*Explain and briefly evaluate the view that youth subcultures are no longer spectacular.
OCR
A Level
2022
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Introduction
This essay will explore the view that youth subcultures are no longer spectacular, focusing on the concept of spectacular subcultures as highly visible and recognizable groups often associated with the Birmingham Centre for Contemporary Cultural Studies (CCCS). It will examine arguments for and against this view, drawing upon key sociological theories and contemporary examples.
Arguments for the Decline of Spectacular Subcultures
Postmodernism and Fragmentation
Postmodernist theory emphasizes the fragmentation of culture, with individual identities becoming increasingly fluid and diverse. This can be linked to the decline of spectacular subcultures, as young people are less likely to conform to rigid, collective identities and more likely to adopt eclectic and hybridized styles.
Club Cultures and Taste Cultures
Sociologists like Thornton have argued that club cultures are more accurately understood as "taste cultures" - shared preferences for music, fashion, and lifestyle, rather than explicitly defined subcultural groups. This suggests a shift away from the traditional, spectacular subcultures studied by the CCCS.
Media and the Creation of Subcultures
Redhead argues that the media often plays a significant role in constructing and promoting subcultures. This raises the possibility that spectacular subcultures are not truly organic expressions of youth but rather manufactured by media forces, leading to a decline in their authenticity and impact.
Neo-tribes and the End of Subcultures
Maffesoli introduced the concept of "neo-tribes," arguing that contemporary youth groups are less about shared values and more about shared interests and temporary connections. Such groups are not necessarily spectacular and lack the cohesive identity of traditional subcultures.
The "Supermarket of Style"
Polhemus' concept of the "supermarket of style" suggests that young people can readily pick and mix elements of different styles, making it harder to define clear subcultural boundaries. This contributes to the decline of spectacular subcultures as recognizable groups.
Arguments Against the Decline of Spectacular Subcultures
Persistence of Spectacular Subcultures
While some argue for the decline of spectacular subcultures, examples of subcultures with distinctive styles still exist, such as Goths and Emos. These groups maintain a visible presence and continue to challenge mainstream norms.
Focus on Subcultures and the "Ordinary Youth"
McRobbie argues that the focus on subcultures overlooks the vast majority of young people who do not belong to specific subcultural groups. This suggests that the "decline" of spectacular subcultures might be a result of academic overemphasis and not a true reflection of youth culture.
Subcultural Continuity Based on Ethnicity, Gender, and Class
Even in a postmodern world, clear subcultural divisions based on ethnicity, gender, and class persist. These subcultures may not always conform to the traditional, spectacular model, but they continue to shape identities and experiences.
Conclusion
The view that youth subcultures are no longer spectacular is a complex one with compelling arguments on both sides. While postmodernism, globalization, and the media have undoubtedly contributed to the fragmentation and fluidity of youth culture, evidence suggests that spectacular subcultures continue to exist in various forms. Ultimately, the debate over the decline of spectacular subcultures highlights the ever-evolving nature of youth identity and the challenges of defining and understanding contemporary youth culture.
Are Youth Subcultures Still Spectacular?
The concept of youth subcultures emerged in the mid-20th century, often characterized by their distinctive and often rebellious styles, challenging societal norms and values. These "spectacular" subcultures, such as punks, mods, and skinheads, were easily identifiable through their clothing, music, and overall demeanor. However, sociological perspectives on youth subcultures have evolved, with some arguing that they are no longer as visible or influential as they once were. This essay will explore the argument that youth subcultures are no longer spectacular, considering factors like postmodernism, media influence, and the rise of fluid identities.
The Fragmentation of Youth Culture in Postmodernity
Postmodernist perspectives suggest that contemporary society is characterized by fragmentation, diversity, and a blurring of boundaries. This fragmentation is reflected in youth culture, with a shift away from large, homogeneous subcultures towards smaller, more fluid, and individualized forms of expression. Polhemus's concept of a "supermarket of style" encapsulates this idea, suggesting that young people today can pick and choose from various styles and influences, creating hybrid identities that defy easy categorization.
