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Relevant bibliographies by topics / Punk Rock

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Academic literature on the topic 'Punk Rock'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Punk Rock"

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Silva, Ademir Luiz da, and Jéssica Meireles Pereira. "Distopias e utopias urbanas no punk rock brasiliense." Revista Coralina (ISSN 2675-1399) 4, no. 1 (September 20, 2022): 268–81. http://dx.doi.org/10.31668/coralina.v4i1.13389.

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Brasília é uma símbolo da modernidade brasileira. Não por acaso o estilo punk rock proliferouna cidade durante a década de 1970, a despeito da censura do Regime Militar. Neste artigo, apresentarmos o contexto no qual as bandas punks de Brasília foram formadas. Investigaremos o rock brasiliense enquanto crítica à cidade de Brasília, seu projeto utópico, bem como ao contexto político do período militar, considerando que os jovens que formavam as bandas punk estavam na capital federal, portanto, muito próximas do centro de poder. Palavras-chave: Brasília, punk rock, utopia e distopia

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Kristiansen, Lars J. "‘Punks in Vegas’: Punk rock and image repair." Punk & Post Punk 9, no. 1 (February 1, 2020): 23–40. http://dx.doi.org/10.1386/punk_00016_1.

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At their 2018 headlining appearance at the annual Punk Rock Bowling and Music Festival in downtown Las Vegas, NV, California skate punk stalwarts NOFX generated widespread controversy after band members quipped about the mass shooting that occurred eight months prior during the Route 91 Harvest Country Music Festival in neighbouring Paradise, NV. After days of censorious media coverage, which prompted Stone Brewing to summarily terminate the band’s sponsorship contract in a widely circulated news release, the band issued a statement in which members collectively expressed remorse and apologized for the offending comments. Four decades of punk history notwithstanding, NOFX’s decision to apologize and offer mea culpas is something of a unicum. Punks, after all, are not typically in the business of extending olive branches or tendering requests for forgiveness. Accordingly, punk apologia is an understudied and undertheorized area of research. Utilizing Benoit’s Theory of Image Repair, this article adds to the limited stock of available research by critically evaluating the apologetic discourse following NOFX’s comments in Las Vegas through a systematic examination of the band’s letter of apology as well as audiences’ responses to that statement.

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HAYTON, JEFF. "Crosstown Traffic: Punk Rock, Space and the Porosity of the Berlin Wall in the 1980s." Contemporary European History 26, no. 2 (March 13, 2017): 353–77. http://dx.doi.org/10.1017/s0960777317000054.

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This paper argues that crosstown traffic in the East and West German punk subculture was an essential aspect of how popular music helped to challenge the political legitimacy of the East German government. West German punks frequently crossed the border to attend Eastern punk concerts, meet with friends and trade stories and experiences, connections that helped to foster a transnational community of alternative youths. These interactions denied official claims that punk was the result of capitalist decadence while undermining the East German government's efforts at cultivating a distinctive socialist identity. Nor were border crossings unidirectional, as Eastern punks made daring attempts to connect with their Western cousins. Writing for West German fanzines, appearing in the Western press and even managing to release Eastern recordings smuggled westwards, Eastern punks crossed the Iron Curtain and in so doing, worked to present an alternative vision of Eastern youth to the world and join the global punk scene.

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Lusty, Heather. "Punk Crisis: The Global Punk Rock Revolution." Popular Music and Society 43, no. 5 (May 18, 2020): 569–73. http://dx.doi.org/10.1080/03007766.2020.1765282.

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Tranmer, Jeremy. "Rock Against Racism, Punk and Post-Punk." Études anglaises 71, no. 1 (2018): 85. http://dx.doi.org/10.3917/etan.711.0085.

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Alcântara, Moacir Oliveira de. "MEMÓRIA E IDENTIDADE PUNK NOS EXTRAMUROS DE BRASÍLIA." Revista Sapiência: sociedade, saberes e práticas educacionais (2238-3565) 10, no. 5 (December 8, 2021): 1–20. http://dx.doi.org/10.31668/revsap.v10i5.12622.

