasure. His goal has
just been to create new music from his
tastes and affections. ‘Guitarra Makaka:
Danças a Um Deus Desconhecido’, his
latest work, is truly new music, with the
languid sadness of the Cape Verde, the
upbeat freshness of Mali sounds, or the
echoes of Lisbon, who, in an embarrassed
happiness invites the Mediterranean to
a summer dance. This is why this should
be a night to remember, with the themes
of his latest work paving the way’.
(In: www.rastilhorecords.com/pt/loja/
musica/-/guitarra-makaka-dancasa-um-deus-desconhecido–133/)
14 July 2015 / Sub-palco [Under Stage],
TM Rivoli, Porto / Curated by Pedro
Miguel Ferreira and Rivoli TM
Ticket: 5 euros
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Psicotronics generators and stuff to hypnotise you and to make you feel… In the
words of Victor Torpedo: ‘Psicotronics is
the Marquis of Cha Cha, lord of the out
of bill and norm and of moral society.
Marquis is the last remaining survivor of a
crystalline world, a beautiful world where
unicorns kiss in the twilight. If you notice
it, we have yet to talk about music, and
it is not even needed, given that everything about Marquis is melody and music
to look and to hear. There is no need
to create personas and histories when
everything is so pure and direct. You can
hope to get good music, touching angles
between electronica and minimal rock
and roll. For me, it is much more than that:
it is the Special One. Thank you Marquis
of Cha Cha (to me, Victor Torpedo and to
Pedro Antunes) to be part of this adventure. Love, Victor Torpedo.’ The sound of
Psicotronics wanders between the 80s
electronic, in such names as Suicide,
daf, Cabaret Voltaire, Frontline Assembly,
Alien Sex Fiend, Ministry and others. They
are a trio: Victor Torpedo (Tédio Boys,
Parkinsons, Blood Safari) in the electric
guitar, Pedro Calhau (Subway Riders
and Bunnyranch) in the electric bass
and Marquis of Cha Cha in the voice, to
which a dancing programme is added.
In the melodic masses a sub-repticious
groove is announced which takes hold
of the listener and forces him to dance.
After a great period of absence, Tracy
Vandal presents her first disc as herself, the ep – ‘The end of Everything’.
Boz Boorer – guitar player, composer
and music director of Morrissey and exmembers of Polecats, has been with her
throughout nearly all songs. João Rui,
of A Jigsaw, made the arrangements of
some of the songs built on emotions filled
with a desolate emptiness, and putting
the emphasis on that dark side of the
disc. Written in a cold and melancholic
November, in Coimbra, resulting from a
forced isolation at home and a confrontation with the emotional longing which fills
us, this disc stresses the moment in which
life seems to fade out – being only the
beginning, despite being the end. In the
United Kingdom Tracy Vandal was part of
projects such as Giant Paw, Dick Johnson,
Lincoln and Karelia (the first band of Alex
Kapranos of Franz Ferdinand). In London
she met Victor Torpedo, who with Kaló
(Tédio Boys, Bunnyranch and Parkinsons)
and ‘Portuguese Pedro’ Serra (Ruby Ann
& the Boppin’Boozers) formed the Tijuana
Bibles. Living in Portugal since 2011 after
the extinction of the aforementioned
project, Tracy Vandal decided to continue
her career as a solo. The first adventure is
the 5 song ep – The End Of Everything.
15 July 2015 / Sub-palco [Under Stage],
TM Rivoli, Porto / Curated by Pedro
Ticket: 5 euros
© Víctor Torpedo
Psicotronics + Tracy Vanda
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Before Surgery. No Punk,
No Science, No Now
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A sound ensemble creates and explores
the ‘scientific punk’ genre. How to decipher the possible dynamics and dissonances between shards of punk music
idioms, scientific content, and the current zeitgeist? Conference participants
will be invited to donate their papers as
source material for live deconstruction
and methodological mash-up. kismif
Conference 2015 will close its scientific
activities under the sound of this ensemble.
17 July 2015 / Sala 2 [Room 2], Casa
da Música / Curated by Anselmo
Canha and Heitor Alvelos
© Heitor Alvelos
71
d3ö
72
+ dj Set 2 bad js
with Sérgio Cardoso
d3ö (the trio) were born in 2002 in Coimbra,
from the ashes of Tédio Boys [Boredom
Boys]. Composed by Toni Fortuna (voice
and guitar, ex-Tédio Boys), Tó Rui (guitar,
ex-Garbage Catz) and Nito Gonçalves
(drums, ex-M’As Foice), d3ö already edited SixPackTrack (2003), 8 Tracks On
Red (2004) and 7 Heartbeat Tracks (2005),
thus completing an initial project: a trio
/ three EPs. With a unique sound, they
didn’t go unnoticed to the English publisher Dirty Water Records that put on the
world market, one single on 7 ‘vinyl, with
the themes ‘Wanna Hold You’ and ‘Go’.
Among its different concerts, they highlight
passages at Coliseu dos Recreios [Lisbon
Coliseum], Alive Festival, the mind-blowing night with Mudhoney, the new incursions by Spain and England (Manchester,
Sheffield and London). In 2009, after record
a session ‘3 Pistas’ [‘3 tracks’] for the
program ‘Portugália’ of Antena 3, which
included an acoustic version of ‘Rehab’
by Amy Winehouse, d3ö recorded their
debut album, ‘Exposed’, produced by
the Dutch Wout Straatman (the same of
‘Farewell’ – Sean Riley & The Slowriders). In
early 2012, d3ö completed the recordings of
their new album of originals, ‘Love Binder’.
URL: www.facebook.com/d3o.rock?fref=ts
2 BADjs are Toni Fortuna and Rui Ferreira.
Faithful to rock’n’roll sounds, they promise
an end of respect to kismif Conference
2015. Sérgio Cardoso (confessed music
lover and musician of bands such as É Mas
Foi-se, Tédio Boys, Wraygunn, Foragidos da
Placenta, Sound Systeam) joins to this party
and enriches even more the spectacle.
url: www.facebook.com/pages/
Lux-Records/146155128817460
© Toni Fortuna
17 July 2015 / Plano B / Curated by Pedro
Miguel Ferreira and Tânia Moreira
Ticket: 5 euros
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Other activities
Rise Up: a scientific interface
© Marta Borges
‘Rise Up’ is a moment where, during the lunch time, the participants in
the kismif! International Conference
and Summer School can present
their works in a more relaxed and
informal way. So, if you have recently edited a book, a magazine or
a fanzine, if you released a record, a
film, if you are building up a homemade instrument, etc., this might be
the moment for you to present it in
Portugal and discuss it with the fellow colleagues who are joining the
Conference and the Summer School.
15 July 2015 / Café-Concerto, TM
Rivoli, Porto / Curated by Paula
13–17 July 2015 / Faculty of Arts
and Humanities of the University
of Porto and Casa da Música
/ Curated by Pedro Quintela
KISMIF Conference Dinner:
Tribute
On July 16th, 2015, all participants of kismif Conference 2015 can gather at the
official Dinner of kismif Conference. The
kismif Conference Dinner will be held at
Taylor’s Port Cellars (www.taylor.pt/en/
about/who-are-we/) and will be organized by Três Séculos (www.tresseculos.
pt/en/about-us). The menu will have
vegan options and will include an assortment of starters, one main course,
desserts, drinks, coffee. Dinner will be
accompanied by the dj Set ‘Love Is A
Strange Dude’ of dj Peter Schmeichael.
The name of the dj Set it’s from the
song ‘O Amor É Um Gajo Estranho
(pt)’ by a Portuguese band called
Pop Dell’ Arte, one of the most important and inventive bands from the
alternative scene in Portugal. The
dj Set will be totally improvised – as
usual – but yes, something between
Einsturzend Neubauten and inxs.
After 35 years of ‘Subculture:
+ Interview
‘The subcultures, after 35 years’,
by Andy Bennett, Carles Feixa,
Paula Guerra and Pedro Quintela
and Marxism and come up with a very
stimulating short book. (Time Out)
This book is an attempt to subject the
various youth-protest movements of
Britain in the last 15 years to the sort of
Marxist, structuralist, semiotic analytical techniques propagated by, above
all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about
some of the most stimulating music of
the rock era. (The New York Times)
‘Hebdige’s Subculture: The Meaning
of Style is so important: complex and
remarkably lucid, it’s the first book
dealing with punk to offer intellectual
content. Hebdige […] is concerned
with the uk’s postwar, music-centred,
white working-class subcultures, from
teddy boys to mods and rockers to
skinheads and punks.’ (Rolling Stone).
With enviable precision and wit
Hebdige has addressed himself to a
complex topic – the meanings behind the fashionable exteriors of
working-class youth subcultures – approaching them with a sophisticated
theoretical apparatus that combines
semiotics, the sociology of devience
+ dj Set ‘O Amor É Um Gajo Estranho
[Love Is A Strange Dude]’
16 July 2015 / Taylor’s Port Cellars,
Porto / Curated by Tânia Moreira
and Pedro Miguel Ferreira
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© ana raposo
© Susana Marques
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Party
djs: Ricardo Salazar and Joana Tê
There are vynils on the walls, old radios on
shelves, and a lot of people dancing. The
radio has anchored in the Porto downtown area with highly danceable emissions. We would call it an indie super-bar
if it did not run away from the indie brand.
We would call it that because it is, after all,
the fusion between two alternative music
reference bars in Porto – Radio Bar (for a
while Radio Sushi Bar), which broadcast
for four years in Miragaia an unpredictable playlist, in a wavelength between rock,
pop and electronica, but always "on the
other side", out of mainstream – closed
since 2009; and Mercedes (as it is known,
but offically named "O Meu Mercedes é
Maior que o Teu", My Mercedes is Bigger
Than Yours) a nearly mythical place which
for 15 years has led us through the ways
of the less commercial music, in a corner of the Ribeira close to the D.Luís I
bridge. There is but one certainty: on the
dancefloor, the music is ecletic, poprock, blues jazz and soul together.
16 July 2015 / RADIO, Porto /
Curated by Ricardo Salazar
© ricardo salazar
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kismif Conference 2015 will be preceded
by a two-day summer school (13 – 14 July)
entitled Gettin’ Underground Together!. The
summer school will offer an opportunity
for undergraduate and graduate students,
including those staying on for the conference,
to attend specialist master classes and
discuss their research in seminars led by
top academics in the field. It is also the
possibility of deepening both theoretical and
methodological questions in both proximity
and dialogue with some of the main world
references of the urban musical scenes.
Parallel
Sessions
13–14
July
Parallel Sessions Summer School
© rui oliveira
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‘kismif is a brilliantly conceived conference,
genuinely international and open in spirit, with
top quality research from around the world.’
Will Straw (Professor, McGill University,
kismif Scientific Committee, Canada)
Summer
School
Faculty of Arts and
Humanities of the
University of Porto
& Casa da Música
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discussion Topic 1
‘Between Heaven and Hell’: youth cultures,
subcultures, resistance and underground
Working Group 1
Working Group 2
Host: Ana Oliveira, iscte – University
Institute of Lisbon, dinamia’cet – University
Institute of Lisbon, kismif Project, Portugal
Commentator: Carles Feixa, Department of
Geography and Sociology, University of Lleida,
jovis, European Youth Studies, International
Sociological Association, kismif Project, Spain
Host: Rui Telmo Gomes, Centre for Research
and Studies in Sociology, University Institute
of Lisbon, kismif Project, Portugal
Commentator: Ross Haenfler, University
of Mississippi, United States of America
1.1.
2.1.
‘I hope I die before I get old’,
an Approach to British Cinema
and Youth Subcultures
José Emilio Pérez Martínez,
Complutense University of Madrid,
Spain
2.2.
Peripheral subcultures
Mara Persello, University
of Potsdam, Germany
2.3.
On the outskirts of the
mainstream: a terminological
journey into Montreal
music underground
Ariane Gruet-Pelchat,
University Laval, Canada
1.2.
To be or not to be (underground).
The transformations of
Argentinian rock music
scene during the last
military dictatorship in
Argentina (1976–1983)
Julián Delgado, University
of Buenos Aires, Argentina
Tales from the Belgrade
pit: performance, identity,
communication and violence
at underground concerts
Danilo Trbojevic, Faculty of
Philosophy, University of Belgrade,
Serbia
1.3.
Just can't stand back:
Raul Seixas and ‘80s rock
Lucas Marcelo Tomaz de Souza,
University of São Paulo,
University of Porto, Brazil
1.4.
From the party to the press.
The scenification of the
Buenos Aires underground
porteño scene of the 80s,
among the amateur journalism
publications, during the 80s
Vanina Soledad Lopez, Universidad
Nacional de Quilmes – conicet,
Argentina
13 July 2015 / Room to Breathe [201],
13 July 2015 / No Room for You [203],
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discussion Topic 2
Never Gonna Give It Up: post-subcultures,
transitions and metamorphoses
‘A Different Kind of Tension’: Punk, authenticity,
underground legacy, and pedagogy
Working Group 3
Working Group 4
Working Group 5
Working Group 6
Host: Pedro Quintela, Faculty of Economics,
Centre for Social Studies, University of
Coimbra, kismif Project, Portugal
Commentator: Andy Bennett, kismif
Convenor, School of Humanities, Griffith
Centre for Cultural Research, Griffith
University, kismif Project, Australia
Host: Heitor Alvelos,
Commentator: François Ribac,
Institute Denis Diderot, University of
Dijon, Laboratory Cimeos, France
Host: João Queirós, School of Education,
Polytechnic Institute of Porto,
Institute of Sociology, University of
Porto, kismif Project, Portugal
Commentator: Alastair Gordon,
Leicester De Montfort University, Punk
Scholars Network, United Kingdom
Host: Paula Guerra, kismif Convenor, Faculty
of Arts and Humanities, Institute of Sociology,
University of Porto, Griffith Centre for Cultural
Research, kismif Project Coordinator, Portugal
Commentator: Mike Dines, Institute
of Contemporary Music Performance, Punk
3.1.Notes on the concept of
independence in the context of
Brazilian rock in the xxi century
Thiago Meneses Alves,
4.1.
5.1.
Preliminary research into
online autonomous scenes
Rodrigo Nicolau Almeida,
6.1.
Punks’ politics: Educating each
other to resist the system
Kirsty Lohman, University
of Warwick, United Kingdom
5.2.
6.2.
3.2.
4.2.
The sociology of music and its
founders: A diachronic review
Gil Fesch, Institute of Sociology,
Alternative Music
Scenes in Yugoslavia and
former Yugoslavia
Julijana Zhabeva-Papazova,
Independent researcher,
Macedonia
‘Ain’t a Sleepy Little Town’:
Building and maintaining
a punk rock community in
Peterborough, Ontario
Katie Victoria Green,
Trent University, Canada
4.3.
Implications of Rosi
Braidotti’s nomadic theory
for research in complex
experimental music scenes
Maximilian Georg Spiegel,
University of North Carolina
at Chapel Hill, United States
of America
5.3.
The Boston basement
show scene
Vera Vidal, École des Hautes Etudes
en Sciences Sociales, France
6.3.
¡Sirenas al ataque! Punk
women in Mexico City
Tanja Wälty, Institute of
Interdisciplinary Latin American
Studies of Freie Universität Berlin,
Germany
6.4.
The separation of scene and
state: the balkanization of the
Belgrade punk scene in the
wake of the wars in Yugoslavia
Sonja Žakula, Institute of
Ethnography, sasa, Serbia
3.3.
discussion Topic 3
3.4.
The commodification of vinyl
records in underground musical
scenes: looking for economic
and cultural ‘alternatives’
Léa Roger, Free University of
Brussels, School for Advanced
Studies in the Social Sciences in
Paris, France
Developing a taste for electronic
dance music: Personal
narratives of ‘entrance’ in uk
club culture from 1995 – 2014
Zoe Armour, De Montfort University,
Leicester, United Kingdom
‘We’re from Switzerland, that’s
a chocolate island in Sweden’:
understanding the situations
of Swiss bands with regard
to the indie rock rhizome
Loïc Riom, University of Geneva,
Switzerland
4.4.
