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EDUCARE 2016:2 2016:2 CONFERENCE ISSUE: POLITICS OF IDENTITY, ACTIVISM AND PEDAGOGY IN PUNK OF HIP-HOP STUDIES EDUCARE VETENSKAPLIGA SKRIFTER EDUCARE – Vetenskapliga skrifter är en sakkunniggranskad skriftserie som ges ut vid fakulteten Lärande och samhälle vid Malmö högskola sedan hösten 2005. Den speglar och artikulerar den mångfald av ämnen och forsk-ningsinriktningar som finns inom utbildningsvetenskap i Malmö. EDUCARE är också ett nationellt och nordiskt forum där nyare forskning, aktuella perspektiv på utbildningsvetenskapens ämnen samt utvecklingsar-beten med ett teoretiskt fundament ges plats. Utgivning består av vetenskap-liga artiklar skrivna på svenska, danska, norska och engelska. EDUCARE vänder sig till forskare vid lärarutbildningar, studenter vid lärarutbildningar, intresserade lärare vid högskolor, universitet och i det allmänna skolväsendet samt utbildningsplanerare. ADRESS EDUCARE-vetenskapliga skrifter, Malmö högskola, 205 06 Malmö. www.mah.se/educare ARTIKLAR EDUCARE välkomnar originalmanus på max 8000 ord. Artiklarna ska vara skrivna på något nordiskt språk eller engelska. Tidskriften är refereegranskad vilket innebär att alla inkomna manus granskas av två anonyma sakkunniga. Redaktionen förbehåller sig rätten att redigera texterna. Författarna ansvarar för innehållet i sina artiklar. För ytterligare information se författarinstruktioner på hemsidan www.mah.se/educare eller vänd er direkt till redaktionen. Artiklarna publiceras även elektroniskt i MUEP, Malmö University Electronic Publishing, www.mah.se/muep REDAKTION Redaktör: Jonas Qvarsebo. Redaktionsråd. Cecilia Ferm, Hector Perez, Lisa Asp-Onsjö, Thomas Johansson, Andreas Fejes och Ann-Carita Evaldsson COPYRIGHT: Författarna och Malmö högskola EDUCARE 2016:2 Conference Issue: Politics of identity, activism and pedagogy in punk of hip-hop studies Titeln ingår i serien EDUCARE, publicerad vid Fakulteten för lärande och samhälle, Malmö högskola. GRAFISK FORM TRYCK: Holmbergs AB, Malmö, 2016 ISBN: 978-91-7104-700-7 (tryck) ISBN: 978-91-7104-701-4 (pdf) ISSN: 1653-1868 BESTÄLLNINGSADRESS www.mah.se/muep Holmbergs AB Box 25 201 20 Malmö TEL. 040-660 66 60 FAX 040-660 66 70 EPOST: [email protected] EDUCARE EDUCARE är latin och betyder närmast ”ta sig an” eller ”ha omsorg för”. Educare är rotord till t.ex. engelskans och franskans education/éducation, vilket på svenska motsvaras av såväl ”(upp)fostran” som av ”långvarig omsorg”. I detta lägger vi ett bildnings- och utbildningsideal som uttrycker människors potential och vilja att ömsesidigt växa, lära och utvecklas. EDUCARE - Vetenskapliga skrifter är en sakkunniggranskad skriftserie som ges ut vid fakulteten Lärande och samhälle vid Malmö högskola sedan hösten 2005. Den speglar och artikulerar den mångfald av ämnen och forskningsinriktningar som finns inom utbildningsvetenskap i Malmö. EDUCARE är också ett nationellt och nordiskt forum där nyare forskning, aktuella perspektiv på utbildningsvetenskapens ämnen samt utvecklingsarbeten med ett teoretiskt fundament ges plats. Utgivning består av vetenskapliga artiklar skrivna på svenska, danska, norska och engelska. EDUCARE vänder sig till forskare vid lärarutbildningar, studenter vid lärarutbildningar, intresserade lärare vid högskolor, universitet och i det allmänna skolväsendet samt utbildningsplanerare. Författarinstruktion och call for papers finns på EDUCARE:s hemsida: http://www.mah.se/educare Redaktion: Redaktör: Jonas Qvarsebo. Redaktionsråd. Cecilia Ferm, Hector Perez, Lisa Asp-Onsjö, Thomas Johansson, Andreas Fejes och Ann-Carita Evaldsson CONTENTS Foreword Jonas Qvarsebo 5 ‘Hey little rich boy, take a good look at me’: Punk, class and British Oi! Matthew Worley 7 The performance and meaning of punk in a local Swedish context Philip Lalander & Jonas Qvarsebo 26 Redefining the subcultural: the sub and the cultural Erik Hannerz 50 Theorizing Power, Identity and Hip Hop: Towards a Queer, Intersectional Approach Kalle Berggren 75 EDUCARE 2016:2 Foreword This issue of EDUCARE is dedicated to the fields of punk and hip- hop studies. In December 14-16 2014 the network for childhood and youth studies, funded by FAS/FORTE, hosted a conference at Malmö University with the name “Politics of identity, activism and pedagogy in punk of hip-hop studies”. In this issue we present four articles based on papers and presentations from the conference. In the first article of this issue, ”’Hey little rich boy, take a good look at me’: Punk, class and British Oi!”, Matthew Worley looks at the controversial music genre Oi! In relation to youth cultural identity in late 1970s and early 1980s Britain. Matthew Worley is professor of modern history at the University of Reading, England. He has previously worked on British politics between the wars, primarily on the relation between the British Labour and Communist parties. His current research is focused on the relationship between youth cultures and politics, providing a historical method to test the basic CCCC thesis that youth cultures provide ‘sites of restistance’. In article number two, “The performance and meaning of punk in a local Swedish context”, Philip Lalander & Jonas Qvarsebo reflect on what happened to punk culture as it travelled from the US and UK to Sweden and the town of Norrköping in the late 1970s and early 1980s. Philip Lalander is professor of social work at Malmö University and his research has focused on diverse phenomena such as youth cultures, alcohol, heroin, gambling and criminality. Jonas Qvarsebo is senior lecturer in educational science at Malmö university and his research has mainly revolved around education, childhood and youth from historical perspectives. The third article, “Redifining the subcultural: the sub and the cultural”, is written by Eric Hannerz and addresses the question of what constitutes the subcultural. Drawing from his work on punks in Sweden and Indonesia the author argues that the different strands in regards to subcultural difference can be combined into a refinement of subcultural theory that moves beyond style to how objects, actions, and identities are communicated, interpreted, and acted upon. EDUCARE 2016:2 EDUCARE 2016:2 5 Eric Hannerz is assistant professor in sociology at Lund University and a research fellow at the Center for Cultural Sociology at Yale University, USA. He is currently working on a research project on graffiti writers’ perception and use of urban space. Article number four, “Theorizing power, identity and Hip Hop: Towards a queer, intersectional approach”, is written by Kalle Bergren and looks at hip-hop culture in relation to power and identity. In the article he outlines some key differences between different understandings of power and identity, and their consequences for the study of hip hop. Kalle Bergrens research inte-rests revolve around meaning-making in relation to different forms of social inequality. 6 EDUCARE 2016:2 ‘Hey little rich boy, take a good look at me’: Punk, class and British Oi! Matthew Worley This article looks at the controversial music genre Oi! in relation to youth cultural identity in late 1970s and early 1980s Britain. By examining the six compilation albums released to promote Oi! as a distinct strand of punk, it seeks to challenge prevailing dismissals of the genre as inherently racist or bound to the politics of the far right. Rather, Oi! – like punk more generally – was a contested cultural form. It was, moreover, centred primarily on questions of class and locality. To this end, Oi! sought to realise the working-class rebellion of punk’s early aesthetic; to give substance to its street-level pretentions and offer a genuine ‘song from the streets’. Keywords: youth, class, punk, culture, skinhead, Oi! Matthew Worley, professor of modern history, Faculty of Arts Humanities & Social Science, University of Reading. Email: [email protected] EDUCARE 2016:2 EDUCARE 2016:2 7 MATTHEW WORLEY Introduction I don’t need a flash car to take me around/ I can get the bus to the other side of town/ I didn’t get no GCE/ It makes you think you can’t talk to me/ Why should I let it worry me/ I’ll never believe you’re better than me (‘Hey Little Rich Boy’, Sham 69).1 The class character of British punk has long been contentious. From the outset, early interviews with the Sex Pistols focused on the working- class origins of the band’s members and traced the source of their ire to the deleterious economic conditions of the mid-1970s. Just as Caroline Coon wrote of ‘drab, Kafka-like working-class ghettoes’ serving as incubators for punk, so Julie Burchill and Tony Parsons invoked the idea of ‘seventies street music’ made by ‘working-class kids with the guts to say “No” to being office, factory and dole fodder’ (Coon 1976: 34–5; Parsons 1976: 29; Burchill 1977: 29). For Mark Perry, who founded Britain’s first punk fanzine, Sniffin’ Glue, bands like the Sex Pistols and The Clash provided a mirror image of ‘life as it is in the council flats’ (Perry 1977a: 3–4; idem 1977b: 9). It was, Peter Marsh suggested, a form of ‘dole queue rock’ that comprised ‘kids’ who had ‘only just “escaped” from the concrete comprehensive’ to realise there was nothing to escape to (Marsh 1977: 112–14). Punk was urban and angry, it seemed, a youthful reaction to the prospect of no future. Of course, punk proved to be a rather more diverse and complex phenomenon. As Simon Frith was quick to point out in reply to Marsh, many of the ideas that informed punk – and many of those involved in punk, not least Malcolm McLaren – were a product of an art school education. In effect, punk continued in the tradition of radical British art, Frith argued. Though it utilised class rhetoric and urban iconography, any refusal to be office, factory or dole ‘fodder’ pushed punk closer to a new bohemia than a class war (Frith 1978: 535–6; Frith and Horne 1987). Indeed, those such as The Clash’s Joe Strummer who adopted rather than inherited a guttersnipe persona soon came in for criticism once their backgrounds revealed reference to the tower block was born more out of fetish than frustration.