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Este artigo discute narrativas de sujeitos punks oriundos de regiões periféricas do Distrito Federal. Trata-se de, sob o prisma historiográfico, investigar memórias e identidades de sujeitos punks imersos no território geográfico e simbólico das cidades-satélites nas décadas de 1980 e 1990. A partir de relatos orais de pessoas que participaram da cena punk tramada nos “extramuros” de Brasília, intenta-se perscrutar narrativas não hegemônicas acerca do punk nesses contextos. Ainda que invisibilizado no discurso da grande mídia e em outros dispositivos difusores das memórias consideradas oficiais do rock de Brasília, o punk articulado nas periferias da Capital Federal corresponde a um longevo cenário musical e comportamental underground, perpassado por múltiplas vivências, experiências e ativismo político de inspiração anarquista. Palavras-chave: Punk. Memória. Identidade.

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McDowell, Amy D. "Enemies, Allies, and the Struggle for Self-definition in “Muslim Punk” Rock." Social Currents 6, no. 3 (December 22, 2018): 270–83. http://dx.doi.org/10.1177/2329496518820011.

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Research shows that both entertainment and news media coverage of Islam and Muslims generate anti-Muslim attitudes in the wider U.S. public. In this article, I explore how this media trend shaped Taqwacore punks’ struggle to define what it means to be American, Muslim, and punk rock on their own terms. Upon their first U.S. tour, Taqwacore started getting the attention of both independent and mainstream media outlets. Taqwacores initially welcomed this because it helped them expand their audience to other (potential) Taqwacores as well as to a larger non-Muslim public. Their perspective changed, however, as they started to realize that most mainstream media stories were turning their punk protest into sensationalist stories about Americanized “Muslim punks” who oppose Islamic conventions. It was around this time that Taqwacores began imagining their audience as either with them or against them, enemies or allies. This study shows how this understanding of their audience shaped an internal dispute among Taqwacores about whether or not to identify as “Muslim punk.” Findings reveal that their internal debate over the Muslim punk label is structured by a racist media frame that defines Muslims as either good or bad, with or against the United States.

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Davis, John R. "I want something new: Limp Records and the birth of DC punk, 1976‐80." Punk & Post Punk 9, no. 2 (June 1, 2020): 177–204. http://dx.doi.org/10.1386/punk_00030_1.

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Recountings of the Washington, DC punk rock scene’s history often start with the founding of Dischord Records in 1980 and focus on the subsequent ascent of Dischord co-owner Ian MacKaye’s bands like Minor Threat and Fugazi. As seminal as Dischord remains in the narrative of DC punk ‐ a community still thriving today ‐ the years just prior to the label’s founding generated the scene’s true incunabula. Beginning with the self-released debut EP from the Slickee Boys in 1976, this first wave of DC bands ‐ also including Razz, Nurses, White Boy and others ‐ combined elements of art rock, surf, proto-punk, pub rock and power pop together to craft a protean version of punk that embraced eccentricity and humour, serving as the city’s own defiant rebuke of the staid state of 1970s rock music. No record label was more central to the nascent punk scene in DC than Limp Records. Operated by Skip Groff, Limp provided the punk community with its first proper record label. Rather than a label that centred around the efforts of a single band ‐ as most other new DC punk labels did ‐ Limp issued singles for several groups, collaborating with the fledgling Dacoit and O’Rourke labels to co-release defining singles for the Slickee Boys and Razz. DC punk would not have taken shape the way it did without Groff’s efforts, particularly considering his connections with bands like Bad Brains and the Slickee Boys and his musical and entrepreneurial influence on local teenage punks like MacKaye, Jeff Nelson and Henry Rollins. This article is a history of DC punk record labels from 1976 to 1980 and seeks to establish this overshadowed era of the scene as one of the most critical in the community’s 43-year existence. Considering the outsize influence the DC scene ultimately had on punk culture ‐ whether through the eponymous clean living philosophy inspired by the Minor Threat song ‘Straight Edge’, the unwaveringly independent business model of Dischord or the pacesetting music reliably turned out each decade by participants in the scene ‐ the impact of Groff and his first wave DC punk peers must be acknowledged.