The ‘mixed economy of favours’:
Theorising social relations in
a post-crisis music scene
Eileen Hogan, Institute for Popular
Music, University of Liverpool,
United Kingdom
Back to MPB: Exploring
the controversies of the
new Brazilian popular
music (New MPB)
Laís Barros Falcão de Almeida,
Post-Graduate Program
in Communication for the
Communication Department of
Federal University of Pernambuco,
Audiovisual and Music Analysis
Laboratory, Brazil
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discussion Topic 4
Everywhere and Nowhere:
Sounds, places and spaces
Working Group 7
Working Group 8
Host: Gil Fesch, Institute of Sociology,
Commentator: Jeder Janotti Junior,
Post-Graduate Program in Communication
for the Communication Department of Federal
University of Pernambuco, Audiovisual
and Music Analysis Laboratory, Brazil
Host: Paula Abreu, Faculty of Economics,
Centre for Social Studies, University
of Coimbra, kismif Project, Portugal
Commentator: Pedro Costa, iscte – University Institute of Lisbon,
dinamia’cet – University Institute
of Lisbon, Portugal
7.1.
Leiria Calling in 90’s
Pedro Miguel Ferreira, Polytechnic
Institute of Leiria, School of
Education and Social Sciences,
Preguiça Magazine, Portugal
8.1.
7.2.
Radio Live Transmission:
indie rock and the importance
of radio in Portugal
Catarina Ribeiro Figueiredo,
‘The Underground is cool’:
The city centre of Porto as
space of consumption, leisure
and symbolic reference
Célia Ferreira, University of Porto,
Centre for the Study of Geography
and Spatial Planning, Portugal
8.2.
What is important is the
space: transformations
and hybridisations in
Basque counterculture
Ion Andoni del Amo, University
of the Basque Country, Basque
Country, Spain
8.3.
Coimbra and the rock’n’roll:
a relational space from the
beginning of the 1990’s
Pedro Almeida Martins,
Faculty of Economics of the
University of Coimbra, Portugal
8.4.
My zone is my music: an
approach of integrating young
people through music
Vânia Pinheiro, Faculty of Arts and
Humanities, University of Porto,
Portugal
7.3.Nakedness, gender and
print culture: bodies in the
magazine La Luna de Madrid
Fernando García Naharro,
Spain
7.4.
The multiple and complex
genealogy of noise music:
an approach from Paris
Sarah Benhaïm, cral, Ecole
des Hautes Etudes en Sciences
Sociales, France
87
kismif Conference 2015 follows the great
success of the first kismif Conference (held in
July, 2014). Keeping the focus on underground
music and its creative possibilities for
resistance and diy, we extend the analysis
of music scenes to consider the intersection
and debate with other cultural, artistic and
creative fields (cinema and video; graffiti
and street art; theater and performance art;
literature and poetry; radio; graphic design,
illustration, cartoon and comics; etc.). Thus,
exploiting the potential of the theoretical and
analytical development of the intersection
of music scenes, we intend to enrich their
relevance in the development of social theory,
but also in the interpretation of late modernity
in times of contemporary societal and cultural
crisis.
Parallel
Sessions
13–17
July
Parallel Sessions – Conference
© Vera Marmelo
88
‘kismif 2014 was a superb conference that
helped extend our geographical and critical
understanding of punk and subculture.
It was wonderful to be part of it!’
George McKay (Professor, University
of East Anglia, United Kingdom)
Conference
Faculty of Arts and
Humanities of the
University of Porto
& Casa da Música
90
Music scenes, wide worlds
and multiple horizons: from
underground music to mainstream
Coordinator
Andy Bennett, kismif Convenor,
School of Humanities, Griffith
This theme brings together a whole range
of prospects of approach about the contemporary musical scenes, showing the
clear dynamism of this issue at the heart of
researches of social theory. A first approach
topic focuses on increasing hybridization
of popular music in the context of located
globalization and here he have contributions around the Americanization and influence of reggae/Jamaica, of South African
culture, of music scene of Coimbra in
Portugal, of the penetration of Sundanese
traditional musical instrument in folk, as
well as manifestations of yugorock and
turbo-folk in post-socialist societies. As
it should be, the continuous transitions
between the underground and the mainstream occupy the next topic. In this, are
under review the underground music
scene of Montreal, the Basque radical rock
scene, the appropriation of diy music genres
in United Kingdom and Czechoslovakia
and the ‘underground without borders’ in
Hungary. The whole debate around memory,
heritage and legacy, the cultural and political legacy also occupies an important place
in this theme. The structuring discussion
of authenticity and identity in contemporary music scenes is assumed as a topic of
utmost relevance here by analyzing the cultural manifestations inherent to the work of
Raul Seixas, the approach of ethos and praxis of the Ramones, the national identity and
Britpop, the balkanization of the Belgrade
punk scene, the ‘authentic parochialism’ in
Liverpool, the (re)emergence of rock and
pop through the ‘Neue Deutsche Welle’, the
intersection between punk and electronic
music, the Brazilian funk, the italo-pop and
the Gliwice alternative scene in Poland.
91
© Vera Marmelo
THEME TUNE 1
92
1.1. Hybridism and glocalization
in popular music
1.2. The troubled paths from
Chair: François Ribac, University of
Dijon, Laboratoire Cimeos, France
Chair: J. Mark Percival, Queen Margaret
University, Scotland
1.1.1.
1.2.1. On the outskirts of the
music underground
Ariane Gruet-Pelchat,
University Laval, Canada
Christian hip hop and the
multifaceted americanization
of South African culture
Ibrahim Abraham, University
of Helsinki, Finland
1.1.2. Revivalism, hibridism and
transformism: From sociability
to musical identity, Coimbra’s
rock music scene during the 90’s
Pedro Almeida Martins,
Faculty of Economics of University
of Coimbra, Portugal
1.1.3. Cosmopolitan ideologues
and rastafarian performativity
in the South African reggae
music of Teba Shumba
and The Champions
Tuomas Järvenpää, University
of Eastern, Finland
1.1.4. The folk-underground music
as culture revivalism: Mixing
The Sundanese traditional
musical instrument and
underground music as the
struggle for culture sovereignity
Yusar Muljadji, Faculty
of Social and Political Science,
Universitas Padjadjaran,
Indonesia
1.1.5.Yugorock, turbofolk and Shakira:
exploring the subtextualities
of the urban nightscape(s)
in post-socialist Sarajevo
Jordi Nofre, New University
of Lisbon, Portugal
Jordi Martín-Díaz, University
of Barcelona, Catalonia, Spain
1.2.2. When underground
becomes (alter)mainstream:
The commercial as transgression
of the Basque Country, Basque
Country, Spain
1.2.3. The mythology of the
underground in the
construction and performance
of popular music history
Mario Dunkel,
tu Dortmund University, Germany
1.2.4. From resistance to incorporation:
Ideological appropriation of DIY
music genres in United Kingdom
and Czechoslovakia on the
example of the media policy
Martin Husak, Charles University
in Prague, Czech Republic
1.2.5. Underground without borders.
Radical right-wing scene in
Hungary and Szeklerland
Ágnes Patakfalvi-Czirják, University
of Pécs, Hungary
1.2.6. Approaching music
in sociological terms.
Remix Ensemble and the
ethnographic turn
1.3. Whatever Happened to Rock
‘n’ Roll?: popular music heritage
and memories
1.4. You Can Put Your Arms Around
a Memory: authenticity and identity
in popular music
Chair: Eileen Hogan, Institute for Popular
Music, University of Liverpool, United Kingdom
Chair: Catherine Strong, rmit University, Australia
1.3.1. Melbourne scenes and the
creation of ‘underground’
and ‘mainstream’ popular
music heritage
Catherine Strong, rmit University,
Australia
1.3.2. Memories of an underground
scene at the southern Brazil:
between descriptions
and meanings about one
subterraneous past
Daniel Ribeiro Medeiros, Federal
University of Pelotas, Brazil
Isabel Porto Nogueira, Federal
University of Rio Grande do Sul;
Federal University of Pelotas, Brazil
1.3.3. The cultural and political
legacy of punk/post-punk
Peter Webb, University of
Cambridge, University of the West
of England Bristol, England
1.3.4. The rock contradictions
Nadja Vladi, Federal University
of Recôncavo da Bahia, Brazil
1.3.5. ‘Writhing Underground
Flowers’: Conceptualizing
perceived underground
musics in times of change
University of North Carolina at
Chapel Hill, United States
of America
1.4.1. Counterculture in the Tropics:
‘building’ a young audience in Brazil
University of São Paulo, University
of Porto, Brazil
1.4.2. Britpop’s Common People:
the representation of national
Claudia Lueders, Royal Holloway,
University of London, United Kingdom,
Germany
1.4.3. The separation of scene and
Belgrade punk scene in the wake
of the wars in Yugoslavia
Sonja Žakula, Institute of Ethnography,
sasa, Serbia
1.4.4. ‘Authentic parochialism’:
Locating the uses of authenticity
in a small city’s music scene
Music, University of Liverpool, United
Kingdom
1.4.5. The emergence of rock and pop.
A sociological study on an
efficacious practice ascending
from underground music
to everyday culture
Franka Schäfer, Institute of Sociology,
FernUniversität, Hagen, Germany
Anna Daniel, Institute of Sociology,
1.4.6. Ramones and hardcore – when fast is bad
J. Mark Percival, Queen Margaret
16 July 2015 / Room For One More [208],
93
94
1.5. Take Me Out! Underground,
authenticity and local
music scenes
Porto Calling Again: the ever
changing features of punk and post
punk in late modernity
Coordinator:
Paula Guerra, Faculty of the Arts and
Humanities, Institute of Sociology, University
of Porto, Griffith Centre for Cultural Research,
Did the punk die? Or did it change, did it
transmute itself? It is around this theme
and after 35 years of the publication of
‘Subcultures – the meaning of style’ that
is structured this issue. The high number
of proposals received proves the importance of punk in the discussion of various
topics of extreme relevance in popular
music, among which we highlight: the
restructuring of the alternative and underground through the commodification, the
local-global dialogue in appropriations
and musical contemporary identities, the
directions and dynamics through music
intervention in late modernity, the authenticity and hybridisms, the importance of
style and its multiple meanings, among
others. Worth mentioning in this theme
is the specific discussion of three lines of
contemporary research-action around the
punk. The first, under the impulse of Punk
Scholars Network bring to the discussion
a range of approaches related to punk
pedagogy and mark the central role of this
network as a determining partner of kismif Conference. The second embodied in
the panel dedicated to the punk scene in
France (1976–2016): the study of this hexagonal scene whose symbolical birth can
be set when the first punk festival was organized in Mont de Marsan (1976 and 1977)
raises the questions of the specificities
as well as the circumstances in which the
actors got to grips with a culture, made it
live, gave it a national definition and transformed it on a regional basis. This study
THEME TUNE 2
Chair: Simone Tosoni, Università
Cattolica del Sacro Cuore, Italy
1.5.1. More than 3 chords in a
guitar: intersections between
punk and electronic music
Rui Pereira Jorge, Center for the
Study of Sociology and Musical
Aesthetics, Portugal
1.5.3. xyz music: Italo-pop
as neutral ground
Philippe Birgy, Université
Toulouse II Jean Jaurès, France
1.5.4. ‘I am alone I will kill you’. On
the Gliwice alternative scene
Piotr Zanko, University
of Warsaw, Poland
16 July 2015 / Room For One More
© Vera Marmelo
1.5.2. Extrarradio, Extrafuerte,
Extramierda: Punk Attitudes
from the Periphery of
Bourgeois Barcelona’s Claim
to Catalunya’s Cultural Capital
Maria Van Liew, West Chester
University, United States
of America
95
96
tries to determine the main punk idiolect
features and points out the differences
from their Anglo-American homologues.
The third line of research binds specifically
to kismif project focused on the study of
the manifestations of Portuguese punk
scene from 1977 to the present day where
punctuate works dedicated to the analysis
and understanding of the social space
of the Portuguese punk, their urban and
territorial registrations and the elements
to set up a file of socio-musical manifestations of Portuguese punk inside the line of
what was defended by Lester Bangs: ‘At its
best New Wave/punk represents a fundamental and age-old Utopian dream: that if
you give people the license to be as outrageous as they want in absolutely any fashion they can dream up, they’ll be creative
about it, and do something good besides.’
2.1. ‘Always louder than
anywhere else’: punk in between
the global and the local
2.2. ‘I Was a Teenage Werewolf!’
Punk, style, authenticity and
commodification
2.3. ‘Destroy all monsters’! Punk
Chair: Rylan Kafara,
Edmonton Free School, Canada
Chair: Alastair Gordon, Leicester De
Montfort University, United Kingdom
2.1.1. Anarchy in the uk? Punk
and the ‘establishment’
John Street, University
of East Anglia, United Kingdom
2.2.1. ‘Not Real Punx, but Kindred
Creatures (Creature Simili)’: the
enactment of post-punk in Milan
Simone Tosoni, Università Cattolica
del Sacro Cuore, Italy
Chair: Peter Webb, University of
2.1.2. Punk communication
and interaction between
Yugoslavia and the West
Jack Pitt, uea, United Kingdom
2.1.3. Atomic Attack and
Nuclear Accidents: From
Hiroshima to Fukushima.
Transmissions of shared
anti-nuclear aesthetics
between European and
Japanese punk culture
from 1980 to present
Alastair Gordon, Leicester
De Montfort University,
United Kingdom
2.1.4. Shake it off your body!
Overcoming distress
through the sounds of
reggae and punk
Gonzalo Fernández Monte,
Complutense University
of Madrid, Spain
2.1.5. The diy punk scene: between
the reproduction of social
structures of domination
and emancipation
Simon Le Roulley, cerrev,
University of Caen BasseNormandie, France
2.2.2. Locked by the look. The different
risks you take when you look like
a punk in gdr and frg (1977–1982)
Pierre Raboud, University of
Lausanne, Swiss National
Science Foundation, Switzerland;
and Max-Planck Institut für
Bildungsforschung, Germany
2.2.3. Punk representations
at advertising: impurity,
stigma, deviance
Cláudia Pereira, Pontifical
University of Rio de Janeiro, Brazil
2.2.4.You Can’t Blow Up a Symbolic
Relationship: spectacular and
physical resistance of punk
Donal Fullam, University College
Dublin, Ireland
2.2.5. Surrender unto me: punk rock,
bhakti-rasa and the devotional
aesthetic of krishnacore
Mike Dines, Institute of
Contemporary Music Performance,
United Kingdom
2.3.1. Imperfect makes practice:
Participation, punk
and collectivity
Allister Gall, Plymouth College of
Art and Plymouth University, United
Kingdom
2.3.2. Punk rock pedagogy: Bullshit
and the art of ‘crap-detection’
Scott Robertson, University of
California, Los Angeles, United
States of America
2.3.3. ‘Here we are now, educate us’:
The pedagogical approach to
teaching the history of punk
Rylan Kafara, Edmonton Free
School, Canada
2.3.4. The role of media during the
reception and development
of punk music after the
Spanish dictatorship
David de la Fuente García,
University of Oviedo, Spain
2.3.5. Ever fallen in love (with someone
you shouldn’t have?): punk,
politics and same-sex passion
David Wilkinson, University of
Reading, United Kingdom
97
98
2.4. The punk scene in France
(1976–2016): Identities and
specificities
2.5. I Wanna Be Your Bastard!
Punk rock in the midst of social
Chair: Paula Guerra, Faculty of Arts and
of Porto, Griffith Centre for Social Research,
Chair: Solveig Serre, University
of Bordeaux, thalim, France
2.4.1. Punk sound and writing: a few
reflections about sonorous
and textual identities of the
punk scene in France
Luc Robene, cnrs, thalim, France
Solveig Serre, University
2.4.2. Porosity between punk space
and politico-associative field.
