Youth, Music and Creative Cultures

Bloustien, Geraldine; Peters, Margaret

doi:10.1057/9780230342491

Cited by 23 publications

(13 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…DIY careers are often linked to youth subcultures and scenes and blur the lines between informal and formal work; between employment, under-employment and unemployment; and between education, leisure and work (Scott, 2012). There is some evidence of alternative career patterns developing around creative cultural practices (see Bloustien and Peters 2011; Threadgold, 2015), but as this tends to happen outside of ‘official’ youth transition spaces such as schools, TAFEs (Technical and Further Education), universities and even the conventional labour market, there is not a lot of research on these strategies. Discussed in this article are examples where strategies are conceived to opt out of a normalised career trajectory, or at least downsize those ambitions to focus on creative endeavours that afford more satisfaction and pleasure.…”

Section: Precarious Youth Labour Markets and Alternative Pathways To mentioning

confidence: 99%

Creativity, Precarity and Illusio: DIY Cultures and ‘Choosing Poverty’

Threadgold

2017

Cultural Sociology

View full text Add to dashboard Cite

Young people investing themselves in DIY cultures have to negotiate the complex but now normalised nexus of employment, unemployment and underemployment to make ends meet, while maintaining space in their lives to pursue their creative and artistic passions. This article presents research with young people in an underground music scene across Australia who are balancing economic pressures with their desires to generate and uphold DIY and punk-influenced activities in a networked community of likeminded friends and collaborators. Many of the participants actively ‘choose poverty’, that is, they knowingly and strategically make decisions that ‘keep overheads low’ to free up temporal and mental space to continue to be creative. Their ideas of being successful are not expressed in material terms, but are contingent upon a future where they continue to have the opportunity to invest themselves in their interests even if that means living in relative poverty. Using the oft-ignored Bourdieusian concepts of illusio, struggle and strategy, this article provides a case study of some of the ways young people deal with the risks and opportunities of a precarious existence. In this case, living an ethical life trumps material concerns, projecting a hopeful attitude towards the future.

show abstract

Section: Precarious Youth Labour Markets and Alternative Pathways To mentioning

confidence: 99%

Creativity, Precarity and Illusio: DIY Cultures and ‘Choosing Poverty’

Threadgold

2017

Cultural Sociology

View full text Add to dashboard Cite

show abstract

“…Like innovation in acoustic musicianship through jazz, rock, punk, and funk, most electronic music traditions started within oppressed communities (Buckland, 2002;Said, 2016). Their current iterations continue to speak to oppression, while simultaneously representing the most profitable and listened to genres to ever exist, and existing as fundamental to the collective identity of younger generations globally (Bloustien & Peters, 2011).…”

Section: Music Technology Contemporary Music and Global Culturementioning

confidence: 99%

Music Technology and the Hip Hop Beat Making Tradition: A History and Typology of Equipment for Music Therapy

Crooke

2018

Voices

View full text Add to dashboard Cite

This article contextualises music technology within the Hip Hop tradition of beat making. While literature exploring music technology in music therapy has proliferated in recent years, much of this has focused on the “assistive” function of technology, where it is used to facilitate music making for clients who have limited access to playing acoustic – or non-tech-based – instruments. This paper argues for an alternate lens that positions music technology within the tradition of beat making and that this is a musicing practice of value in its own right. To do so, a brief historical account of the beat making tradition is provided, which locates its origins within Hip Hop culture and acknowledges the evolution of the myriad beat-based genres that have and continue to emerge around music technology. A basic typology of beat making equipment is then provided to foster greater understanding of these technologies as instruments in their own right and their role in shaping contemporary music. To account for the rapid innovation in this area, the typology focuses on pieces with historical significance and the primary functions that remain the building blocks of composition and performance in beat making to this day. Brief accounts of how these instruments can and are integrated into therapeutic practice are also provided. It is acknowledged that this paper itself represents only one, brief account of beat making traditions and instruments. Yet, it is hoped it will promote understanding of their significance and serve as a useful reference in helping practitioners consider how these instruments may enrich practice. It is argued that such consideration is not only useful, but critical for reasons of cultural sustainability, and ensuring the relevance of music therapy practice in the 21st Century.

show abstract

“…In particular, rave culture – the music culture of both Holy Ship! and Mad Decent Boat Party – generates communitas (Bloustien and Peters, 2011; Gibson and Connell, 2005). This focus on the collective experience of cruise festivals can be also contextualised within Maffesoli’s (1988) concept of ‘neo-tribalism’.…”

Section: Music Festivals On Cruise Shipsmentioning

confidence: 99%

‘The most atypical experience of my life’: The experience of popular music festivals on cruise ships

Cashman

2016

Tourist Studies

View full text Add to dashboard Cite

This article considers the growing phenomenon of music festivals on cruise ships. These commercial events, partnerships between event companies and shipping lines, celebrate a particular genre of music and occur aboard a cruise ship. The views of 138 festivalgoers primarily concentrated within six festivals were considered. According to these sources, the festival experience of these events is centred on three factors: live performances, interaction with fellow festivalgoers and star musicians (collectively referred to as 'ship fam'), and interaction with the constructed space of the cruise ship. Cruise ship music festivals are a different type of music festival, still occurring within festival space, but within the mobile experiential cocoon of a cruise ship.

show abstract

Youth, Music and Creative Cultures

Cited by 23 publications

References 0 publications

Creativity, Precarity and Illusio: DIY Cultures and ‘Choosing Poverty’

Creativity, Precarity and Illusio: DIY Cultures and ‘Choosing Poverty’

Music Technology and the Hip Hop Beat Making Tradition: A History and Typology of Equipment for Music Therapy

‘The most atypical experience of my life’: The experience of popular music festivals on cruise ships

Contact Info

Product

Resources

About