In Media and Communications, Subcultural Theory stands as a compelling lens through which we can explore the intricate dynamics of cultural subgroups. Rooted in sociology, this theory unveils the richness of diversity within societies. Thus, delving into how subcultures emerge, evolve, and communicate. Let’s embark on a journey to decipher the essence of Subcultural Theory.
Defining Subcultures
Before looking into the theory, it’s essential to understand what we mean by subcultures. Subcultures are smaller, distinctive groups within a broader culture that share unique values, norms, and practices. These subgroups form in response to specific societal influences, creating a tapestry of diversity within the larger social fabric.
Emergence & Evolution
Subcultural Formation
Subcultures often emerge as a response to societal shifts or as a way for individuals to express their identity. According to Dick Hebdige (1979), Subcultures arise as a form of resistance. Therefore, providing an alternative means of expression for those who feel marginalised.
Cultural Evolution
As time progresses, Subcultures undergo evolutionary changes. Thornton (1995) suggests that Subcultures continually redefine themselves, adapting to the shifting socio-cultural landscape. This dynamic evolution also helps Subcultures maintain relevance and resonance with their members.
Symbolic Interactionism in Subcultures
Symbols & Rituals
Subcultural Theory draws heavily from symbolic interactionism, emphasising the role of symbols and rituals within subgroups. These symbols can include clothing, language, and even specific behaviours that distinguish Subcultures from the mainstream (Hall & Jefferson, 1976).
Identity Construction
Through these symbols, Subcultures construct and communicate their distinct identities. The process of identity construction within Subcultures is intricate, involving a negotiation between individual and collective identities (Bennett, 1999).
Bricolage in Subcultures
Understanding Bricolage
Bricolage, a concept stemming from Levi-Strauss’s anthropological theory, is the act of creating something new from the available materials at hand. In the area of Subcultural Theory, Bricolage is a crucial aspect that highlights the resourcefulness and creativity within Subcultures (Hebdige, 1979).
DIY Culture
The Punk Subculture, in particular, is emblematic of Bricolage through its DIY (Do-It-Yourself) ethos. Punks often engage in repurposing everyday items to create distinctive clothing, accessories, and even musical instruments. Thus, showcasing a resourceful approach to self-expression (O’Connor, 2008).
Symbolic Use of Bricolage
Bricolage in Subcultures extends beyond material creation; it’s a symbolic practice. Subcultural groups often repurpose symbols, language, and cultural elements in unconventional ways. Therefore, contributing to the unique identity construction within the subgroup (Hebdige, 1979).
Media’s Role in Subcultural Communication
Representation in Media
Media plays a pivotal role in both the formation and perpetuation of Subcultures. Subcultural groups often find representation in music, fashion, and other forms of media. Thus, influencing how they are perceived by the broader society (O’Connor, 2008).
Subcultural Media Consumption
Moreover, members of Subcultures engage with specific media forms that cater to their unique tastes and preferences. This reciprocal relationship between Subcultures and media reinforces the cohesion of the subgroup (Muggleton, 2000).
Subcultural Resistance & Mainstream Interaction
Resistance Dynamics
Hebdige (1979) also introduced the concept of Subcultural resistance, highlighting how Subcultures challenge mainstream norms and values. This resistance is not necessarily confrontational; it can manifest subtly through fashion choices, language, or lifestyle.
Mainstream Appropriation
However, the relationship between Subcultures and the mainstream is complex. Subcultural elements are often appropriated by the mainstream, leading to debates about authenticity and cultural commodification (Thornton, 1995).
Deviance within Subcultures
Definition of Deviance
Deviance, within the context of Subcultural Theory, refers to behaviours, beliefs, or practices that deviate from the societal norms. Subcultures often adopt practices or values that challenge or diverge from mainstream expectations, further contributing to their distinct identity (Cohen, 1955).
Subcultural Deviance
Cohen’s (1955) work on “Subcultural Delinquency” also emphasises how Subcultures may engage in deviant behaviours. Thus, can seen as a form of rebellion or resistance against societal norms. This deviance can manifest through unconventional fashion, alternative lifestyles, or non-traditional artistic expressions.
Labelling & Deviance
Labelling Theory, intertwined with Subcultural Theory, suggests that individuals within Subcultures may be labelled as deviant by the mainstream. Therefore, leading to a self-fulfilling prophecy where these individuals embrace the deviant identity assigned to them (Becker, 1963).