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Double, Oliver. "Punk Rock as Popular Theatre." New Theatre Quarterly 23, no. 1 (January 16, 2007): 35–48. http://dx.doi.org/10.1017/s0266464x06000613.

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Punk rock performance consciously draws on popular theatre forms such as music hall and stand-up comedy – as was exemplified on the occasion when Max Wall appeared with Ian Dury at the Hammersmith Odeon. Oliver Double traces the historical and stylistic connections between punk, music hall and stand-up, and argues that punk shows can be considered a form of popular theatre in their own right. He examines a wide range of punk bands and performers – including The Sex Pistols, Iggy Pop, Devo, Spizz, The Ramones, The Clash, and Dead Kennedys – to consider how they use costume, staging, personae, characterization, and audience–performer relationships, arguing that these are as important and carefully considered as the music they play. Art movements such as Dada and Futurism were important influences on the early punk scene, and Double shows how, as with early twentieth-century cabaret, punk performance manages to include avant-garde elements within popular theatre forms. Oliver Double started his career performing a comedy act alongside anarchist punk bands in Exeter, going on to spend ten years on the alternative comedy circuit. Currently, he lectures in Drama at the University of Kent, and he is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005).

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BLESSING, BENITA. "Legacies of Punk Rock in Socialist Hungary." Contemporary European History 26, no. 2 (March 21, 2017): 413–16. http://dx.doi.org/10.1017/s0960777317000030.

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With a slight shrug of the shoulders, a middle-aged, middle-class man describes his teenage years as a member of the Hungarian punk scene: ‘we were right-wing punks. Because this was full communism’. This sentiment is echoed throughout Lucile Chaufour's documentary stroll down communist memory lane. We were angry teenagers, her interview partners tell the camera; we were unhappy, we hated communism, we hated the Soviet Union, but we loved Hungary, and anti-government sentiment in a left-wing regime turns a hard right.

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Dissertations / Theses on the topic "Punk Rock"

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deCourville, Nichols P. IV. "The Punk-Rock Brontes." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1491409983719254.

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Barber-Kersovan, Alenka. "Vom "Punk-Frühling" zum "Slowenischen Frühling" der Beitrag des slowenischen Punk zur Demontage des sozialistischen Wertesystems." Hamburg Krämer, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2655733&prov=M&dok_var=1&dok_ext=htm.

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Traulsen, Andrew. "More than music :." [Chico, Calif. : California State University, Chico], 2009. http://hdl.handle.net/10211.4/107.

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Kieran, Jonathan P. "For Want Of: A Punk Rock Short Film." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1992.

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In light of the specific challenges of assessing a thesis film—a project which contains artistic and academic components—the author examines his own short film For Want Of as a prototype for future work in film and as an opportunity for introspective investigation into the nature of filmmaking and personal artistic process. Reference is made to specific episodes during the film’s conception and production, as well as higher-level insight gained from following the film through an 18-month production cycle.

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Peters, Sean (Sean Louis). "Listening in the Living Room: The Pursuit of Authentic Spaces and Sounds in Dallas/Fort Worth (DFW) Do-It-Yourself (DIY) Punk Rock." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062889/.

