Seven years ago, I was awarded my PhD for my research into the emergence of the anarcho-punk scene and, to my surprise, there are still no academic texts that fully unpack this fascinating movement and its politics. Mike Dines is seeking contributions from the wide spectrum of musicology and social sciences for an edited text on the anarcho-punk scene of the 1980s that will reflect upon its origins, its music(s), its identity, its legacy, its membership and circulation. To achieve this, the article traces the contours and investigates the implications of Sydney’s techno-punk emergence (as seen in The Jellyheads, Non Bossy Posse, Vibe Tribe and Ohms not Bombs), tracking the mobile and media savvy exploits of 1990s DIY sound systems and techno terra-ists>, aesthetes and activists adopting intimate and tactical media technologies, committing to independent and decentralised EDM creativity, and implicated in a movement for legitimate presence. It provides an entry to punk through an analysis of the concept of hardcore in the context of cultural mobilisations which, following more than two centuries of European colonisation, evince desires to make reparations and forge alliances with Indigenous people and landscape. Exploring how punk would become implicated in the cultural politics of a settler society struggling for legitimacy, it maps the ground out of which Labrats sound system (and their hybrid outfit Combat Wombat) arose. This article charts the convergence of post-punk/post-settler logics in the techno-punk development in Australia.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |