The Social Place of the Portuguese Punk Scene: an Itinerary of the Social Profiles of its Protagonists

Abstract

This article will present a characterisation of the Portuguese punk scene between 1977 and 2014, while considering the social profiles of its protagonists. It is based on the sociological principle that the social positioning of social actors involved influences what they do, say, and feel. Their social profiling will help clarify their role in the musical scene. This approach has been deemed fundamental in interpreting youth cultures emerging postwar and the way in which they re-equated pop culture. In this article, we have two particular aims: first, establishing a portrait of the leading characters in the Portuguese punk scene through the social profiling of 214 individuals interviewed between May 2012 and October 2014; second, allowing for comparisons with other musical scenes in Portugal and/or with punk scenes in other countries. Here, we must obviously consider the social condition of these protagonists, including not only their class origin and present affiliation but also other relevant characteristics, such as gender and age. Thus, this article will explore the following topics: roles and functions within the punk scene, gender relations, age groups and the process of ageing, territorial placement-both in terms of origin and of residence, educational capital, and socio-occupational group.

Feminisations of artistic work: Legal measures and female artists’ resources do matter

“…While all legal and formal barriers limiting women's access to 'art worlds' (Becker, 1982) have disappeared in democratic countries, getting access to artistic work, maintaining oneself in one's art world, and being recognized as an artist remain more difficult for women than for men in all observed art worlds whether dominantly 'masculine' -jazz (Buscatto, 2007), television comedy (Quemener, 2011), 'popular' music (Whiteley, 1997;Perrenoud & Chapuis, 2016;Guerra, 2016), movie directing (Bielby, 2009, Sellier, 2012, punk music (Guerra et al, 2017;Abreu et al, 2017;Brun, 2005), street art (Trajtenberg, 2016), or electronic music (Reitsamer, 2011) -, nearly mixed -orchestra music (Goldin & Rouse, 2000;Ravet 2003;Scharff, 2015;Segnini, 2006), literature (Naudier, 2007(Naudier, , 2010, circus (Cordier, 2009;Garcia, 2011), or visual arts (Pasquier, 1983;Provansal, 2018;Quemin, 2013) -or 'feminine' -theatre (Eikhof et al, 2014;Rolle & Moeschler, 2014;Doyon, 2015) and dance (Laillier, 2016;Rannou & Roharik 2009;Sorignet, 2004). While most art worlds are deregulated -except for 'classical' music -, men always fare better than women as artists.…”

Raw Power: Punk, DIY and Underground Cultures as Spaces of Resistance in Contemporary Portugal

“…Interviewees were selected based on a snowball sampling method, following the contacts of the actors, through an initial database referenced by the research team. It sought to be as broad as possible in terms of generation, gender, space, role and punk sub-genres (Abreu et al, 2017). The 214 interviewees in the project have in common a past or present participation in the Portuguese punk scene, as musicians, promoters, editors, critics and intermediaries, or as consumers.…”

“… 7. For an analysis of the social field of punk in terms of the presence of certain social classes, see Abreu et al (2017). …”

Do ethos à praxis: Carreiras DIY na cena musical independente em Portugal

“…Este é também um retrato semelhante àquele que foi feito a 206 Ao longo do capítulo utilizaremos excertos das entrevistas como forma de ilustração das ideias discutidas.Pautando a nossa investigação pelos princípios da privacidade e da confidencialidade defendidos pelo Código Deontológico da Associação Portuguesa de Sociologia, mantemos o anonimato dos entrevistados, substituindo o seu nome verdadeiro por nomes fictícios. da cena punk em Portugal(Abreu et al, 2017). Por fim, no que concerne às suas profissões e papéis desempenhados na cena remetemos o leitor para a secção seguinte, na qual se analisará de forma mais aprofundada esta dimensão.As alterações na indústria da música, ao nível da criação, promoção e consumo, a par das transformações do mercado de trabalho, têm impacto na própria noção do que é ser músico hoje em dia.…”

“…207 Na construção dos lugares de classe, seguimos e adaptámos a Matriz ACM como evidenciamos emAbreu et al, 2017. A identificação dos lugares de classe resulta do cruzamento dos dez grupos profissionais patentes na Classificação Portuguesa das Profissões de 2010 com a situação na profissão dos entrevistados.…”