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In the Dallas/Fort Worth (DFW) do-it-yourself (DIY) punk scene, participants attempt to adhere to notions of authenticity that dictate whether a band, record label, performance venue, or individual are in compliance with punk philosophy. These guiding principles champion individual expression, contributions to one's community (scene), independence from the mainstream music industry and consumerism, and the celebration of amateurism and the idea that everyone should "do it yourself." While each city or scene has its own punk culture, participants draw on their perceptions of the historic legacy of punk and on experiences with contemporaries from around the world. For this thesis, I emphasize the significance of performance spaces and the sonic aesthetic of the music in enacting and reinforcing notions of punk authenticity. The live performance of music is perceived as the most authentic setting for punk music, and bands go to great lengths to recreate this soundscape in the recording studio. Bands achieve this sense of liveness by recording as a group, rather than individually for a polished studio sound mix, or by inviting friends and fans into the studio to help record a live show experience. House venues have been key to the development of the DFW scene with an emphasis on individual participation through hosting concerts in their homes. This creates a stronger sense of community in DIY punk performance. Through participation observation, interviews, analysis of source materials, as well as research in previous Punk scholarship, questions of authenticity, consumerism, and technology and sound studies, this thesis updates work on the experience of sound, listening, and the importance of space in DIY punk communities today.

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Stewart, Francis Elizabeth. ""Punk rock is my religion" : an exploration of straight edge punk as a surrogate of religion." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3441.

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Using a distinctly and deliberately interdisciplinary approach to the subject of religion and spirituality as it presents itself within modern Western Societies today, this thesis argues that Straight Edge hardcore punk is a surrogate for religion. The term surrogate is used to denote the notion of a successor and a protector and provider of nourishment. It has been re-interpreted from Theodore Ziolkowski’s work on the same term in ‘Modes of Faith’, in which he examines surrogates for religion which emerged during the early part of the 20th century. An in-depth study, both theoretical and ethnographic in nature and presentation, of Straight Edge hardcore punk is provided to demonstrate that traditionally held categories of religion, secular, sacred and profane are being dismantled and re-built around ideas of authenticity, community, integrity, d.i.y and spirituality. Through the syncretic practices of the Straight Edge adherents they are de-essentialising religion and thus enabling us to re-consider the question of what religion is or could be. This thesis relies on theoretical ideas, interview quotes, informant quotes, researcher taken photographs, and interviewee created or utilised images, tattoos, graffiti and flyers. All of these are interspersed with song lyrics from various bands relevant to the time period under discussion and the themes being drawn out. Much like the adherents themselves, this thesis exists very much within the space of the ‘in-between’, which creates and reacts to necessary tensions throughout.

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Encarnacao, John. "Punk aesthetics in independent "new folk", 1990-2008." Electronic version, 2009. http://hdl.handle.net/2100/981.

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Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.

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Michalski, Stefan. "'Anarchy in the U.K.' : an analysis of punk rock /." [Adelaide : University of Adelaide], 1985. http://web4.library.adelaide.edu.au/theses/09AR/09arm621.pdf.