Thornton's work on club cultures further supports this notion, arguing that subcultural affiliations are now more about shared tastes in music and leisure activities than about rigid style codes. This fluidity and eclecticism make it difficult to identify clear-cut subcultures with the same visibility as their predecessors.
The Media's Role in Shaping and Dissolving Subcultures
The media has played a significant role in both the creation and dissolution of spectacular subcultures. On the one hand, the media, particularly music and fashion magazines, provided a platform for subcultures to gain visibility and disseminate their styles and ideologies. Redhead argues that the media actively creates subcultures by labeling and framing youth groups in particular ways.
However, the media's insatiable appetite for novelty and its tendency to commodify subcultural styles contribute to their rapid evolution and eventual demise. As subcultures become mainstream, they lose their subversive edge and become absorbed into the broader consumer culture. This process, often termed "recuperation," further diminishes the "spectacular" nature of subcultures.
The Rise of Neo-Tribes and Fluid Identities
Maffesoli's concept of "neo-tribes" offers an alternative perspective on contemporary youth groupings. Unlike traditional subcultures, neo-tribes are characterized by loose affiliations, shared experiences, and a focus on leisure and consumption. They are fluid and ephemeral, forming and dissolving around specific events, trends, or online communities. This emphasis on shared interests and experiences, rather than rigid styles and ideologies, challenges the notion of spectacular subcultures as we knew them.
Evaluating the "End of Spectacular" Argument
While the arguments presented above highlight the significant changes in youth cultural expressions, it is essential to acknowledge that some subcultures continue to maintain distinct and visible identities. For instance, Goth and EMO subcultures, despite existing for several decades, retain their distinctive styles and cultural practices, demonstrating a degree of continuity and resilience.
Furthermore, focusing solely on subcultures can lead to overlooking the vast majority of "ordinary youth" who may not identify with any particular group. McRobbie criticizes the overemphasis on subcultures, arguing that it obscures the diverse experiences and identities of young people who navigate complex social landscapes without necessarily adopting subcultural affiliations.
Moreover, it is crucial to recognize that subcultural formations persist based on ethnicity, gender, and class. These groupings, while perhaps less visibly spectacular than their predecessors, continue to shape young people's identities, experiences, and opportunities.
Conclusion
In conclusion, while the nature of youth subcultures has undeniably evolved in the face of postmodernity, media influence, and the rise of fluid identities, it is an oversimplification to claim that they are no longer spectacular. While the era of large-scale, highly visible subcultures may be fading, young people continue to form meaningful social groups and express their identities in ways that challenge and redefine societal norms. The focus should shift from seeking out the "spectacular" to understanding the more nuanced and multifaceted ways in which young people negotiate their identities and navigate the complexities of contemporary society.
Free Mark Scheme Extracts
By Spectacular, the Question is Referring to...
By spectacular, the question is referring to highly visible/recognisable subcultures often (but not solely) associated with the CCCS e.g. punks, skinheads, mods/rockers, teddy boys, hippies.
Be aware that if evaluation is used to state that subcultures are still spectacular, this needs to reference to the present day (i.e. they still are) – candidates that just list spectacular subcultural studies with no reference to present day will be annotated as juxtaposition.
AO1: Knowledge and Understanding
The following list is indicative of possible factors/evidence that candidates may refer to but is not prescriptive or exhaustive:
- Postmodernism – youth culture has become increasingly fragmented and diverse.
- Youth subcultures are fluid and eclectic – e.g. MIPS “club culture”
- Thornton – club cultures as taste cultures
- Redhead – the media create sub-cultures
- Maffesoli – Neo-tribes, not spectacular sub-cultures
- Polhemus – supermarket of style.
- Any other relevant response
AO2: Application
The selected knowledge should be directly related to the specific question.
AO3: Analysis and Evaluation
The following list is indicative of possible factors/evidence that candidates may refer to in evaluation but is not prescriptive or exhaustive:
- Examples of sub-cultures that do still have distinctive styles; e.g. Goths; EMOs
- The ignoring of the vast majority of “ordinary youth” who do not belong to sub-cultures (McRobbie) – too much focus on sub-cultures.
- There are still clear sub-cultures based on ethnicity, gender, class.
- The persistence of spectacular subcultures e.g. punks
- Any other relevant response