The punk music as an auxiliary
means of collective mobilizations
Humeau Pierig, curapp cnrs umr
7319, France
2.4.3. French touch and fuck you style:
Punk bodies and identities
Philippe Liotard, Université Lyon 1,
cris, France
2.4.4. Geographic Information System
and diy zines: a tool for mapping
Samuel Etienne, École Pratique des
Hautes Etudes, cnrs umr Prodig,
France
Dorothée James, École Pratique
des Hautes Etudes, France
2.4.5. Space of styles and space of
positions inside the French
‘independent’ punk scene
Humeau Pierig, curapp cnrs
umr 7319, France
2.5.1. Portuguese punk scenes:
a social profile of their
founders and participants
Paula Abreu, Faculty of Economics,
of Coimbra, kismif Project,
Portugal
Paula Guerra, Faculty of Arts and
Humanities, Institute of Sociology,
University of Porto, Griffith Centre
for Social Research, kismif Project
Coordinator, Portugal
Augusto Santos Silva, Faculty of
Economics, Institute of Sociology,
Portugal
Tânia Moreira, Faculty of Arts and
Ana Oliveira, iscte – University
Institute of Lisbon, dinamia’cet –
University Institute of Lisbon, kismif
Project, Portugal
2.5.2. Ain’t only punk, they’re
inglorious bastards! Topological
essay of the actors of the
Portuguese punk (1977–2014)
Hélder Alves, Institute of Social
Work of Porto, Portugal
2.5.3. Punk and the city: diy cultures
and radical uses of urban
spaces in Porto, Portugal
João Queirós, School of Education,
2.5.4. Social sciences, punx archives
and memories: considerations
concerning the kismif Archive
Project, Portugal
Pedro Quintela, Faculty of
Economics, Centre for Social
Studies, University of Coimbra,
2.5.5. Revolution rock: the influence
of The Clash upon Portuguese
Punk Bands/Musicians
Maria João Ramos, Beja
Polytechnic Higher Institute,
Portugal
2.6. Punk, transformation
and hybridism
Chair: Mike Dines, Institute of Contemporary
Music Performance, United Kingdom
2.6.1. Boots, braces and baseball
bats: Right wing Skinheads in
Czech Republic (1985–2015)
Jan Charvát, Charles University,
Czech Republic
2.6.2. Punk and new wave: Destruction
or a doorway into Europe for
the former Socialist countries
Yvetta Kajanova, Faculty of
Philosophy – Comenius University,
Slovakia
2.6.3. ‘It Ain't a Sleepy Little Town’:
Katie Victoria Green, Trent
University, Canada
2.6.4. A case study of the formation
of the punk movement in Rio de
Janeiro between 1978 and 1984
and a comparative analysis with
the São Paulo punk movement
Dylan Fernando Oliveira da Silva,
Federal Rural University of Rio de
Janeiro, Brazil
2.6.5. Mobility and connections: in and
beyond the Dutch punk scene
Kirsty Lohman, University of
Warwick, United Kingdom
16 July 2015 / Lost in Room [Anfiteatro
2], Faculty of Arts and Humanities
99
100
THEME TUNE 3
Ever Fallen in the City: Performing
scenes, performance spaces,
performing images
3.1. Paranoid images,
Coordinator:
Pedro Costa, iscte– University
Institute of Lisbon, dinamia’cet
– University Institute of
Lisbon, Portugal
Chair: Claudino Ferreira, Faculty of
Economics, Centre for Social Studies,
3.1.1. To tra-Verse memories
and explanations… cities
scratched on images
Elenise Cristina Pires de Andrade,
State University of Feira de
Santana, Bahia, Brazil
© Vera Marmelo
Érica Speglich, State University of
Feira de Santana, Brazil
This theme examines the relationship
between territory(ies), art and creativity,
exploring concepts like scenes and urban
creative milieus and trying to disentangle
the spatiality(ies) and the territorial conditions of cultural and creative practices.
With cases from Brazil, Canada, Ireland
and the United States, in a first panel,
the spatiality of (underground) musical local scenes is explored, seeking to
perceive the connection between music
and the city, and the territorial conditions for the emergence of underground
and diy scenes. In a second panel, the
focus is on the cartographies of popular
music scenes and the creative industries in cities, through the analysis of
cases in Brazil and the United Kingdom.
The third panel explores the intersections between music and underground
music scenes and other forms of art or
creativity, such as graphic design or the
performing arts, basing on case studies
coming from countries such as Portugal
and Germany, and drawing our attention to the diversity and fluid borders of
the underground urban cultural scenes.
Finally, in the fourth panel the possibilities
of resistance, action and transformation
in the (and of the) city, through artistic intervention and artivism present in
manifestations such as graffiti and street
art or parkour, are discussed, emphasizing the potential of place, its image and
performativity in public space as drivers
of social change and political action.
3.1.2. Pernambuco Building:
spacialities of live music in the
ExcentriCidades project through
a constellation of concepts
Jeder Janotti Junior, Post-Graduate
Program in Communication for the
Laboratory, Brazil
Laboratory, Brazil
3.1.3. The ‘Ghost of the Machine’: The
bass saxophone and popular
music remediations in the
Montreal underground scenes
François Mouillot, McGill University,
Canada
3.1.5. Underground basements:
the role of private spaces
in the Boston DIY scene
3.2. Cross cultural cartographies
and archaeologies of popular
music scenes, cities and creative
industries
Chair: Michael Goddard, University
of Salford, United Kingdom
3.2.1. Bedroom Culture: is the
bedroom a space for freedom
or the only free space?
Débora Gomes dos Santos,
Institute of Architecture and
Urbanism, University of São Paulo,
Brazil
3.2.2. Digging the POA and MCR
urban music scenes
Michael Goddard, University of
Salford, United Kingdom
3.2.3. MCR2015. A communicational
exploration at the
margins of pop music
Fabricio Silveira, Unisinos, rs, Brazil
3.1.4. Space, place, and the local
in Dublin’s underground
Jaime Jones, University College
Dublin, Ireland
101
3.4. The city is mine! Cities,
transformation, activism and
intervention
Chair: Pierig Humeau, curapp
cnrs umr 7319, France
Chair: Jaime Jones, University
College Dublin, Ireland
3.3.1. Performance art in Portugal in
the 80s? A drift towards music?
Cláudia Madeira, Faculty of Social
Sciences and Humanities, New
3.4.1. Graffitti, street, delirium:
arts defiances
3.3.2. How underground music
influenced the course
of graphic design in
Europe and usa
Maria João Bom, Polytechnic
Institute of Tomar, Portugal
3.3.3. Individual art and
repeatable beauty
Mara Persello, University
of Potsdam, Germany
3.3.4. Experimentation in the
performing arts
Julianna Faludi, Corvinus
University Budapest,
Trento University, Italy
3.3.5. Tangencias, a medium
of art practice
Pedro González Fernández,
Royal College of Music,
Stockholm, Sweden
THEME TUNE 4
Under construction: Towards a
framework of youth subcultures,
tribes, neotribes and bands
With contributions from different geographical contexts, in this theme are
explored the concepts of subcultures,
counter-cultures, tribes and neo-tribes,
discussing aspects such as its authenticity, its power of resistance and the relations established with the political context
in which they emerge. From case studies
from uk, Bulgaria, Italy and France, the
first panel examines how different musical
genres can be assumed as forms of resistance and how they can promote social
change. In the second panel is discussed
the power of political resistance of youth
musical subcultures through the cases of
Egypt, Brazil, Argentina and the historic
Milena Santos Rodrigues, State
University of Feira de Santana,
Bahia, Brazil
Edivan Carneiro de Almeida,
3.4.2. Parkour through music:
daily routine and powerful
imaginations
Ines Braune, Center for Near and
Middle Eastern Studies, Marburg
University, Germany
3.4.3. Transforming the city: Shaping
urban public space through
collective street art initiatives
Ágata Dourado Sequeira, iscte
– University Institute of Lisbon,
dinamia’cet – University Institute
of Lisbon, Portugal
Coordinator:
Institute of Lisbon, dinamia’cet – University
Institute of Lisbon, kismif Projet, Portugal
conflict between Israel and Palestine.
The third panel essentially explores gender issues and (in)equality in subcultures
such as hip hop, punk and underground
music. In the fourth panel are discussed
aspects such as the authenticity of different subcultures, with cases coming
from contexts also different, such as
Germany, the Czech Republic and the
United States of America (usa). The fifth
panel offers an approach to historicity
and genealogy of youth subcultures that
have emerged in realities as diverse as
Spain, the usa, Colombia and Turkey,
exploring issues such as creative practices and their (political) meanings.
3.4.4. Art is resistance. Year
Zero (2007) and The Slip
(2008), the Nine Inch Nails’
conceptual dyptich
Maxime Munier, University
of Montréal, Canada
© Rui Oliveira
102 3.3. Crossing borders of
103
104 4.1. ‘Between Heaven and Hell’:
Music, resistence, authority and
social change
Chair: Helen Reddington, University
of East London, United Kingdom
4.1.1. Happy resistance: A radical inuit
response to ‘white authority’
Tom Artiss, University of
Cambridge, United Kingdom
4.1.2. Rituals of ‘misrule’ within
Bulgarian popular music
Asya Draganova, Canterbury Christ
Church University, United Kingdom
Shane Blackman, Canterbury
Christ Church University, United
Kingdom
4.1.3. Cattivi guagliuni: The identity
politics of 99 Posse
Marcello Messina, Federal
University of Acre, Brazil
4.1.4. DIY practices, English singing
and white male empowerment in
the French death metal scene
Michael Spanu, University of
Lorraine, France
4.1.5. Griots of the third millennium:
from the prohibitions to
the appropriations.
João Lindolfo Filho, Pontifical
Catholic University of São Paulo
15 July 2015 / Just One More Room
for You [210], Faculty of Arts and
4.2. ‘High on Rebellion’: Gender,
diference, subversion and (sub)
culture
Chair: Scott Robertson, University
of California, Los Angeles,
United States of America
4.2.1. Contemporary art and
construction gender equality
Fellipe Eloy Teixeira Albuqueuerque,
Federal University of São Paulo,
Brazil
4.2.2. ‘So Cute’ or ‘So Nasty’?
Contrasting Discourses of
Masculinity and Femininity
Surrounding B-girls
(Female Breakdancers)
Helen Simard, Université du
Québec à Montréal, Canada
4.2.3. Aesthetical strategies for
queering punk: the zine J.D.s
Atlanta Ina Beyer, Carl von
Ossietzky University of Oldenburg,
Germany
4.2.4. Gender perspectives in the
Hungarian music underground
before and after the political
transition of 1989
Enikő Bódis, elte University of
Budapest, Hungary
Katalin Soós, elte University of
Budapest, Hungary
4.2.5. Space to Play: sonic
subversion by female punk
bands in the 1970s
Helen Reddington, University of
East London, United Kingdom
4.3. ‘The Correct Use of Soap’:
Chair: Christine Feldman-Barrett,
Griffith University, Griffith Centre for
Cultural Research, Australia
4.3.1. Mahraganat music: underground
youth cultures in Cairo
José Sánchez García, Centre
for Youth and Society Studies,
University of Lleida, Spain
4.3.2. There could be Space for
Another Shadow: Punk
and Early Christianity
transgressing history
Lynn Osman, Université de
Balamand, Lebanese Academy
of Fine Arts, Lebanon
4.3.3. Resistance? Through rituals:
politics and rock culture during
the last military dictatorship
in Argentina (1976–1983)
Julián Delgado, University
of Buenos Aires, Argentina
4.3.4. Alternative battle: Israeli
and Palestinian hip-hop
Yulia Gilichinskaya, suny Buffalo,
4.4. ‘Wrong place, Right time’:
Chair: Matthew Worley, University of Reading,
Subcultures Network, United Kingdom
4.4.1. A possible herstory
Carla Genchi, kmh, Slavic Philology,
Musical Critique and Composition,
Sweden
4.4.2. The cultural network in Lower
Saxony – Modes of operation
and influence of cooperation
in the music sector
Lutz Dollereder, Institute for Studies
in Arts, Music, and Mediation,
Germany
4.4.3. ‘I am not an emo, I am the
core-kid’: Subcultural
identity and negotiation of
authenticity in contemporary
Czech emo subculture
Martin Hermansky, Charles
University in Prague, Faculty
of Humanities, Czech Republic
Hedvika Novotna, Charles
University in Prague, Faculty
of Humanities, Czech Republic
4.4.4. Carnivalesque psychobilly
performances: Creating an
alternative culture of survival
Kim Kattari, Texas a&m University,
105
106 4.5. ‘Dreams Never End’.
DIY, entrepeneurship,
social values and
music scenes
Coordinator:
Rui Telmo Gomes, Centre for Research
and Studies in Sociology,
University Institute of Lisbon,
This theme addresses issues related to
diy logics and practices in music, taking as premise entrepreneurship and
cooperation between different agents.
With different cases from Australia,
Portugal, Scotland and France, the
first panel explores the ways in which
creativity, culture and entrepreneurship intersect as a form of resistance or
emancipation to different constraints
imposed by contemporary society. The
second panel examines the challenges
that the construction of a creative career in areas such as music or illustration
has underlying. This discussion extends
to the third panel, in which are shared
cases where the diy and work in cooperation appear to be relevant options in the
professionalization in music and other
artistic areas. The fourth panel explores
the multiple strategies developed by creative professionals to ensure the sustainability and feasibility of its projects, and
their potential for social inclusion.
THEME TUNE 5
Genealogy and history of youth
cultures and subcultures
Chair: Michael Spanu, University
of Lorraine, France
4.5.1. Problematizing the idea
of subculture: a collective
theoretical and pratical approach
Spain
Spain
4.5.2. Medusa’s on Sheffield, 1983–
1992: Historicizing Chicago’s
premiere post-punk nightclub
Christine Feldman-Barrett, Griffith
University, Griffith Centre for
4.5.3. Retaking the tragedy:
creative practices and
meanings of politics in the
Bogotá hardcore scene
Iñaki Zárate Cantor, Javeriana
Pontifical University, Colombia
17 July 2015 / Sala de Ensaio 1
[Rehearsal Room 1], Casa da Música
© Vera Marmelo
4.5.4. Practices of resistance and
contemporary countercultural
youth identities in Istanbul
Can Murtezaoğlu, Faculty of
Architechture, Istanbul Technical
University, Turkey
107
108 5.1. Creativity, entrepeneurship
and cultural resistance
in contemporaneity
Chair: Raphael Nowak, Griffith
University, Australia
5.1.1. Taking the bull by the horns:
diy and entrepreneurialism
in Perth’s indie pop/rock
music industry and scene
Christina Ballico, Indepedent
Researcher, Australia
5.1.2. Rethinking: challenges and
methodological dilemmas
in research music
Mário Cardoso, Polytechnic
Institute of Bragança, Portugal
Levi Silva, University of Trás-osMontes e Alto Douro, Portugal
5.1.3. ‘Work all day, make your
Magnum opus at Night’ –
contemporary structures
of feeling and DIY
Kieran Curran, University
of Edinburgh, Scotland
5.1.4. The illegibility of the creative
act: how a shopping mall
became a music hub,
and how its exposure may
be its worst enemy
Heitor Alvelos, University
of Porto, Portugal
Anselmo Canha, University
of Porto, Portugal
Fátima São Simão, University
of Porto, Portugal
5.2. Carreers, jobs
and arts: challenges
and persistences
5.3. ‘Rebellious Jukebox’:
Dream narratives and challenges
5.4. ‘Revolution Ballroom’:
Social innovation, creativity,
DIY and social inclusion
Chair: Vera Borges, iscte – University
University Institute of Lisbon, Portugal
Chair: Gonzalo Fernández Monte,
Complutense University of Madrid, Spain
Chair: Dominic Deane, University
of Manchester, United Kingdom
5.3.1. The cyber-guitar system
Jonathan Crossley, Wits University,
South Africa
5.4.1. Multiple job and other
strategies for professional
musicians in Barcelona
Marta Casals Balaguer, University
of Barcelona, Center for Policy
Studies on Culture and Society,
Spain
5.2.1. ‘To Wear a collar with electric
shock’: The young workers
of the ‘new’ and the ‘old’
Russian cultural institutions
Margarita Kuleva, nru Higher
School of Economics, Russia
5.2.2. The (pop)rock singer – a
self-taught or a skilled artist?