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Gatto, Vinicius Delangelo Martins. "Rock Progressivo e Punk Rock : Uma análise sociológica da mudança na vanguarda estética do campo do Rock." reponame:Repositório Institucional da UnB, 2011. http://repositorio.unb.br/handle/10482/9724.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, 2011.
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Esta dissertação possui como objetivo explicar sociologicamente a transição na vanguarda estética do campo do Rock. Entre 1967 e 1977, o campo do Rock conheceu os períodos de maior sucesso comercial e de prestígio primeiramente do Rock Progressivo e em um segundo momento do Punk Rock. Que motivos sociológicos explicam esta transição? Considera-se aqui que a arte não é uma esferada ilhada e separada do restante da sociedade. Por outro lado, a arte pode possuir, sim, um aspecto mais autonônomo entretanto os desenvolvimentos nos campos artísticos são mediados pelos desenvolvimentos sociais mais gerais. É fundamental para este trabalho a noção de campo de Bourdieu. Se as transições nos campos artísticos são perpassados pelos desenvolvimentos sociais mais gerais isto quer dizer que cada movimento ou vanguarda artística tem de lidar necessariamente com o seu período histórico e com as condições materias objetivas de produção e do capital. Esta preocupação com a estrutura econômica é tratada com base no trabalho do téorico Fredric Jameson. Há uma preocupação em demonstrar desenvolvimentos micro sociais, entretanto estes desenvolvimentos são reconectados aos desenvolvimentos sociais mais gerais. Portanto as sociaibilidades, valores e sentimentos que se desenvolvem entre os atores do campo do Rock e que são analisados neste trabalho são limitados por uma situação objetiva comum de cada tempo histórico. Como conclusão procura-se demonstrar que cada tempo histórico, Modernidade e Pós-Modernidade e cada lógica cultural correspondente modernismo e pós-modernismo mediaram os desenvolvimentos no campo do Rock. ______________________________________________________________________________ ABSTRACT
This work has as main objective to explain in sociological terms the transition in the aesthetics vanguard of the Rock field. The Rock field experienced between 1967 and 1977, first the apogee of Progressive Rock and then the apogee of Punk Rock. Which sociological concepts do explain this transiton? It´s considered in this work that art is not a separated island from the rest of society. The fields of art may be autonomous in a certain way but, this autonomy is not self complet, this means that the developments in the artistic fields are mediated by the social developments in general. It is fundamental for this work the notion of field as conceived by Bourdieu. If the developments in the artistic field are transpassed by the more general social developments, this means that every artistic vanguard has to deal, necessarily, with his historic time and with the material condition of a certain given time. This concern about the economic structure is analysed according the work of the theorist Fredric Jameson. There is a concern about micro social developments, but these developments are reconected to the social developments in capital and society. So, the sociabilitys, values and feelings among the actors of the Rock field are limitades by a given situation of each historic time. As conclusion, I intend to demonstrate that each historic time, Modernity and Post Modernity and each corresponding cultural logic, modernism and post modernism have mediated the developments in the Rock field.

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Kass, Sara. "The Form of Nonconformity: Architecture & The Punk Rock Aesthetic." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/34339.

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Punk rock is about music, rebellion, anarchy, and style. How can this be translated into architecture? Can a building possess these qualities? What would a "rebellious" building look like? How will it change our conceptions of "beauty?"
Master of Architecture

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Books on the topic "Punk Rock"

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Stephens, Simon. Punk rock. London: Methuen Drama, 2009.

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Lindberg, Jim. Punk Rock Dad. New York: HarperCollins, 2007.

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Fucci, Claudio. Punk, garage, rockabilly, punk rock'n'roll. Milano: Vololibero, 2010.

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Lezana, Tomás González. Punk, pero ¿que punk?: Guia incompleta del punk nacional. Madrid]: La Fonoteca, 2016.

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Backderf, Derf. Punk rock & trailer parks. San Jose, Calif: SLG, 2008.

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Pehlemann, Alexander. Warschauer Punk Pakt: Punk im Ostblock 1977-1989. Mainz: Ventil Verlag, 2018.

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John, Holmstrom, ed. Punk: The original. New York: Trans-high Publishing, 1996.

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Masar, Brenden. The History of Punk Rock. San Diego, Calif: Lucent Books, 2006.

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Shahan, Cyrus. Punk Rock and German Crisis. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137337559.

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Patricia, Levy. From punk rock to perestroika. Chicago, Ill: Raintree, 2006.

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Book chapters on the topic "Punk Rock"

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Shahan, Cyrus. "Punk Poetics." In Punk Rock and German Crisis, 23–51. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137337559_2.

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Rabid, Jack. "Punk Goes Hardcore." In The Rock History Reader, 209–14. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-43.

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Hebdige, Dick. "The Subculture of British Punk." In The Rock History Reader, 191–98. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-40.

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Hein, Fabien. "Punk Rock Entrepreneurship in France." In Made in France, 173–84. New York, NY : Routledge, 2018. | Series: Routledge global popular music series: Routledge, 2017. http://dx.doi.org/10.4324/9781315761619-16.

