KISMIF Conference

PRE-RELEASE | “KISMIF Edited collection: DIY Cultures and Underground Music Scenes” (21 July 2016)

Price: Free.

Presentation: ANDY BENNETT, School of Humanities, Griffith Centre for Social and Cultural Research, Griffith University, KISMIF Project, Australia | PAULA GUERRA, Faculty of Arts and Humanities, Institute of Sociology, University of Porto, Griffith Centre for Social and Cultural Research, KISMIF Project Coordinator, Portugal


The concept of DIY ‘do-it-yourself’ cultural production gained critical momentum during the late 1970s with the emergence of punk. Disillusioned with the mainstream music industry of the mid-1970s, punk rock created an alternative platform for the production and distribution of music through small-scale, independent recording labels (see, Laing, 1985). This proved to be a catalyst for the creation of a broader DIY aesthetic that has served to underpin a succession of punk and post-punk music styles from the late 1970s onwards. Indeed, to talk about DIY music scenes and cultures in a contemporary context is to talk about a phenomenon that is truly global in its reach. The purpose of this book is to examine, for the first time, the global influence and impact of DIY cultural practice as this informs the production, performance and consumption of underground musics in different parts of the world. The book brings together a series of original studies of DIY musical activities in Europe, North and South America, Asia and Oceania. The carefully selected chapters combine insights from experienced academic writers, such as Will Straw, Andy Bennett and Carles Feixa (who are responsible for developing some of the key conceptual frameworks used in the study of DIY musical practices) with the work of younger scholars, many of whom are directly engaged in contemporary underground music scenes. In its examination of DIY musical practice in a global context, the book begins by revisiting and re-evaluating several key themes and issues that have been used in studying the cultural meaning of alternative and underground music scenes, notably aspects of space, place and identity and the political economy of DIY cultural practice. The book then explores how the DIY cultural practices that characterise alternative and underground music scenes have been impacted and influenced by technological change, notably the ready availability of digital media. Finally, in acknowledging the close to 40 year history of DIY cultural practice in punk and post-punk contexts, the book considers how DIY cultures have become embedded in cultural memory and the emotional geographies of place. Through combining high quality data and fresh conceptual insights in the context of an international body of work spanning the disciplines of popular music studies, cultural and media studies, and sociology the book offers a series of innovative new directions in the study of DIY cultures and underground / alternative music scenes.

Cibermúsica [Cybermusic], Casa da Música | Curated by Paula Guerra and Tânia Moreira


KISMIF Conference 2016 - Aftermovie (17-22 July 2016)