Samuel Tomeček, Department
of Musicology, Comenius
University, Slovakia
5.2.3. The dj, demiurge of new
and creative languages
Javier Pérez Pinheiro, University
of Sociology, udc, Spain
5.2.4. ‘Fooling around with careers’:
identity and economy in
Rui Telmo Gomes, Centre
for Research and Studies in
Sociology, University Institute of
Lisbon, kismif Project, Portugal
5.2.5. The celebration of DIY
or the magnificent work
of Esgar Acelerado
Esgar Acelerado, Independent
Artist, Mr. Esgar, kismif Project,
Portugal
5.3.2. Processes of teaching (-learning)
how to play the classical
guitar in the city of Porto
Daniel Araújo, School of Music and
Arts of Trofa, Portugal
5.3.3. Art to advert / producer
to by-product: the
institutional formation of the
industrialised musician
Christopher Adams, University
of Glasgow, Scotland
5.3.4. 'DIY Scenes of Yorkshire’:
Organising post-industrialism
in 2000s Leeds
Dominic Deane, University of
Manchester, United Kingdom
5.3.5. Artistic work and collaborative
contexts: Five case studies
with cultural organizations
Vera Borges, iscte – University
Portugal
5.4.2. 15 years of mmmnnnrrrg activity
Marcos Farrajota, Comics Library of
Lisbon/ blx, Municipality of Lisbon,
Chili Com Carne Association,
mmmnnnrrrg label, kismif Project,
Portugal
5.4.3. Social and generational
inclusion: The ‘Social Crochet
Program’ from Coimbra
Marcia Regina Medeiros Veiga,
5.4.4. On the Sale of community in
crowdfunding: Questions of
power, inclusion, and value
David Gehring, Old Dominion
University, United States of America
D.E. Wittkower, Old Dominion
5.4.5. The theatre in the places of
social exclusion: preliminary
analysis of the Pele
association's activities
Irene Serafino, Institute of
Sociology, University of Porto,
Portugal
109
THEME TUNE 6
Underground music scenes,
fragmentation, borders and
diasporas
It is inevitable call for kismif Conference
in 2015 all the heritage of knowledge
and research that has characterized the
underground music scenes in the field
of cultural studies and sociology with
respect to the study of youth subcultures
and their links with the party, music,
leisure and psychotropic consumption.
Calling upon Hebdige (1979), subcultures can be seen metaphorically as
noise, as representing a resistance and
an appreciation of the underground, of
the marginal. Such a perspective, as well
as the one about the re-emergence of a
potential political consciousness of the
6.1. Alive Tonight! Electronic dance
music, post-colonial studies and
borders
Coordinator: João Queirós,
School of Education, Polytechnic
Institute of Porto, Institute of
Chair: Franka Schäfer, Institute of Sociology,
working class are present in theorizing held
in the last twenty years about the underground cultures. In this sense, and in a rush
rooted in post-subcultural studies since
the late 90s, have been emerging works
falling within the complexity and fluidity of
new youth cultural practices, multiplying
the liminalities and diasporas in the context
of post-colonial studies. The Electronic
Dance Music (edm) quickly spread
throughout the world, becoming one of the
youth movements with greater expression
in contemporary society. Global phenomenon that attracts different people, edm is
now a real industry, closely related to the
© Rui Oliveira
110
tourism industries, leisure, music (in a
broader sense) and fashion. The metal
and its (sub)cultural manifestations also
extended to the whole world, and here
are presented the cases of headbangers in northeastern Brazil, the Turkish
metal, the Québecois heavy metal and
contemporary manifestations of Black
metal – as well showing the fragmented
glocalization of metal demonstrations
nowadays. Multiple indie rock worlds are
illustrated by studies in Brazil (S. Paulo,
Teresina, Porto Alegre), Portugal (Porto,
Lisbon, Braga, Leiria), in Switzerland,
in Germany (Berlin) and Argentina
(Buenos Aires ). The legacy and heritage
is also now a key area of underground
music scenes, and then we traveled
through the Mexican goth scenes, the
avant-garde French rock, the scene of
industrial music or the Czech raves.
The post-colonial studies have come
to emphasize the migration and transit
of people as key elements of the new
cultural identities. Therefore here are
presented very important case studies
in this regard: the case of Brazilian musicians in Lisbon; the Strange comrades
in Amsterdam; Santomean diaspora in
Lisbon; the reappropriation of space of
the public transport by punk of Lisbon
and S. Paulo; the boundary work, whiteness and the reception of rock music
in Rotterdam; the migration of musical
styles in Texas and Chile’; the Tijuana diy
music scene, decadence at the Mexicousa borderline and the role of music
for diasporic identities in Germany.
6.1.1. Subcultural studies, space
and electronic dance music
Bill Blackstock, York University,
Toronto, Canada
6.1.2. ‘Dedicated followers of PaSSion’
(1995 – 2015): the multiple
realities of the clubber
6.1.3. The psychedelic trance tribe:
the digital experience
Emília Simão, Portuguese Catholic
University, Portugal
6.1.4. Underground, Overrated:
Gender Normativity in Dance
Music and dj cultures
Tami Gadir, University of Oslo,
Norway
6.1.5. Breaking the electronic sprawl
Hillegonda C Rietveld, London
South Bank University, United
Kingdom
111
112
6.2. Power, loud and darkness:
6.3. Shaping the past: heritage and
memories in current music scenes
Chair: Ibrahim Abraham,
University of Helsinki, Finland
Chair: Hillegonda Rietveld, London
South Bank University, United Kingdom
6.2.1. Turkish metal. Contesting
Islamic concepts of morality
Pierre Hecker, Centre for Near and
Middle Eastern Studies, University
of Marburg, Germany
6.3.1. What is it about Mexican
darkness? A glimpse on Mexico
City’s goth scene history,
development and revamping
José Hernández Riwes Cruz,
Metropolitan Autonomous
University, Azcapotzalco, Mexico
6.2.2. Tales of light, darkness and
resurrection: local identities
and global connections in
Québecois heavy metal
Laura Wiebe, Brock University,
Canada
6.2.3. Black metal: history, trace of
character and archetype
José Filipe P. M. Silva, Institute
of Philosophy of the University of
Porto, Portugal
6.3.2. Avant-garde rock, or the defiance
of traditional musical domains
Jacopo Costa, gream, University of
Strasbourg, France
6.3.3. One movement, different
styles: the making of industrial
music scene in France, 1980’s
Christophe Broqua, ehess,
Sophiapol-Lasco, Université Paris
Ouest Nanterre La Défense, France
6.3.4. Czech rave: How to escape
from moral panic?
Ondřej Slačálek, Faculty of
Philosophy and Arts, Charles
University in Prague, Czech
Republic
6.3.5. The electro scene in Tunisia:
revolution and the borders
of the underground
Stefano Barone, Griffith Centre
for Cultural Research, Griffith
6.4. ‘Driving You Insane’. Aesthetic
and styllistic fragmentation: the
multiple worlds of indie rock
Chair: David Wilkinson, University
of Reading, United Kingdom
6.5. ‘Waiting Underground’:
Indie rock, global, local
and glocal music scenes
6.4.1. The independent production
on the contemporary Brazilian
musical scenario: new agents
and new challenges
Vanessa Vilas Boas Gatti, University
of São Paulo, Brazil
6.4.2. Contributions from the music
scenes perspective for a
draft of the indie/alt rock
production context in Teresina
Thiago Meneses Alves, Faculty of
Arts and Humanities, University of
Porto, Portugal
6.4.3. It's Just That Song! Meanings,
identities and differences
in Portuguese indie rock
Paula Guerra, Faculty of the
Arts and Humanities, Institute of
Griffith Centre for Cultural
Research, kismif Project
Projet, Portugal
6.4.4. ‘We’re from Switzerland, that’s
Switzerland
6.4.5. Inside a music scene
Chair: Pauwke Berkers, Erasmus
University Rotterdam, Netherlands
6.5.1. Mapping sounds in Porto Alegre:
initial notes on the independent
authorial music scene
Belisa Zoehler Giorgis, University
Feevale, Brazil
6.5.2. Writing on the Stars:
interpretation and meanings
of Portuguese alternative rock
through its protagonists
Projet, Portugal
6.5.3. Discourses in the Berlin
‘alternative’ musical field
Myrtille Picaud,
School for Advanced Studies
in Social Sciences, France
6.5.4. From the ‘porteño’
basement. The constitution
of the underground musical
scene in Buenos Aires,
Argentina, during the 80s
Argentina
17 July 2015 / Cibermúsica
[Cybermusic], Casa da Música
113
6.6. Shakin’ All Over! Mobilities,
transglobal sounds
Chair: Jeffrey A. Halley, University of Texas
at San Antonio, United States of America
6.6.1. Brazilian musicians in
Lisbon: art and migration
Amanda Fernandes Guerreiro,
Institute of Social Sciences of the
Lisbon University, Brazil, Portugal
6.6.2. Strange comrades: Punk rock,
racism and the emergence of a
multicultural dialogue 1977–1982
Anita Raghunath, Vrije University,
Amsterdam, Netherlands
6.6.3. Cultural identities of
Santomean diaspora: the
choices of young musicians
Magdalena Bialoborsk, iscteiul, University Institute of Lisbon,
Portugal
6.6.4. Transglobal cartography of the
underground: the reappropriation
of space of the public transport
by punk of Lisbon and S. Paulo
Débora Gomes dos Santos, Institute
of Architecture and Urbanism,
University of São Paulo, Brazil
6.6.5. As Interconverting
Music Types in Turkey:
“Arabesque” and “Rock”
Bülent Ahmet Turan, Bilkent
University Turkish Literature
Department, Mevlana (Rûmî)
University Turkish Department
theme tune 7
Music and pleasures,
mediation and audiences
6.7. Transmissions, migrations,
and music scenes
Coordinator:
of Coimbra, kismif Project, Portugal
Chair: Piotr Zanko, University
of Warsaw, Poland
6.7.1. (De)constructing a white
space: boundary work,
whiteness and the reception
of rock music in Rotterdam
Pauwke Berkers, Erasmus
Julian Schaap, Erasmus University
Rotterdam, Netherlands
6.7.2. ‘Muevele, Muevele y Alto’:
A critical comparison of
the migration of musical
styles in Texas and Chile
Jeffrey A. Halley, University of Texas
at San Antonio, United States
of America
Marisol Facuse Muñoz,
University of Chile, Chile
6.7.3. Tijuana diy music scene,
decadence at the Mexicousa borderline
Daniel Reveles Polanco,
Universidad Autónoma de Baja
California, Mexico
6.7.4. Role of music for diasporic
identities in Germany
Laura Suna, Institute of Philosophy
and Sociology, University of Latvia,
Latvia
© Vera Marmelo
114
In this theme are explored the relationship between the sphere of creators and
music promoters and the sphere of audiences and consumers, taking into account
the mediation role played by key actors in
this process. In the first panel are shared
cases from Brazil, usa, Germany and
Australia in order to discuss the importance of music festivals and other venues for live music, as well as the ubiquity
of music these days. The second panel
discusses the creative and dissemination strategies of the musicians, but also
how the audiences receive and appropriate music. With researches developed in
France, Iceland, Serbia and Morocco, the
third panel explores the realm of music
audiences’, considering the audiences of
specific bands or concepts such as fan.
115
116
7.1. ‘Everybody Everywhere’:
7.2. Fandom, music lovers,
Mediation, strategies and audiences audiences and popular music
Chair: Katie Victoria Green,
Chair: Sarah Benhaïm, cral, Ecole des Hautes
Etudes en Sciences Sociales (ehess), France
7.1.1.
7.2.1. Together and face to face: New
Model Army and its audience
Solveig Serre, cnrs, thalim, France
Street musicians:
The strategies of mastering the
social space of St. Petersburg
Aleksandra Kozyr, Saint-Petersburg
State University, Russian Federation
7.1.2. Listening Noise Music in
Paris: Focus on Venues
and Concert Organizers
Sociales, France
7.1.3. DIY discourse as embodied
practice: spatial tactics at
American DIY shows
David Verbuč, Charles University,
Slovenia, Czech Republic
7.1.4. DIY music technology:
underground scenes of
experimental instrument
building in New York and Berlin
Lauren Flood, Columbia University,
7.1.5. ‘You’re not strangers if you
like the same band’: the social
contribution of small-scale live
music venues in Melbourne
Samuel Whiting, rmit University,
Melbourne, Australia
Luc Robène, University of
Bordeaux, thalim, France
7.2.2. Becoming a girl-fan,
being a girl-fan
Rita Grácio, Centre for Social
University of Exeter, United
Kingdom
7.2.3. ‘For the love of it’: amateurs
and unconventionalists in
Icelandic popular music
Arnar Eggert Thoroddsen,
University of Edinburgh, Scotland
7.2.4. Tales from the Belgrade
Serbia
7.2.5. DIY in Morocco from the
mid 90’s to nowadays
Dominique Caubet, La nad –
inalco, France
7.3. Born to be alive! Festivals,
live music venues, festivalization
Chair: Fabricio Silveira, Unisinos, rs, Brazil
7.3.1. Musical territories:
A cartography of indie
festivals in Brazil
Daniel Domingues, Fluminense
Federal University, Brazil
7.3.5. Investigating the (omni-)
presence of music in social
spaces through sound
environments: control,
mediations and noise pollution
Raphael Nowak, Griffith University,
Australia
Luiza Bittencourt, Fluminense
7.3.2. Blue Austin: Conceptualizing
the Blues Scene in the Live
Music Capital of the World
Josep Pedro, Complutense
University of Madrid, Spain
7.3.3. Cultural diversity as a
contradictory practice
at music festivals
Lisa Gaupp, Leuphana University of
Lueneburg, Institute of Sociology
and Cultural, Germany
7.3.4. Deciphering the ‘alternative’:
some contributions from the
analysis of the audiences of
a performing arts venue
Pedro Costa, iscte – University
Institute of Lisbon, dinamia'cet
Portugal
Margarida Perestrelo, iscte–
dinamia'cet – University Institute of
Lisbon, Portugal
Giles Teixeira, iscte – University
Portugal
117
118
theme tune 8
Mediation, artifacts and
independent music and artistic
productions
8.1. Countercultures, comics,
Coordinator:
Pedro Quintela, Faculty
of Economics, Centre for Social
Chair: Ross Haenfler, University of
Mississippi, United States of America
8.1.1. Depicting music: how the
comic book Scott Pilgrim
sounds in other spaces
Charity Slobod, University of
Alberta, Canada
8.1.2. Freak encounters in the
Free Press: sharing spaces
in 1960s Los Angeles
Andre Mount, Crane School
of Music (suny Potsdam),
© Vera Marmelo
8.1.3.Nakedness, gender and
print culture: bodies
in the magazine La
Luna de Madrid
Complutense University of
Madrid, Spain
‘I always said punk was an attitude. It was
never about having a Mohican haircut or
wearing a ripped T-shirt. It was all about
destruction and the creative potential
within that.’ said Malcom McClaren. In
recent years, there has been a growing
interest in independent auto-released
publications and in do-it-yourself (diy)
practices of production and distribution
– and in particular, in fanzines, records,
magazines. This is reflected in a renewed
attention for diy production methods; in
an increased exposure and consumption of these objects; and in a growing interest of academia and of some
cultural institutions for analyzing and
preserve this type of production associated with a more underground culture,
in an interesting approach to some of
the consecration systems featuring the
‘art worlds’ most mainstream. In this
issue, we propose an analysis of these
processes, discussing its meaning
and the challenges they pose to social
scientists involved in the collection,
preservation and analysis of this type
of cultural production. It is empirically
illustrate some of these reflections from
the process of creation and promotion of objects and artifacts that move
the underground scenes. In the case
of musical scenes, for example, the
process of affirmation of a new patrimonial discourse is now clearly linked to
the important role played by a diverse
set of consecration instances, including journals, its critics, its journalists, its
audiences, which are fundamental to
the retrospective consecration process
of certain artists or bands, or music industry itself that in the last twenty years
have sought intensively explore the retro
market linked to nostalgia and preservation of the musical legacy of the past
decades, with successive reissues of
audiovisual content on different media (cd, dvd, etc.). If these are the main
consecration instances of a patrimonial
discourse around contemporary urban
popular culture – which sometimes
seems to be reduced to little more than
mere nostalgia and retromania – it is also
clear that today we stand before a polyphonic speech, involving a multiplicity of
voices, some of which often challenge a
certain mainstream view and interpretation, calling into question the ‘canon’.