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Simic, Zora. "Rock Star in Space." In Urban Australia and Post-Punk, 105–22. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-32-9702-9_13.

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Dougan, John. "“Don’t Know Much About History, and We Don’t Care!” Teaching Punk Rock History." In Punk Pedagogies, 91–108. Abingdon, Oxon; New York, NY : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315276250-7.

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McNeil, Legs, and Gillian McCain. "“Why Don’t We Call It Punk?”." In The Rock History Reader, 185–90. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-39.

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Shahan, Cyrus. "Introduction: Representing “No Future”." In Punk Rock and German Crisis, 1–22. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137337559_1.

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Shahan, Cyrus. "Psycho Punk and the Legacies of State Emergency." In Punk Rock and German Crisis, 53–84. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137337559_3.

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Shahan, Cyrus. "Post-punk Poaching, Subversive Consumerism, and Reading for Anti-racism." In Punk Rock and German Crisis, 85–121. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137337559_4.

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Conference papers on the topic "Punk Rock"

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Romero, Noah. "Theorizing Māori-Philippine Solidarities Through Punk Rock Pedagogy." In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2014657.

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Sweet, Joseph. "Against the Machine: Punk Rock Ethos and Qualitative Inquiry." In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2003430.

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Lingel, Jessica, Aaron Trammell, Joe Sanchez, and Mor Naaman. "Practices of information and secrecy in a punk rock subculture." In the ACM 2012 conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2145204.2145230.

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Kaptsova, V. I. "NATIONAL SPECIFICITY OF LINGUISTIC REPRESENTATION OF PROTEST IN TEXTS OF RUSSIAN AND ENGLISH PUNK ROCK SONGS." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-35.

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Kaptsova, V. I. "NATIONAL SPECIFICITY OF THE CONCEPT «PROTEST» EXPRESSED IN THE TEXTS OF ENGLISHAND RUSSIAN-SPEAKING PUNK ROCK." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-56.

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Albero Verdú, Sofía, and Fernando Fernández Torres. "Momeht Fanzine. La muerte, el amor y la diversidad a través de la creación artística colectiva." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9540.

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Abstract:

El propósito de esta comunicación es analizar los aspectos estéticos, sociales y políticos de Momeht, un fanzine colectivo creado por componentes de la asociación cultural Engafat, bajo los preceptos de la expresión artística precaria, libre y crítica que caracteriza a este tipo de publicaciones.A través de un análisis visual se abordan las contribuciones de un total de 22 autores y autoras. Los resultados del análisis de estas obras arrojan luz sobre cómo se articulan e interaccionan distintas voces críticas actuales al reflexionar sobre la muerte, la diversidad y el amor. Desde una mirada estética, este fanzine materializa un discurso artístico rico, polivocal y complejo compuesto por elementos dispares como el debate conceptual, la metáfora, la ironía, la sátira, el humor y la crítica, etc. A través de procesos de creación e investigación de estructura variable, las personas que intervienen beben de fuentes dispares: desde ensayos académicos, pasando por textos y otras manifestaciones de movimientos sociales, hasta la cultura rock y punk de los 60 y 70. Desde un punto de vista social y político, se detecta que pese a su breve trayectoria, Momeht ha supuesto la creación de un lugar común para desarrollar la creación artística y la cultura crítica por parte de un nutrido grupo de especialistas en arte, feminismo, diseño, música e ilustración. Todos ellos y ellas actualmente desarrollan sus carreras en contextos profesionales diversos, ligados a las artes visuales y en conexión a la pequeña localidad industrial de Ibi, en Alicante.Las conclusiones apuntan a la apertura de un camino de expresión libre y crítica a través de Momeht, la reivindicación de los Derechos Humanos, así como la creación y posibilidad de ampliación de redes personales y profesionales en el contexto artístico actual dentro y fuera de la provincia de Alicante.

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