In the paper, I engage with various theories of audience participation, as well as analyze different types of DIY music participation through the ethnographic study of American DIY shows. As a corrective to his deductive model of participatory and presentational music, I propose an inductive model of socio-musical participation, based on practices of DIY (“do-it-yourself”) music communities in the US. ![]() In this regard, Thomas Turino (2008) suggests that community can be generated through an active and synchronous physical and music-related participation at live events. My question in this article is how is this achieved, what kind of community is generated in the process, and how do we analytically approach answering these questions. ![]() Many scholars argue that live concerts constitute a community (Frith 1981, Cohen 1991, Shank 1994, Fonarow 2006). This article suggests that the birth of religious underground collectives and hijrah groups within the underground music scene is a result of the absence of a coherent political Left within the subculture and the high financial and social cost of maintaining underground culture and ideology. This article examines the state of the Indonesian punk/underground scene following the decline of punk’s Left activism, the expansion of neo-liberal capitalism, and the rise of religious conservatism in post-authoritarian Indonesia. This is reinforced by the emergence of religious under- ground collectives and hijrah groups that work on Islamic proselytization in the scene. Its intersection with religious conservatism following the fall of the New Order creates a perception that Indonesian punk has become susceptible to what some people call ‘Islamic fundamentalism’. It was once known for its radical Left activism against the authoritarian state of the New Order (1966–98) in the late 1990s, but following political change in 1998 and the subsequent period of Reformasi, the image of the Indonesian punk/underground scene has gone through a shift. Like the country itself, the Indonesian punk/underground scene is rich with the diversity of its members. Noting a similar trend in China, we connect the emergence of a punk rock scene in Beijing to the conditions of global postmodernity that are specific to the Chinese scene. ![]() In his study of punk rock in the UK, focusing on bands such as the Clash and the Sex Pistols, Davies demonstrates how these bands voiced strong critiques of post-war UK politics and US imperialism, while struggling against the commodification and ultimate dilution of the power and energy of their music, performance styles and ideas. In the West, the postmodern condition came to be associated with the malaise surrounding the global politics of the Cold War and the disenchantment with utopian visions of modernity that had arisen over the previous century embodied in the “isms” that professed a cure for the world’s ills. A more fruitful line of inquiry, exemplified by Davies (1996) uses postmodern theory to study how punk rock challenges structures of power and authority while preventing co-optation by the market forces that drive the music and fashion industry in the Western world. ![]() In this paper we examine the musical and performance styles of several Chinese bands that fall loosely into the category of “Beijing punk rock.” Analyses of punk rock music are often undertaken in the context of subcultural theory, to which punk rock served as a principle case (Hebdige 1978).
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