8.1.4. ‘Brazilian Provocations’:
The Brazilian
counterculture
through the alternative
press (1969–1973)
Patricia Marcondes de
Barros, Catholic University of
Santos, Brazil
8.1.5. From ‘Os chouriços são
todos para assar’ to ‘Maria
dos canos serrados’:
suburban life speeches in
Ricardo Adolfo’s literature
Sónia Passos, School of
Music and Performing Arts,
Portugal
119
120 8.2. Fanzines, music magazines
and underground music scenes
Chair: José Vicente Neglia, University
of Hong Kong, Hong Kong
8.2.1. Underground utopias: strategies
of mediation and resistance in
the Brazilian punk zines network
Yuri Bruscky, Federal University of
Pernambuco, Brazil
8.2.2. ‘While the world was dying, did
you wonder why?’: Punk, Politics
and British (fan)zines, 1976–84
Matthew Worley, University of
Reading, Subcultures Network,
United Kingdom
8.2.3. Fast, Furious and Xerox: the
fanzines’ production within the
Portuguese punk scene and its
evolution in terms of ideology
and aesthetics (1978–2013)
8.2.4.New Faces of Adoration:
Elements of visual sociology
through the album covers
Projet, Portugal
8.2.5. The crisis continues: Music
graphics of punk and post-punk
in Portugal from 1978 onwards
Ana Raposo, esad College of Art
and Design Matosinhos, Punk
Scholars Network, kismif Projet,
Portugal
8.3. Popular music heritage,
8.4. Gatekeeping, online social
Chair: Heitor Alvelos, University
of Porto, Portugal
Chair: Monika Schoop, Cologne
University, Germany
8.3.1. Cassette culture and
copyright critique
Pascal Massinon, University of
Michigan, Ann Arbor, United States
of America
8.4.1. A tale of two blogs: the
expert and the amateur
John Encarnacao, University of
Western Sydney, Australia
8.3.2. The commodification of vinyl
Brussels and School for Advanced
Paris, France
8.3.3. ‘Back From the Grave’: Popular
Music Revivals and the Case of
the Tokyo Garage Punk Scene
José Vicente Neglia, University of
Hong Kong, Hong Kong
8.3.4. ‘Moderne Muziek:’ How vinyl
magazine reported the Dutch
post-punk movement
Richard Foster, Leiden University,
Netherlands
8.3.5. Photojournalism Is Not Dead
José Carneiro, Faculty of Fine Arts,
8.4.2. Hellbent for social media:
Methodological approaches to
social research in online spaces
Tristan Kennedy, Flinders University
of South Australia, Australia
8.4.3. Arab youth and the ‘Facebook’
revolution: the role of social
media and youth culture
in youth activism
Natalia Waechter, University of
Graz, Austria
8.4.4. Online dimensions of
Russian subcultural scene:
padonki community
Elena Bulatova, Saint-Petersburg
State University of Economics,
Russia
8.4.5. Mediation and mediatization
of popular music in the
age of digital networks
Tatiana Rodrigues Lima, Federal
University of Recôncavo da Bahia,
Brazil
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122
8.5. DIY, new music, new
Chair: Jordi Nofre, New University
of Lisbon, Catalonia, Portugal
8.5.1. Taste and local scenes: virtual
and/or geographical proximity
Jānis Daugavietis, Central
Statistical Bureau of Latvia, Latvian
Academy of Culture, Latvia
8.5.2. Radio Dio: Community
Radio, Infrastructure and
the Establishment of an
Independent Music Scene
in Saint-Etiénne, France
Scott Henderson, Brock University,
Canada
8.5.3. ‘Real estate office by day,
recording studio at night’:
diy music production in Metro
Manila’s independent scene
Monika Schoop, Cologne
University, Germany
8.5.4. The philosophy of free radio/
media movement in Japan
in the post-media era
Yoshitaka Mori, Tokyo University of
the Arts, Japan
Tomoko Shimizu, University of
Tsukuba, Japan
8.5.5. Pirate curators of the late 20th
century and their impact on the
recording industry’s long tail
Ian Townsend, University of
Sheffield Management School,
United Kingdom
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124
Detailed
Schedule
Casa da Música
TM Rivoli
Palacete Viscondes Balsemão
Matéria Prima
Edifício Montepio
Plano B
‘I came into the punk scene
because punk stayed with you,
it has taught you something.
A lot of the other music of the
time left you as it found you.’
Mick Jones (The Clash)
© Vera Marmelo
Detailed Schedule
© Rui Oliveira
07–17 July
Tuesday,07
Friday,10
18h00 – 18h30
Welcome Speeches
‘There’s a City in My Head’
14h30 – 15h30
OPENING EXHIBITION
‘Under-Ventures by Ondina’
Andy Bennett, kismif Convenor, School of
Humanities, Griffith Centre for Cultural Research,
Griffith University, kismif Project, Australia
Paula Guerra, kismif Convenor, Faculty of Arts
and Humanities, Institute of Sociology, University
Paulo Cunha e Silva, Councillor, Department
of Culture, Porto Municipal Council, Portugal
18h30 – 19h00
OPENING EXHIBITION
‘DIY DIY My Darling! @Rivoli.
07–17 July 2015 / Foyer 3rd Floor, TM Rivoli,
Porto / Curated by Esgar Acelerado,
Presentation:
10–17 July 2015 / Palacete Viscondes
Balsemão, Porto / Curated by Ondina
Pires and Esgar Acelerado
17h30 – 18h00
OPENING EXHIBITION
‘DIY DIY My Darling! @Montepio.
Presentation:
Andy Bennett, kismif Convenor, School
of Humanities, Griffith Centre for Cultural
Research, Griffith University, kismif Project,
Australia
Paula Guerra, kismif Convenor, Faculty of
Arts and Humanities, Institute of Sociology,
João Paulo Dias, Executive Director,
Coordinator of Projects and Research
Management Office, Centre of Social
Studies, University of Coimbra, Portugal
16h30 – 17h00
OPENING EXHIBITION
‘Ain’t Art, Bastards! Exhibition
of Esgar Acelerado’
10–17 July 2015 / Edifício Montepio,
Acelerado and Paula Guerra
Porto / Curated by Esgar Acelerado
and Marcos Farrajota
Presentation:
Esgar Acelerado, Independent Artist, Mr.
Esgar, kismif Project, Portugal
Monday,13
17h00 – 17h30
OPENING EXHIBITION
‘We Love 77’
09h00 – 09h30
Welcome Speeches
+ OPENING EXHIBITION
‘10 Covers’
Acelerado and Víctor Torpedo
Detailed Schedule
Management Office, Centre of Social Studies,
Paulo Cunha e Silva, Councillor, Department of
Culture, Porto Municipal Council, Portugal
Víctor Torpedo, Musician, Visual
Artist, DJ, Music Lover, Portugal
© Vera Marmelo
126
Presentation:
Australia
From 08h30
Australia
António Jorge Pacheco, Artistic Director,
Casa da Música, Portugal
Ester Silva, Head of the Institute of Sociology,
Fátima Marinho Saraiva, Vice-Rector for
Cooperation and Culture, University of Porto,
Portugal
Fernanda Ribeiro, Dean of Faculty of Arts
and Humanities, University of Porto, Portugal
Guilherme Blanc, Department of Culture,
Porto Municipal Council, Portugal
Jeder Janotti Junior, Post-Graduate Program
in Communication for the Communication
Department of Federal University of
Pernambuco, Audiovisual and Music Analysis
Laboratory, Brazil
Management Office, Centre of Social Studies,
Pedro Costa, Deputy Director, iscte –
University Institute of Lisbon, dinamia’cet –
Teresa Sá Marques, Centre for the Study of
Geography and Spatial Planning, Portugal
09h30 – 10h40
DISCUSSION LECTURES
Carles Feixa and Ross Haenfler
Discussion Topic: Between Heaven
and Hell: youth cultures, subcultures, resistance and underground
09h30 – 09h50
United for the flow.
On music, gangs and tribes
Carles Feixa, Department of
Geography and Sociology, University
of Lleida, jovis, European Youth
Studies, International Sociological
09h50 – 10h10
‘Not Just Boys’ Fun?’: Music
Subcultures and the Changing
127
128
Meanings of Manhood
Ross Haenfler, University of Mississippi,
1.4.
Host: Guilherme Blanc, Department of
Culture, Porto Municipal Council, Portugal
10h10 – 10h40
Open Discussion
10h40 – 11h00
Coffee-Break
Working Group 2
11h00 – 12h30
Work Sessions 1/2
Working Group 1
Host: Ana Oliveira, iscte – University Institute
of Lisbon, dinamia’cet – University Institute of
Lisbon, kismif Projet, Portugal
Commentator: Carles Feixa, Department of
Geography and Sociology, University of Lleida,
jovis, European Youth Studies, International
Sociological Association, kismif Project, Spain
1.1.
1.2.
Detailed Schedule
From the party to the press.
The scenification of the
Buenos Aires underground
porteño scene of the 80s,
among the amateur journalism
publications, during the 80s
Argentina
1.3.
To be or not to be (underground).
The transformations of
Argentinian rock music
scene during the last
military dictatorship in
Argentina (1976–1983)
Julián Delgado, University of
Buenos Aires, Argentina
Tales from the Belgrade
Serbia
Just can't stand back: Raul
Seixas and ‘80s rock
of Porto, Brazil
Host: Rui Telmo Gomes, Centre for Research
and Studies in Sociology, University Institute of
Lisbon, kismif Project, Portugal
Commentator: Ross Haenfler, University
of Mississippi, United States of America
2.1.
‘I hope I die before I get old’,
an Approach to British Cinema
and Youth Subcultures
Spain
2.2.
Peripheral subcultures
Mara Persello, University of
Potsdam, Germany
2.3.
On the outskirts of the
music underground
Ariane Gruet-Pelchat, University
Laval, Canada
12h30 – 13h30
Lunch
Rise Up: A Scientific Interface
Presentation of the book ‘A
trajetória Social de Raul Seixas,
uma metamorfose ambulante
no rock brasileiro [The social
trajectory of Raul Seixas, a walking
metamorphosis in the Brazilian rock]’
Lucas Marcelo Tomaz de Souza, University
of São Paulo, University of Porto, Brazil
13–17 July 2015 / Room at The Top
[Sala de Reuniões], Faculty of Arts
and Humanities of the University of
Porto / Curated by Pedro Quintela
13h30
OPENING EXHIBITION
‘All the Love in the World’
13–17 July 2015 / Hall the Love of the Room
[Entrada da Sala de Reuniões], Faculty
of Porto / Curated by Cobraprima
13h30
OPENING EXHIBITION
‘Search & Destroy’
13–17 July 2015 / Two People in a Room
by Michael Spanu and Tânia Moreira
13h30
OPENING EXHIBITION
‘DIY DIY My Darling! @FLUP.
13–17 July 2015 / DIY DIY my Darling
by Esgar Acelerado and Noé Alves
14h00 – 14h30
OPENING EXHIBITION
Underground’
+
BOOK LAUNCH
Underground’ by Paula
Guerra and João Leite
13 July – 30 September 2015 / Library,
Faculty of Arts and Humanities of
the University of Porto / Curated
by Ana Carolina Avillez, Isabel Leite,
João Leite, Laura Gil, Marlene Borges,
Presentation:
Australia
Fernanda Ribeiro, Dean of Faculty of Arts and
Humanities, University of Porto, Portugal
Guilherme Blanc, Department of Culture, Porto
Municipal Council, Portugal
Isabel Pereira Leite, Library, Faculty of Arts and
Humanities of the University of Porto, Portugal
João Leite, Library, Faculty of Arts and
Humanities of the University of Porto, Portugal
14h30 – 15h00
BOOK LAUNCH
‘Subcultures: The Basics’,
by Ross Haenfler
Presentation:
Ross Haenfler, University of Mississippi, United
States of America
Australia
Scott Robertson, University of California,
Los Angeles, United States of America
15h00 – 16h10
DISCUSSION LECTURES
Andy Bennett and François Ribac
Discussion Topic: Never Gonna
Give It Up: post-subcultures, transitions and metamorphoses
15h00 – 15h20
From subculture to postsubculture where to next?
129
15h20 – 15h40
Is DIY a punk invention?
François Ribac, Institut Denis
Diderot, University of Dijon,
Laboratoire Cimeos, France
3.4.
Host: Ross Haenfler, University of
15h40 – 16h10
Open Discussion
16h10 – 16h30
Coffee-Break
16h30 – 18h00
Work Sessions 3/4
Working Group 3
Host: Pedro Quintela, Faculty of Economics,
Centre for Social Studies, University of Coimbra,
Commentator: Andy Bennett, kismif
Convenor, School of Humanities, Griffith
3.1.Notes on the concept of
independence in the context of
Brazilian rock in the xxi century
Porto, Portugal, Brazil
Detailed Schedule
3.2.
3.3.
The commodification of vinyl
Brussels/ School for Advanced
Paris, France
Developing a taste for electronic
dance music: Personal
narratives of ‘entrance’ in uk
club culture from 1995 – 2014
‘We’re from Switzerland, that’s
Switzerland
Working Group 4
Host: Heitor Alvelos,
Commentator: François Ribac,
Institute Denis Diderot, University of
Dijon, Laboratory Cimeos, France
4.1.
4.2.
4.3.
4.4.
The ‘mixed economy of favours’:
Theorising social relations in
a post-crisis music scene
United Kingdom
The sociology of music and its
founders: A diachronic review
Implications of Rosi
Braidotti’s nomadic theory
for research in complex
experimental music scenes
Chapel Hill, United States of
America
Back to MPB: Exploring
the controversies of the
new Brazilian popular
music (New MPB)
Federal University of Pernambuco
(UFPE), Audiovisual and Music
Analysis Laboratory (L.A.M.A),
Brazil
18h30 – 19h00
BOOK LAUNCH
‘De la Generación@ a la
#Generacion’, by Carles Feixa
+ Autograph Session
Cibermúsica [Cybermusic], Casa da Música /
Presentation:
Carles Feixa, Department of Geography and
Sociology, University of Lleida, jovis, European
19h00 – 19h30
BOOK LAUNCH
‘Lost Histories of Youth Culture’,
+ Autograph Session
Presentation:
Australia
Christine Feldman-Barrett, Griffith University,
Griffith Centre for Cultural Research, Australia
© Vera Marmelo
130
Tuesday,14
09h00 – 10h10
DISCUSSION LECTUREs
Alastair Gordon and Mike Dines
Discussion Topic: A Different Kind
of Tension: Punk, authenticity, underground legacy, and pedagogy
09h00 – 09h20
The Spectralities of 2015 uk
diy punk: the quest for the
authentic punk artefact
Alastair Gordon, Leicester De Montfort
University, Punk Scholars Network,
United Kingdom
09h20 – 09h40
Reading, writing and rebellion:
Pedagogy, academia and
the formation of the Punk
Scholars Network
Mike Dines, Institute of Contemporary
Music Performance, Punk Scholars
Network, United Kingdom
Host: François Ribac, Institut
Denis Diderot, University of Dijon,
Laboratoire Cimeos, France
09h40 – 10h10
Open Discussion
131
132
University, Canada
10h10 – 10h30
Coffee-Break
10h30 – 12h00
Work Sessions 5/6
6.3.
Working Group 5
Host: João Queirós, School of Education,
Polytechnic Institute of Porto, Institute of
Sociology, University of Porto, kismif Project,
Portugal
Commentator: Alastair Gordon,
Leicester De Montfort University, Punk
5.1.
Preliminary research into
online autonomous scenes
Rodrigo Nicolau Almeida, University
of Porto, Portugal
5.2.
Alternative Music Scenes in
Yugoslavia and former Yugoslavia
Julijana Zhabeva-Papazova,
Independent researcher, Macedonia
5.3.
The Boston basement
show scene
Working Group 6
Detailed Schedule
Host: Paula Guerra, kismif Convenor, Faculty
of Arts and Humanities, Institute of Sociology,
Commentator: Mike Dines, Institute of
Contemporary Music Performance, Punk
6.1.
6.2.
Punks’ politics: Educating each
other to resist the system
‘Ain’t a Sleepy Little Town’:
6.4.
¡Sirenas al ataque! Punk
women in Mexico City
Tanja Wälty, Institute of
Interdisciplinary Latin American
Studies of Freie Universität Berlin,
Germany
The separation of scene and
12h00 – 13h00
Lunch
Presentation of the
demo-tape ‘Situations’
Simon Le Roulley, CERReV, University of
Caen Basse-Normandie, France
Presentation of the video ‘A Lynching’
Marcello Messina, Federal University of
Acre, Brazil
13–17 July 2015 / Room at The Top
[Sala de Reuniões], Faculty of Arts
and Humanities of the University of
Porto / Curated by Pedro Quintela
13h00 – 13h30
OPENING EXHIBITION
+ BOOK LAUNCH
‘Live Fast! Die Punk!’ by Rui Oliveira
14–17 July 2015 / Teacher’s Lounge, Faculty
of Arts and Humanities of the University of
Porto / Curated by Rui Oliveira e Ana Oliveira
Presentation:
Ana Oliveira, iscte – University Institute of
Lisbon, dinamia’cet – University Institute of
Lisbon, kismif Projet, Portugal
Rui Oliveira, Global Imagens, Nfactos, Portugal
David Pontes, Deputy Editor in
Chief, News Journal, Portugal
13h30 – 14h00
BOOK LAUNCH
‘Rock me Like The Devil: a assinatura
das cenas e das identidades
metálicas [Rock me Like The Devil:
the signature of the metal scenes
and identities]’ by Jeder Janotti Jr.