Examples of Subcultural Deviance
Straight Edge Subculture: Originating within the punk scene, straight edge subculture promotes abstinence from drugs, alcohol, and promiscuous activities. This lifestyle choice is considered deviant in a society where such behaviours are more widely accepted.
Graffiti Art Subculture: Within urban environments, graffiti art subcultures challenge societal norms regarding public space usage. While considered vandalism by some, proponents see it as a form of artistic expression. Thus, a challenge to established notions of art.
Common Examples of Subcultures
To better grasp the theory, it’s helpful to consider some common examples of subcultures that have left an indelible mark on society.
Punk Subculture
Emerging in the 1970s, the Punk Subculture became a symbol of rebellion. Defined by its distinctive fashion, music, and anti-establishment ethos, punks challenged societal norms explicitly and became a voice for discontent (Hebdige, 1979).
Hip-Hop Culture
Originating in the Bronx in the 1970s, Hip-Hop Culture has evolved into a global phenomenon. Characterised by its unique music, dance, fashion, and graffiti art, hip-hop specifically represents a powerful form of expression for marginalised communities (O’Connor, 2008).
Goth Subculture
The Goth Subculture, with its dark and mysterious aesthetic, emerged in the late 1970s. Goths express themselves through distinctive fashion, music, and a fascination with the macabre. Thus, creating a community that challenges mainstream ideals (Muggleton, 2000).
Moral Panic and Subcultures
Understanding Moral Panic
Moral Panic, a concept popularised by Stanley Cohen (1972). It refers to the exaggerated public concern over a perceived threat to societal values and norms. In the context of Subcultural Theory, Moral Panic often arises when subcultures are perceived as deviant or threatening to mainstream values.
Media Amplification
Media plays a pivotal role in the amplification of moral panic. Sensationalised stories, often fueled by stereotypes and misinformation, can also contribute to an exaggerated fear of subcultures within the public consciousness (Cohen, 1972).
Subcultures as Folk Devils
Cohen’s concept of “Folk Devils” describes how certain groups, often subcultures, become symbolic scapegoats for societal anxieties. The media portrayal of subcultures as threats can lead to increased social control measures and further stigmatisation (Cohen, 1972).
Challenges & Critiques
Essentialism & Stereotyping
One critique of Subcultural Theory revolves around essentialism – the risk of oversimplifying subcultures and perpetuating stereotypes (Bennett, 1999). It is crucial to recognise the diversity and individuality within subcultural groups.
Globalization & Homogenization
The impact of Globalization on subcultures is another area of concern. As cultures intertwine on a global scale, some further argue that subcultures may face homogenization, diluting their uniqueness (Muggleton, 2000).
Conclusion
Subcultural Theory provides a valuable framework for understanding the dynamics of cultural subgroups within the broader societal context. As we navigate the complexities of subcultures, it becomes further evident that these groups are not static. Therefore, they evolve, resist, interact with the mainstream, engage in bricolage. Also, they may exhibit deviant behaviours as part of their identity expression. Through the lens of Subcultural Theory, we also gain insights into the rich tapestry of human expression and identity within the ever-changing landscape of Media and Communications.
References
Becker, H. S. (1963). Outsiders: Studies in the Sociology of Deviance. Free Press.
Cohen, A. K. (1955). Delinquent Boys: The Culture of the Gang. Free Press.
Cohen, S. (1972). Folk Devils and Moral Panics: The Creation of the Mods and Rockers. Paladin.
Bennett, A. (1999). Subcultures or Neo-Tribes? Rethinking the Relationship between Youth, Style, and Musical Taste. Sociology, 33(3), 599–617.
Hall, S., & Jefferson, T. (1976). Resistance Through Rituals: Youth Subcultures in Post-War Britain. Routledge.
Hebdige, D. (1979). Subculture: The Meaning of Style. Routledge.
Muggleton, D. (2000). Inside Subculture: The Postmodern Meaning of Style. Berg.
O’Connor, A. (2008). Punk Record Labels and the Struggle for Autonomy: The Emergence of DIY. Lexington Books.
Thornton, S. (1995). Club Cultures: Music, Media, and Subcultural Capital. Wesleyan University Press.