Presentation:
André Silva, President of the Student
Association of Faculty of Arts and Humanities,
Jeder Janotti Junior, Post-Graduate Program
in Communication for the Communication
Department of Federal University of
Pernambuco, Audiovisual and Music Analysis
Laboratory, Brazil
14h00 – 15h10
DISCUSSION LECTUREs
Jeder Janotti Junior and Pedro Costa
Discussion Topic: Everywhere and
Nowhere: Sounds, places and spaces
14h20 – 14h40
From the Research on Urban
Cultural Milieus to Artistic Urban
Interventions and Back Again:
A Methodological Perspective
Host: Paula Guerra, kismif Convenor,
Centre for Cultural Research, kis
mif Project Coordinator, Portugal
14h40 – 15h10
Open Discussion
15h10 – 16h40
Work Sessions 7/8
Working Group 7
Host: Gil Fesch, Institute of Sociology,
Commentator: Jeder Janotti Junior, PostGraduate Program in Communication for
the Communication Department of Federal
7.1.
Leiria Calling in 90’s
Pedro Miguel Ferreira,
Polytechnic Institute of Leiria,
School of Education and Social
Sciences, Preguiça Magazine,
Portugal
7.2.
Radio Live Transmission:
indie rock and the importance
of radio in Portugal
Catarina Ribeiro Figueiredo,
14h00 – 14h20
Space, Place and Dissent and
territorialities: small venues
and becoming in Recife,
Pernambuco-Brazil
Communication Department of Federal
7.3.Nakedness, gender and
Complutense University of
Madrid, Spain
133
The multiple and complex
genealogy of noise music:
an approach from Paris
Sociales (ehess), France
Working Group 8
Host: Paula Abreu, Faculty of Economics,
Commentator: Pedro Costa, iscte –
University Institute of Lisbon, dinamia’cet
– University Institute of Lisbon, Portugal
8.1.
8.2.
8.3.
Detailed Schedule
8.4.
‘The Underground is cool’:
The city centre of Porto as
space of consumption, leisure
and symbolic reference
Célia Ferreira, University of Porto,
Centre for the Study of Geography
and Spatial Planning, Portugal
What is important is the
space: transformations
and hybridisations in
Basque counterculture
of the Basque Country (upv/ehu)
Basque Country, Spain
Coimbra and the rock’n’roll:
a relational space from the
beginning of the 1990’s
Pedro Almeida Martins, Faculty
of Economics of University of
Coimbra, Portugal
My zone is my music: an
approach of integrating young
people through music
Vânia Pinheiro, Faculty of Arts and
Portugal
16h40 – 17h00
Coffee-Break
17h30 – 18h30
OPENING EXHIBITION
‘Facadas na Noite [Stabs at Night]’
+ Listening music through
Walkman (cassette)
+ dj Set Matéria Prima
+ Drinks
14–18 July 2015 / Matéria Prima,
Porto / curated by Paula Guerra,
Paulo Vinhas and Pedro Quintela
Presentation:
Paulo Vinhas, Matéria Prima, Portugal
Pedro Quintela, Faculty of Economics,
19h00 – 19h45
PRE-RELEASE
‘O Meu Espelho [My Mirror]’
by Paula Guerra
+ DJ Set Esgar Acelerado
Café-Concerto, TM Rivoli, Porto / Curated
Presentation:
Adolfo Luxúria Canibal, Musician
(Mão Morta), Lawyer, Poet, Portugal
Tó Trips, Musician (Dead Combo, Guitarras
ao Alto, Timespine), Composer, Illustrator
(Mackintoxico), Portugal
Zé Pedro, Musician (Xutos & Pontapés), dj,
Producer/presenter of radio shows, Portugal
19h45 – 20h15
BOOK LAUNCH
‘More Than Loud’, edited
by Paula Guerra
Presentation:
Claudino Ferreira, Faculty of Economics,
Portugal
Paula Abreu, Faculty of Economics, Centre for
Social Studies, University of Coimbra, kismif
Project, Portugal
Rui Telmo Gomes, Centre for Research
and Studies in Sociology, University Institute
of Lisbon, kismif Project, Portugal
21h30 – 23h00
SCREENING/RELEASE
Documentary ‘Bastardos. Trajetos
do Punk Português (1977–2014)
Portuguese Punk (1977–2014)]’
Pequeno Auditório [Small Auditorium],
TM Rivoli, Porto / Curated by Paula
Presentation:
Adolfo Luxúria Canibal, Musician (Mão Morta),
Lawyer, Poet, Portugal
Eduardo Morais, Documentary filmmaker,
Freelance video editor, dj, Portugal
José F. Pinheiro, Independent tv
and Film Director, Portugal
23h30 – 00h30
GIG
Tó Trips. ‘Guitarra Makaka. Danças
a um Deus Desconhecido [Monkey
Guitar. Dancing to a God Unknown]’
Sub-palco [Under Stage], TM
Rivoli, Porto / Curated by Pedro
© rui oliveira
134 7.4.
Wednesday,15
From 08h00
09h15 – 10h30
PLENARY LECTURE
Andy Bennett and Dick Hebdige
Working at perfect: Music
sociology and the ever-changing
landscape of diy music scenes
After shock: the legacy of punk
Dick Hebdige, Department of Art,
Interdisciplinary Humanities Center,
University of California, Santa
Barbara, United States of America
Host and Discussant: Vítor Belanciano,
DJ, Anthropologist, Professor, Journalist
and Music Critic at Público, Portugal
10h30 – 11h00
Coffee-Break
+ Performance
‘Sharon and Tracy exist’,
135
136 by Mary Fogarty and Helen Simard
Room at The Top [Sala de Reuniões], Faculty
of Porto / Curated by Pedro Quintela
11h00 – 12h15
PLENARY LECTURE
Carles Feixa and Paula Guerra
13h30 – 15h15
Parallel Sessions
1.1./ 2.1./ 3.1./ 4.1./ 5.1.
Indignant Soundscapes.
Hybrid cultures and the
‘new new’ social movements
Carles Feixa, Department of
Geography and Sociology, University
of Lleida, jovis, European Youth
Studies, International Sociological
All Tomorrow’s Parties: pictures
and relations in the (sub)cultural
manifestations of Portuguese punk
Paula Guerra, kismif Convenor, Faculty
of Arts and Humanities, Institute of
Sociology, University of Porto, Griffith
1.1. Hybridism and glocalization
in popular music
Host and Discussant: Vítor Belanciano,
DJ, Anthropologist, Professor, Journalist
and Music Critic at Público, Portugal
Detailed Schedule
12h15 – 13h30
Lunch
Presentation of a documentary
about musical influences on
women punk bands in the 1970s
Presentation of the book
‘The Praxis of Robin Fior Revisited’
Presentation of the publisher ‘pc-press’
Peter Webb, University of Cambridge,
University of the West of England Bristol,
England
Chair: François Ribac, University of
Dijon, Laboratoire Cimeos, France
1.1.1.
Christian hip hop and the
multifaceted americanization
of South African culture
Ibrahim Abraham, University of
Helsinki, Finland
1.1.2. Revivalism, hibridism and
transformism: From sociability
to musical identity, Coimbra’s
rock music scene during the 90’s
Pedro Almeida Martins, Faculty
of Economics of University of
Coimbra, Portugal
1.1.3. Cosmopolitan ideologues
and rastafarian performativity
in the South African reggae
music of Teba Shumba
and The Champions
Tuomas Järvenpää, University of
Eastern, Finland
1.1.4. The folk-underground music
as culture revivalism: Mixing
The Sundanese traditional
musical instrument and
underground music as the
struggle for culture sovereignity
Yusar Muljadji, Faculty of Social
and Political Science, Universitas
Padjadjaran, Indonesia
1.1.5.Yugorock, turbofolk and Shakira:
exploring the subtextualities
of the urban nightscape(s)
in post-socialist Sarajevo
Jordi Nofre, New University of
Lisbon, Catalonia, Portugal
3.1. Paranoid images,
Jordi Martín-Díaz, University of
Barcelona, Catalonia, Bosnia and
Herzegovina
Chair: Claudino Ferreira, Faculty of
Economics, Centre for Social Studies,
2.1. Always louder than anywhere else:
punk in between the global and the local
Chair: Rylan Kafara, Edmonton
Free School, Canada
2.1.1. Anarchy in the uk? Punk
and the ‘establishment’
John Street, University of East
Anglia, United Kingdom
2.1.2. Punk communication
and interaction between
Yugoslavia and the West
Jack Pitt, uea, United Kingdom
2.1.3. Atomic Attack and Nuclear
Accidents: From Hiroshima
to Fukushima. Transmissions
of shared anti-nuclear
aesthetics between European
and Japanese punk culture
from 1980 to present
Alastair Gordon, Leicester De
Montfort University, United
Kingdom
2.1.4. Shake it off your body!
Overcoming distress through
the sounds of reggae and punk
Gonzalo Fernández Monte,
Spain
2.1.5. The diy punk scene: between the
reproduction of social structures
of domination and emancipation
Simon Le Roulley, cerrev,
University of Caen BasseNormandie, France
3.1.1. To tra-Verse memories
and explanations… cities
scratched on images
Érica Speglich, State University of
Feira de Santana, Brazil
3.1.2. Pernambuco Building:
spacialities of live music in the
ExcentriCidades project through
a constellation of concepts
Laboratory, Brazil
Federal University of Pernambuco
(ufpe), Audiovisual and Music
Analysis Laboratory (l.a.m.a), Brazil
3.1.3. The ‘Ghost of the Machine’: The
bass saxophone and popular
music remediations in the
Montreal underground scenes
François Mouillot, McGill University,
Canada
3.1.4. Space, place, and the local
in Dublin’s underground
Jaime Jones, University College
Dublin, Ireland
3.1.5. Underground basements:
the role of private spaces
in the Boston diy scene
137
138 Room For One More [208], Faculty of Arts
4.1. ‘Between Heaven And Hell’:
Music, resistence, authority
and social change
Chair: Helen Reddington, University
of East London, United Kingdom
4.1.1. Happy resistance: A radical inuit
response to ‘white authority’
Tom Artiss, University of
Cambridge, United Kingdom
4.1.2. Rituals of ‘misrule’ within
Bulgarian popular music
Asya Draganova, Canterbury Christ
Church University, United Kingdom
Shane Blackman, Canterbury
Christ Church University, United
Kingdom
4.1.3. Cattivi guagliuni: The identity
politics of 99 Posse
Marcello Messina, Federal
University of Acre, Brazil
4.1.4. diy practices, English singing
and white male empowerment in
the French death metal scene
Michael Spanu, University of
Lorraine, France
4.1.5. Griots of the third millennium:
from the prohibitions to
the appropriations.
João Lindolfo Filho, Pontifical
Catholic University of São Paulo
Detailed Schedule
5.1. Creativity, entrepeneurship and
cultural resistance in contemporaneity
Chair: Raphael Nowak, Griffith
5.1.1. Taking the bull by the horns:
diy and entrepreneurialism
in Perth’s indie pop/rock
music industry and scene
Christina Ballico, Indepedent
Researcher, Australia
5.1.2. Rethinking: challenges and
methodological dilemmas
in research music
Mário Cardoso, Polytechnic
Institute of Bragança, Portugal
Levi Silva, University of Trás-osMontes e Alto Douro, Portugal
5.1.3. ‘Work all day, make your
Magnum opus at Night’ –
contemporary structures
of feeling and diy
Kieran Curran, University of
Edinburgh, Scotland
5.1.4. The illegibility of the creative act:
how a shopping mall became a
music hub, and how its exposure
may be its worst enemy
Heitor Alvelos,
Anselmo Canha,
Fátima São Simão,
Lost in Room [Anfiteatro 2], Faculty of Arts
15h15 – 17h00
Parallel Sessions
1.2./ 2.2./ 3.2./ 4.2./ 5.2.
1.2. The troubled paths from
Chair: J. Mark Percival, Queen
Margaret University, Scotland
1.2.1. On the outskirts of the
music underground
Ariane Gruet-Pelchat, University
Laval, Canada
1.2.2. When underground becomes
(alter)mainstream: The
commercial as transgression
Ion Andoni del Amo, University of
the Basque Country (upv/ehu),
Basque Country, Spain
1.2.3. The mythology of the
underground in the
construction and performance
of popular music history
Mario Dunkel, tu Dortmund
University, Germany
1.2.4. From resistance to incorporation:
Ideological appropriation of diy
music genres in United Kingdom
and Czechoslovakia on the
example of the media policy
Martin Husak, Charles University in
Prague, Czech Republic
1.2.5. Underground without borders.
Radical right-wing scene in
Hungary and Szeklerland
Ágnes Patakfalvi-Czirják, University
of Pécs, Hungary
you look like a punk in GDR
and FRG (1977–1982)
Pierre Raboud, University
of Lausanne, FNS (Swiss
National Science Foundation),
Switzerland, Max-Planck Institut
für Bildungsforschung (Berlin),
Germany
2.2.3. Punk representations
at advertising: impurity,
stigma, deviance
Cláudia Pereira, Pontifical
University of Rio de Janeiro, Brazil
2.2.4.You Can’t Blow Up a Symbolic
Relationship: spectacular and
physical resistance of punk
Donal Fullam, University College
Dublin, Ireland
2.2.5. Surrender unto me: punk rock,
bhakti-rasa and the devotional
aesthetic of krishnacore
Mike Dines, Institute of
Contemporary Music Performance,
United Kingdom
1.2.6. Approaching music
in sociological terms.
Remix Ensemble and the
ethnographic turn
Chair: Michael Goddard, University
of Salford, United Kingdom
2.2. ‘I Was a Teenage Werewolf!’Punk,
style, authenticity and commodification
3.2.1. Bedroom Culture: is the
bedroom a space for freedom
or the only free space?
Débora Gomes dos Santos,
Institute of Architecture and
Urbanism, University of São Paulo,
Brazil
Chair: Alastair Gordon, Leicester De
Montfort University, United Kingdom
2.2.1. ‘Not Real Punx, but Kindred
Creatures (Creature Simili)’: the
enactment of post-punk in Milan
Simone Tosoni, Università Cattolica
del Sacro Cuore, Italy
2.2.2. Locked by the look. The
different risks you take when
3.2. Cross cultural cartographies
and archaeologies of popular music
scenes, cities and creative industries
3.2.2. Digging the poa and mcr
urban music scenes
Michael Goddard, University of
Salford, United Kingdom
139
140 3.2.3. MCR2015. A communicational
exploration at the
margins of pop music
Fabricio Silveira, Unisinos, rs, Brazil
Room For One More [208], Faculty of Arts
4.2. ‘High on Rebellion’: Gender,
diference, subversion and (sub)culture
Chair: Scott Robertson, University
of California, Los Angeles,
4.2.1. Contemporary art and
construction gender equality
Fellipe Eloy Teixeira Albuqueuerque,
Federal University of São Paulo,
Brazil
4.2.2. ‘So Cute’ or ‘So Nasty’?
Contrasting Discourses of
Masculinity and Femininity
Surrounding B-girls
(Female Breakdancers)
Helen Simard, Université du
Québec à Montréal, Canada
4.2.3. Aesthetical strategies for
queering punk: the zine J.D.s
Atlanta Ina Beyer, Carl von
Ossietzky University of Oldenburg,
Germany
4.2.4. Gender perspectives in the
Hungarian music underground
before and after the political
transition of 1989
Enikő Bódis, elte University of
Budapest, Hungary
Detailed Schedule
Katalin Soós, elte University of
Budapest, Hungary
4.2.5. Space to Play: sonic
subversion by female punk
bands in the 1970s
5.2. Carreers, jobs and arts:
challenges and persistences
Chair: Vera Borges, iscte – University
5.2.1. ‘To Wear a collar with electric
shock’: the young workers
of the ‘new’ and the ‘old’
Russian cultural institutions
Margarita Kuleva, nru Higher
School of Economics, Russia
5.2.2. The (pop)rock singer – a selftaught or a skilled artist?
Samuel Tomeček, Department of
Musicology, Comenius University,
Bratislava, Slovakia
5.2.3. The DJ, demiurge of new
and creative languages
Javier Pérez Pinheiro, University of
Sociology, udc, Galicia, Spain
5.2.4. ‘Fooling around with careers’:
identity and economy in
Rui Telmo Gomes, Centre for
Research and Studies in Sociology,
Project, Portugal
5.2.5. The celebration of diy
or the magnificent work
of Esgar Acelerado
Esgar Acelerado, Independent
Artist, Mr. Esgar, kismif Project,
Portugal
17h00 – 17h30
Coffee-Break
17h30 – 19h15
Parallel Sessions
1.3./ 2.3./ 3.3./ 5.3./ 6.1.
1.3. Whatever Happened to
Rock ‘n’ Roll?: popular music
heritage and memories
Chair: Eileen Hogan, Institute for Popular
Music, University of Liverpool, United Kingdom
1.3.1. Melbourne scenes and the
creation of ‘underground’
and ‘mainstream’ popular
music heritage
Catherine Strong, rmit University,
Australia
1.3.2. Memories of an underground
scene at the southern Brazil:
between descriptions
and meanings about one
subterraneous past
Daniel Ribeiro Medeiros, Federal
University of Pelotas, Brazil
Isabel Porto Nogueira, Federal
University of Rio Grande do Sul;
Federal University of Pelotas, Brazil
1.3.3. The cultural and political
legacy of punk/post-punk
Peter Webb, University of
1.3.4. The rock contradictions
Nadja Vladi, Federal University of
Recôncavo da Bahia (ufrb), Brazil
1.3.5. ‘Writhing Underground
Flowers’: Conceptualizing
perceived underground
musics in times of change
Chapel Hill, United States of
America
2.3. Destroy all monsters! Punk
Chair: Peter Webb, University of
2.3.1. Imperfect makes practice:
Participation, punk
and collectivity
Allister Gall, Plymouth College of
Art and Plymouth University, United
Kingdom
2.3.2. Punk rock pedagogy: Bullshit
and the art of ‘crap-detection’
Scott Robertson, University of
California, Los Angeles, United
States of America
2.3.3. ‘Here we are now, educate us’:
The pedagogical approach to
teaching the history of punk
Rylan Kafara, Edmonton Free
School, Canada
2.3.4. The role of media during the
reception and development
of punk music after the
Spanish dictatorship
David de la Fuente García,
University of Oviedo, Spain
2.3.5. Ever fallen in love (with someone
you shouldn’t have?): punk,
politics and same-sex passion
David Wilkinson, University of
Reading, United Kingdom
3.3. Crossing borders of
Chair: Pierig Humeau, curapp
cnrs umr 7319, France
3.3.1. Performance art in Portugal in
the 80s? A drift towards music?
Cláudia Madeira, Faculty of Social
Sciences and Humanities, New
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3.3.3. Individual art and
repeatable beauty
Mara Persello, University of
Potsdam, Germany
3.3.4. Experimentation in the
performing arts
Julianna Faludi, Corvinus University
Budapest, Trento University, Italy
3.3.5. Tangencias, a medium
of art practice
Pedro González Fernández, Royal
College of Music, Stockholm,
Sweden
5.3. Rebellious Jukebox: Dream
narratives and challenges
Chair: Gonzalo Fernández Monte,
Complutense University of Madrid, Spain
5.3.1. The cyber-guitar system
Jonathan Crossley, Wits University,
South Africa
Detailed Schedule
5.3.2. Processes of teaching(-learning)
how to play the classical
guitar in the city of Porto
Daniel Araújo, School of Music and
Arts of Trofa, Portugal
5.3.3. Art to advert / producer
to by-product: the
institutional formation of the
industrialised musician
Christopher Adams, University of
Glasgow, Scotland
5.3.4. 'diy Scenes of Yorkshire’:
Organising post-industrialism
in 2000s Leeds
Dominic Deane, University of
Manchester, United Kingdom
5.3.5. Artistic work and collaborative
contexts: Five case studies
with cultural organizations
Vera Borges, iscte – University
Portugal
6.1. Alive Tonight! Electronic
dance music, post-colonial
studies and borders
Chair: Franka Schäfer, Institute of Sociology,
6.1.1. Subcultural studies, space
and electronic dance music
Bill Blackstock, York University,
Toronto, Canada
6.1.2. ‘Dedicated followers of PaSSion’
(1995 – 2015): the multiple
realities of the clubber
Zoe Armour, De Montfort
University, Leicester, United
Kingdom
6.1.3. The psychedelic trance tribe:
the digital experience
Emília Simão, Portuguese Catholic
University, Portugal
6.1.4. Underground, Overrated:
Gender Normativity in Dance
Music and DJ cultures
Tami Gadir, University of Oslo,
Norway
6.1.5. Breaking the electronic sprawl
Hillegonda C Rietveld, London
South Bank University, United
Kingdom
19h00 – 19h30
Performance
‘The Conversation Blows Up’, by
Mary Fogarty and Helen Simard
Pedro Quintela, Faculty of Economics,
21h30 – 23h00
SCREENING
Documentary ‘Teenage’
2nd Floor, Faculty of Arts and
19h30 – 20h15
BOOK LAUNCH
‘One Chord Wonders: Power and
Meaning in Punk Rock’, by Dave Laing
+ Autograph Session
Pequeno Auditório [Small Auditorium],
Porto/Post/Doc and kismif
Presentation:
Australia
Dario Oliveira, Porto/Post/Doc, Portugal
Pedro Costa, iscte – University Institute
of Lisbon, dinamia’cet – University
Institute of Lisbon, Portugal
Presentation:
Dave Laing, University of Westminster,
University of Liverpool, United Kingdom
Dick Hebdige, Department of Art,
Interdisciplinary Humanities Center,
University of California, Santa Barbara,
20h15 – 21h00
TRIBUTE
‘After 35 years of ‘Subculture:
+ Interview
‘The subcultures, after 35 years’, by
Andy Bennett, Carles Feixa, Paula
Guerra and Pedro Quintela
23h30 – 00h30
GIG
Psicotronics and Tracy Vandal
Sub-palco [Under Stage], TM
Rivoli, Porto / Curated by Pedro
Presentation:
Australia
© Vera Marmelo
142 3.3.2. How underground music
influenced the course of graphic
design in Europe and usa
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Thursday,16
09h15 – 11h00
Parallel Sessions
2.4./ 3.4./ 5.4./ 6.2./ 7.1.
2.4. The punk scene in France
(1976–2016): Identities and specificities
Chair: Paula Guerra, Faculty of Arts and
of Porto, Griffith Centre for Social Research,
2.4.1. Punk sound and writing: a few
reflections about sonorous
and textual identities of the
punk scene in France
Luc Robene, cnrs, thalim, France
Solveig Serre, University of
Chair: Dominic Deane, University
of Manchester, United Kingdom
3.4. The city is mine! Cities,
transformation, activism
and intervention
5.4.1. Multiple job and other
strategies for professional
musicians in Barcelona
Marta Casals Balaguer, University
of Barcelona, Center for Policy
Studies on Culture and Society,
Spain
Chair: Jaime Jones, University
College Dublin, Ireland
3.4.1. Graffitti, street, delirium:
arts defiances
State University of Feira de Santana
(uefs), Bahia, Brazil
Milena Santos Rodrigues, State
University of Feira de Santana
Edivan Carneiro de Almeida, State
University of Feira de Santana
2.4.2. Porosity between punk space
and politico-associative field.
The punk music as an auxiliary
means of collective mobilizations
7319, France
3.4.2. Parkour through music:
daily routine and powerful
imaginations
Ines Braune, Center for Near and
Middle Eastern Studies, Marburg
University, Germany
2.4.3. French touch and fuck you style:
Punk bodies and identities
Philippe Liotard, Université Lyon 1,
cris, France
3.4.3. Transforming the city: Shaping
urban public space through
collective street art initiatives
Ágata Dourado Sequeira, iscte
dinamia’cet – University Institute of
Lisbon, Portugal
2.4.4. Geographic Information System
and diy zines: a tool for mapping
Samuel Etienne, École Pratique des
Hautes Etudes, cnrs umr Prodig,
France
Dorothée James, École Pratique
des Hautes Etudes, France
Detailed Schedule
2.4.5. Space of styles and space of
positions inside the French
‘independent’ punk scene
7319, France
3.4.4. Art is resistance. Year
Zero (2007) and The Slip
(2008), the Nine Inch Nails’
conceptual dyptich
Maxime Munier, University of
Montréal, Canada
5.4. ‘Revolution Ballroom’:
Social innovation, creativity,
diy and social inclusion
5.4.2. 15 years of mmmnnnrrrg activity
Marcos Farrajota, Comics Library of
Lisbon/ blx, Municipality of Lisbon,
Chili Com Carne Association,
mmmnnnrrrg label, kismif Project,
Portugal
5.4.3. Social and generational
inclusion: The ‘Social Crochet
Program’ from Coimbra
Marcia Regina Medeiros Veiga,
5.4.4. On the Sale of community in
crowdfunding: Questions of
power, inclusion, and value
David Gehring, Old Dominion
D.E. Wittkower, Old Dominion
5.4.5. The theatre in the places of
social exclusion: preliminary
analysis of the Pele
association's activities
Irene Serafino, Institute of
Portugal, Italy
6.2. Power, loud and darkness:
Chair: Ibrahim Abraham,
University of Helsinki, Finland
6.2.1. Turkish metal. Contesting
Islamic concepts of morality
Pierre Hecker, Centre for Near
and Middle Eastern Studies,
University of Marburg, Germany
6.2.2. Tales of light, darkness and
resurrection: local identities
and global connections in
Québecois heavy metal
Laura Wiebe, Brock University,
Canada
6.2.3. Black metal: history, trace of
character and archetype
José Filipe P. M. Silva, Institute
of Philosophy of the University of
Porto, Portugal
7.1. ‘Everybody Everywhere’: Mediation,
strategies and audiences
Chair: Katie Victoria Green,
7.1.1.
Street musicians:
The strategies of mastering the
social space of St. Petersburg
Aleksandra Kozyr, Saint-Petersburg
State University, Russian Federation
7.1.2. Listening Noise Music in
Paris: Focus on Venues
and Concert Organizers
7.1.3. diy discourse as embodied
practice: spatial tactics at
American diy shows
David Verbuč, Charles University,
Slovenia, Czech Republic
7.1.4. diy music technology:
underground scenes of
experimental instrument
building in New York and Berlin
Lauren Flood, Columbia University,
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like the same band’: the social
contribution of small-scale live
music venues in Melbourne
Samuel Whiting, rmit University,
Melbourne, Australia
11h00 – 11h30
Coffee-Break
11h30 – 12h15
PLENARY LECTURE
Matthew Worley
Shot By Both Sides: Punk, Politics
and the End of ‘Consensus’
Matthew Worley, University of Reading,
Host and Discussant: Álvaro Costa,
Communicator rtp, Portugal
Faculty of Arts and Humanitiesof
12h15 – 13h00
PLENARY LECTURE
Mary Fogarty
Art as Agency
Mary Fogarty, York University,
Toronto, Canada
Detailed Schedule
Host and Discussant: Álvaro Costa,
Communicator rtp, Portugal
13h00 – 14h30
Lunch
Presentation of the album ‘Giraffe Solos’
John Encarnacao, University
of Western Sydney, Australia
Presentation of the album ‘Maila, un
món de contes através de la música’
Marta Casals Balaguer, University of
Barcelona, Center for Policy Studies on
Culture and Society, Spain
ascending from underground
music to everyday culture
Franka Schäfer, Institute of
Sociology, FernUniversität, Hagen,
Germany
Room at The Top [Sala de Reuniões], Faculty
of Porto / Curated by Pedro Quintela
Anna Daniel, Institute of Sociology,
14h30 – 16h15
Parallel Sessions
1.4./ 2.5./ 4.3./ 6.3./ 8.1.
1.4. You Can Put Your Arms
Around a Memory: authenticity
and identity in popular music
Chair: Catherine Strong, rmit
1.4.1. Counterculture in the
Tropics: ‘building’ a young
audience in Brazil
of Porto, Brazil
1.4.2. Britpop’s Common People:
the representation of national
Claudia Lueders, Royal Holloway,
University of London, United
Kingdom
1.4.3. The separation of scene and
1.4.4. ‘Authentic parochialism’:
Locating the uses of authenticity
in a small city’s music scene
United Kingdom
1.4.5. The emergence of rock and
pop. A sociological study
on an efficacious practice
1.4.6. Ramones and hardcore
– when fast is bad
J. Mark Percival, Queen Margaret
2.5. I Wanna Be Your Bastard!
Punk rock in the midst of social
Chair: Solveig Serre, University
2.5.1. Portuguese punk scenes:
a social profile of their
founders and participants
of Coimbra, kismif Project,
Portugal
Augusto Santos Silva, Faculty of
Economics, Institute of Sociology,
Portugal
Projet, Portugal
2.5.2. Ain’t only punk, they’re
inglorious bastards! Topological
essay of the actors of the
Portuguese punk (1977–2014)
Hélder Alves, Institute of Social
Work of Porto, Portugal
2.5.3. Punk and the city: diy cultures
and radical uses of urban
spaces in Porto, Portugal
João Queirós, School of Education,
2.5.4. Social sciences, punx archives
and memories: considerations
concerning the kismif Archive
Projet, Portugal
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2.5.5. Revolution rock: the influence
of The Clash upon Portuguese
Punk Bands/Musicians
Maria João Ramos, Beja
Polytechnic Higher Institute,
Portugal
4.3. ‘The Correct Use of Soap’:
Chair: Christine Feldman-Barrett,
Griffith University, Griffith Centre for
4.3.1. Mahraganat music: underground
youth cultures in Cairo
José Sánchez García, Centre for
Youth and Society Studies (jovis),
University of Lleida, Spain
4.3.2. There could be Space for
Another Shadow: Punk
and Early Christianity
transgressing history
Lynn Osman, Université de
Balamand, Lebanese Academy of
Fine Arts, Lebanon
Detailed Schedule
4.3.3. Resistance? Through rituals:
politics and rock culture during
the last military dictatorship
in Argentina (1976–1983)
Julián Delgado, University of
Buenos Aires, Argentina
6.3.1. What is it about Mexican
darkness? A glimpse on Mexico
City’s goth scene history,
development and revamping
José Hernández Riwes Cruz,
Metropolitan Autonomous
University, Azcapotzalco, Mexico
6.3.2. Avant-garde rock, or the defiance
of traditional musical domains
Jacopo Costa, gream, University of
Strasbourg, France
6.3.3. One movement, different
styles: the making of industrial
music scene in France, 1980’s
Christophe Broqua, ehess,
Sophiapol-Lasco, Université Paris
Ouest Nanterre La Défense, France
6.3.4. Czech rave: How to escape
from moral panic?
Ondřej Slačálek, Faculty of
Philosophy and Arts, Charles
University in Prague, Czech
Republic
6.3.5. The electro scene in Tunisia:
revolution and the borders
of the underground
Stefano Barone, Griffith Centre
for Cultural Research, Griffith
4.3.4. Alternative battle: Israeli
and Palestinian hip-hop
Yulia Gilichinskaya, suny Buffalo,
Russia, Israeli, United States of
America
8.1. Countercultures, comics,
8.1.1. Depicting music: how the
comic book Scott Pilgrim
sounds in other spaces
Charity Slobod, University of
Alberta, Canada
6.3. Shaping the past: heritage and
memories in current music scenes
Chair: Hillegonda Rietveld, London
South Bank University, United Kingdom
Chair: Ross Haenfler, University of
8.1.2. Freak encounters in the
Free Press: sharing spaces
in 1960s Los Angeles
Andre Mount, Crane School of
Music (suny Potsdam), United
States of America
8.1.3.Nakedness, gender and
Spain
8.1.4. ‘Brazilian Provocations’: The
Brazilian counterculture through
the alternative press (1969–1973)
Patricia Marcondes de Barros,
Catholic University of Santos, Brazil
8.1.5. From ‘Os chouriços são
todos para assar’ to ‘Maria
dos canos serrados’:
suburban life speeches in
Ricardo Adolfo’s literature
Sónia Passos, School of Music
and Performing Arts, Polytechnic
Institute of Porto, Portugal
16h15 – 16h45
Coffee-Break
16h45 – 18h30
Parallel Sessions
1.5./ 2.6./ 4.4./ 6.4./ 8.2.
1.5. Take Me Out!
Underground, authenticity
and local music scenes
Chair: Simone Tosoni, Università
Cattolica del Sacro Cuore, Italy
1.5.1. More than 3 chords in a
guitar: intersections between
punk and electronic music
Rui Pereira Jorge, Center for the
Study of Sociology and Musical
Aesthetics (cesem), Portugal
1.5.2. Extrarradio, Extrafuerte,
Extramierda: Punk Attitudes
from the Periphery of
Bourgeois Barcelona’s Claim to
Catalunya’s Cultural Capital
Maria Van Liew, West Chester
1.5.3. XYZ music: Italo-pop
as neutral ground
Philippe Birgy, Université Toulouse II
Jean Jaurès, France
1.5.4. ‘I am alone I will kill you’. On
the Gliwice alternative scene
Piotr Zanko, University of Warsaw,
Poland
2.6. Punk, transformation
and hybridism
Chair: Mike Dines, Institute of Contemporary
Music Performance, United Kingdom
2.6.1. Boots, braces and baseball
bats: Right wing Skinheads in
Czech Republic (1985–2015)
Jan Charvát, Charles University,
Czech Republic
2.6.2. Punk and new wave: Destruction
or a doorway into Europe for
the former Socialist countries
Yvetta Kajanova, Faculty of
Philosophy – Comenius University,
Slovakia
2.6.3. ‘It Ain't a Sleepy Little Town’:
University, Canada
2.6.4. A case study of the formation
of the punk movement in Rio de
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Janeiro between 1978 and 1984
and a comparative analysis with
the São Paulo punk movement
Dylan Fernando Oliveira da Silva,
Federal Rural University of Rio de
Janeiro, Brazil
2.6.5. Mobility and connections: in and
beyond the Dutch punk scene
4.4. ‘Wrong place, Right time’:
Chair: Matthew Worley, University of Reading,
4.4.1. A possible herstory
Carla Genchi, kmh, Slavic
Philology, Musical Critique and
Composition, Italy, Netherlands,
Sweden
4.4.2. The cultural network in Lower
Saxony – Modes of operation
and influence of cooperation
in the music sector
Lutz Dollereder, Institute for
Studies in Arts, Music, and
Mediation, Germany
Detailed Schedule
4.4.3. ‘I am not an emo, I am the
core-kid’: Subcultural
identity and negotiation of
authenticity in contemporary
Czech emo subculture
Martin Hermansky, Charles
University in Prague, Faculty of
Humanities, Czech Republic
Hedvika Novotna, Charles
University in Prague, Faculty of
Humanities, Czech Republic
4.4.4. Carnivalesque psychobilly
performances: Creating an
alternative culture of survival
Kim Kattari, Texas a&m University,
6.4.5. Inside a music scene
6.4. ‘Driving You Insane’. Aesthetic
and styllistic fragmentation: the
multiple worlds of indie rock
Chair: David Wilkinson, University
of Reading, United Kingdom
8.2. Fanzines, music magazines
and underground music scenes
6.4.1. The independent production
on the contemporary Brazilian
musical scenario: new agents
and new challenges
Vanessa Vilas Boas Gatti, University
of São Paulo (usp), Brazil
6.4.2. Contributions from the music
scenes perspective for a
draft of the indie/alt rock
production context in Teresina
Porto, Portugal, Brazil
6.4.3. It's Just That Song! Meanings,
identities and differences
in Portuguese indie rock
Projet, Portugal
6.4.4. ‘We’re from Switzerland, that’s
Switzerland
Chair: José Vicente Neglia, University
of Hong Kong, Hong Kong
8.2.1. Underground utopias: strategies
of mediation and resistance in
the Brazilian punk zines network
Yuri Bruscky, Federal University of
Pernambuco, Brazil
8.2.2. ‘While the world was dying, did
you wonder why?’: Punk, Politics
and British (fan)zines, 1976–84
Matthew Worley, University of
Reading, Subcultures Network,
United Kingdom
8.2.3. Fast, Furious and Xerox: the
fanzines’ production within the
Portuguese punk scene and its
evolution in terms of ideology
and aesthetics (1978–2013)
8.2.4.New Faces of Adoration:
Elements of visual sociology
through the album covers
8.2.5. The crisis continues:
Music graphics of punk
and post-punk in Portugal
from 1978 onwards
Ana Raposo, esad College of Art
and Design Matosinhos, Punk
Scholars Network, kismif Projet,
Portugal
19h00 – 20h00
BOOK LAUNCH
‘The Festivalization of Culture’,
by Andy Bennett, Jodie
Taylor and Ian Woodward
Cibermúsica [Cybermusic], Casa
da Música / Curated by Paula
Presentation:
Australia
20h30 – 00h00
KISMIF Conference Dinner
+ DJ Set ‘O Amor É Um Gajo
Estranho [Love Is A Strange Dude]’
151
152
and Humanities, Institute of
Taylor’s Port Cellars, Porto / Curated
by Paula Guerra, Tânia Moreira
and Pedro Miguel Ferreira
23h00 – 04h00
party
DJs: Ricardo Salazar and Joana Tê
RADIO, Porto / Curated by Ricardo Salazar
© Vera Marmelo
6.5.3. Discourses in the Berlin
‘alternative’ musical field
Myrtille Picaud, School
for Advanced Studies in Social
Sciences, France
Friday,17
09h30 – 11h15
Parallel Sessions
6.5./ 7.2./ 8.3.
6.5. ‘Waiting Underground’: Indie rock,
global, local and glocal music scenes
Detailed Schedule
Chair: Pauwke Berkers, Erasmus
6.5.1. Mapping sounds in Porto Alegre:
initial notes on the independent
authorial music scene
Belisa Zoehler Giorgis, University
Feevale, Brazil
6.5.2. Writing on the Stars:
interpretation and meanings
of Portuguese alternative rock
through its protagonists
Paula Guerra, Faculty of the Arts
Icelandic popular music
Arnar Eggert Thoroddsen,
University of Edinburgh, Scotland
7.2.4. Tales from the Belgrade
Serbia
7.2.5. diy in Morocco from the
mid 90’s to nowadays
Dominique Caubet, La nad –
inalco, France
6.5.4. From the ‘porteño’ basement.
The constitution of the
underground musical
scene in Buenos Aires,
Argentina, during the 80s
Argentina
Casa da Música
8.3.1. Cassette culture and
copyright critique
Pascal Massinon, University of
Michigan, Ann Arbor, United States
of America
7.2. Fandom, music lovers,
audiences and popular music
Chair: Sarah Benhaïm, cral, Ecole
7.2.1. Together and face to face: New
Model Army and its audience
Solveig Serre, cnrs, thalim,
France
Luc Robène, University of
7.2.2. Becoming a girl-fan,
being a girl-fan
Rita Grácio, Centre for Social
University of Exeter, United
Kingdom
7.2.3. ‘For the love of it’: amateurs
and unconventionalists in
8.3. Popular music heritage,
Chair: Heitor Alvelos, University
of Porto, Portugal
8.3.2. The commodification of vinyl
Brussels/ School for Advanced
Paris, France
8.3.3. ‘Back From the Grave’: Popular
Music Revivals and the Case of
the Tokyo Garage Punk Scene
José Vicente Neglia, University of
Hong Kong, Hong Kong
8.3.4. ‘Moderne Muziek:’ How vinyl
magazine reported the Dutch
post-punk movement
Richard Foster, Leiden University,
Netherlands
8.3.5. Photojournalism Is Not Dead
José Carneiro, Faculty of Fine Arts,
11h15 – 11h45
Coffee-Break
11h45 – 12h30
PLENARY LECTURE:
Paul Hodkinson
Harassment, Hate Crime and
Subcultural Identities
Paul Hodkinson, Department of Sociology,
University of Surrey, United Kingdom
Host and Discussant: David Pontes, Deputy
Editor in Chief, News Journal, Portugal
12h30 – 13h15
PLENARY LECTURE:
Dave Laing
‘Punks Not Dead!’ Or is it?
Host and Discussant: David Pontes, Deputy
Editor in Chief, News Journal, Portugal
13h15 – 14h30
Lunch
Presentation of the documentary
‘Regressa Urgente (Return Urgent)’
João Sardinha, Open University’s
Centre for the Study of Migrations
and Intercultural Relations
(cemri), Lisbon, Portugal
Presentation of the documentary
‘Looking for Orland’
Dominique Caubet, La nad – inalco,
France
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154
Foyer South (Bar 1) and Foyer West (Bar 2),
Casa da Música / Curated by Pedro Quintela
14h30 – 16h15
Parallel Sessions
6.6./ 7.3./ 8.4.
6.6. Shakin’ All Over! Mobilities,
transglobal sounds
Chair: Jeffrey A. Halley, University of Texas
at San Antonio, United States of America
6.6.1. Brazilian musicians in
Lisbon: art and migration
Amanda Fernandes Guerreiro,
Institute of Social Sciences of the
Lisbon University, Brazil, Portugal
6.6.2. Strange comrades: Punk rock,
racism and the emergence of a
multicultural dialogue 1977–1982
Anita Raghunath, Vrije University,
Amsterdam, Netherlands
6.6.3. Cultural identities of
Santomean diaspora: the
choices of young musicians
Magdalena Bialoborsk, iscteIUL, University Institute of Lisbon,
Portugal
Detailed Schedule
6.6.4. Transglobal cartography of the
underground: the reappropriation
of space of the public transport
by punk of Lisbon and S. Paulo
Débora Gomes dos Santos, Institute
of Architecture and Urbanism,
University of São Paulo, Brazil
6.6.5. As Interconverting
Music Types in Turkey:
“Arabesque” and “Rock”
Bülent Ahmet Turan, Bilkent
University Turkish Literature
Department, Mevlana (Rûmî)
University Turkish Department
7.3. Born to be ALIVE! Festivals,
live music venues, festivalization
Chair: Fabricio Silveira, Unisinos, rs, Brazil
7.3.1. Musical territories:
A cartography of indie
festivals in Brazil
Daniel Domingues, Fluminense
Luiza Bittencourt, Fluminense
7.3.2. Blue Austin: Conceptualizing
the Blues Scene in the Live
Music Capital of the World
Josep Pedro, Complutense
University of Madrid, Spain
7.3.3. Cultural diversity as a
contradictory practice
at music festivals
Lisa Gaupp, Leuphana University of
Lueneburg, Institute of Sociology
and Cultural, Germany
7.3.4. Deciphering the ‘alternative’:
some contributions from the
analysis of the audiences of
a performing arts venue
Portugal
Margarida Perestrelo, iscte –
dinamia'cet – University Institute of
Lisbon, Portugal
Giles Teixeira, iscte – University
Portugal
7.3.5. Investigating the (omni-)
presence of music in social
spaces through sound
environments: control,
mediations and noise pollution
Raphael Nowak, Griffith University,
Australia
8.4. Gatekeeping, online social
Chair: Monika Schoop, Cologne
University, Germany
8.4.1. A tale of two blogs: the
expert and the amateur
John Encarnacao, University of
Western Sydney, Australia
8.4.2. Hellbent for social media:
Methodological approaches to
social research in online spaces
Tristan Kennedy, Flinders University
of South Australia, Australia
8.4.3. Arab youth and the ‘Facebook’
revolution: the role of social
media and youth culture
in youth activism
Natalia Waechter, University of
Graz, Austria
8.4.4. Online dimensions of
Russian subcultural scene:
padonki community
Elena Bulatova, Saint-Petersburg
State University of Economics,
Russia
8.4.5. Mediation and mediatization
of popular music in the
age of digital networks
Tatiana Rodrigues Lima, Federal
University of Recôncavo da Bahia,
Brazil
16h15 – 16h45
Coffee-Break
16h45 – 18h30
Parallel Sessions
4.5./ 6.7./ 8.5.
4.5. ‘Dreams Never End’. Genealogy and
history of youth cultures and subcultures
Chair: Michael Spanu, University
of Lorraine, France
4.5.1. Problematizing the idea
of subculture: a collective
theoretical and pratical approach
Spain
Spain
4.5.2. Medusa’s on Sheffield, 1983–
1992: Historicizing Chicago’s
premiere post-punk nightclub
Christine Feldman-Barrett, Griffith
University, Griffith Centre for Cultural
Research, Australia
4.5.3. Retaking the tragedy: creative
practices and meanings of politics
in the Bogotá hardcore scene
Iñaki Zárate Cantor, Javeriana
Pontifical University, Colombia
4.5.4. Practices of resistance and
contemporary countercultural
youth identities in Istanbul
Can Murtezaoğlu, Faculty of
Architechture, Istanbul Technical
University, Turkey
155
156 6.7. Transmissions, migrations,
and music scenes
Chair: Piotr Zanko, University
of Warsaw, Poland
6.7.1. (De)constructing a white
space: boundary work,
whiteness and the reception
of rock music in Rotterdam
Pauwke Berkers, Erasmus
Julian Schaap, Erasmus University
Rotterdam, Netherlands
6.7.2. ‘Muevele, Muevele y Alto’:
A critical comparison of
the migration of musical
styles in Texas and Chile
Jeffrey A. Halley, University of Texas
at San Antonio, United States of
America
Marisol Facuse Muñoz, University
of Chile, Chile
6.7.3. Tijuana diy music scene,
decadence at the Mexicousa borderline
Daniel Reveles Polanco,
Universidad Autónoma de Baja
California, Tijuana, Baja California,
Mexico
6.7.4. Role of music for diasporic
identities in Germany
Laura Suna, Institute of Philosophy
and Sociology, University of Latvia,
Latvia
Detailed Schedule
8.5. diy, new music, new
Chair: Jordi Nofre, New University
of Lisbon, Catalonia, Portugal
8.5.1. Taste and local scenes: virtual
and/or geographical proximity
Jānis Daugavietis, Central Statistical
Bureau of Latvia, Latvian Academy of
Culture, Latvia
8.5.2. Radio Dio: Community
Radio, Infrastructure and
the Establishment of an
Independent Music Scene
in Saint-Etiénne, France
Scott Henderson, Brock University,
Canada
8.5.3. ‘Real estate office by day,
recording studio at night’: diy
music production in Metro
Manila’s independent scene
Monika Schoop, Cologne University,
Germany
8.5.4. The philosophy of free radio/
media movement in Japan
in the post-media era
Yoshitaka Mori, Tokyo University
of the Arts, Japan
Tomoko Shimizu, University
of Tsukuba, Japan
8.5.5. Pirate curators of the late 20th
century and their impact on the
recording industry’s long tail
Ian Townsend, University of Sheffield
Management School, United
Kingdom
19h00 – 19h20
gig performance
‘No Punk, No Science, No
Now’, by Before Surgery
Sala 2 [Room 2], Casa da Música / Curated
by Anselmo Canha and Heitor Alvelos
19h30 – 20h30
DISCUSSION
‘As palavras do punk [The words
of punk]’, by Augusto Santos
Silva and Paula Guerra
Discussant:
Amílcar Correia, Journalist, Director of P3,
Deputy Director of Público
António Jorge Pacheco, Artistic Director, Casa
da Música, Portugal
Augusto Santos Silva, Faculty of Economics,
Institute of Sociology, kismif Project, University
of Porto, Portugal
23h00 – 01h30
GIG
d3ö
+ dj Set 2 BADjs with Sérgio Cardoso
Plano B / Curated by Pedro Miguel
Ferreira and Tânia Moreira
18h30 – 19h00
FINAL DISCUSSION
António Jorge Pacheco, Artistic Director, Casa
da Música, Portugal
157
© Vera Marmelo
organizers
co-organizers
with the support of
‘kismif 2014 was a superb conference that
helped extend our geographical and critical
understanding of punk and subculture.
It was wonderful to be part of it!’
George McKay (Professor, University
of East Anglia, United Kingdom)
‘kismif is a brilliantly conceived conference,
genuinely international and open in spirit,
with top quality research from around the world.’
Will Straw (Professor, McGill University,
kismif Scientific Committee, Canada)
KISMIF 2015

13-17 july 2015 porto, portugal prograM

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