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P
JIAN XIAO
UNK
CULT URE
IN CONTEMPORARY
CHINA
Punk Culture in Contemporary China
Jian Xiao
Punk Culture in
Contemporary China
Jian Xiao
School of Communication
and Design
Sun Yat-sen University
Guangzhou, China
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Singapore Pte Ltd.
The registered company address is: 152 Beach Road, #21-01/04 Gateway East, Singapore
189721, Singapore
Acknowledgements
The research upon which this book is based was made possible with the
funding by ‘The Fundamental Research Funds for Sun Yat-sen University
in 2017’ (17000-31610138) and ‘The Bilingual Curriculum Training
Project –Communication Studies’ (17000-18822604). A previous version
of Chap. 3 was published in the European Journal of Cultural Studies 2017,
20(6): 707–723, @2017 European Journal of Cultural Studies; a previous
version of Chap. 6 was published in the Chinese Journal of Communication
2017, 10(3): 246–263, @2017 Chinese Journal of Communication.
I would like to thank all those who participated in the research and my
family and friends who supported me. I would particularly like to thank
Professor Paula Guerra and Dr. Jim Donaghey who contributed their
research in Portugal and Indonesia.
v
Contents
vii
viii Contents
9 Conclusion 201
The Development of the Chinese Punk Phenomenon 201
Punk Resistance in China 204
Reflections on the Book 211
References 212
Index 217
Notes on Authors
Lead author
Jian Xiao (Loughborough University) works at School of Communication
and Design, Sun Yat-sen University. She has published in European
Journal of Cultural Studies, Chinese Journal of Communication, Punk &
Post-Punk, and so on. Her research interests focus on new media and cultural
studies. E-mail: JX.jianxiao@yahoo.com.
Co-authors
Jim Donaghey (Loughborough University) is a punk anarchist working
in academia, at Queen’s University Belfast. Jim is an active participant in
his local punk and anarchist scenes and is also the web editor of www.
AnarchistStudies.blog and member of the editorial board of Punk & Post-
Punk journal. Jim is in several punk bands, including Gulder and
Lawfucker. E-mail: j.donaghey@qub.ac.uk.
Paula Guerra (University of Porto) is an associate professor in the
Department of Sociology of the Faculty of Arts and Humanities at the
University of Porto and researcher at the Institute of Sociology of the same
University (IS-UP), where she coordinates the subgroup Artistic Creation,
Cultural Practices and Policies. She is coordinator and founder of the
KISMIF Conference. She co-authored various books and her numerous
journal articles have been published. E-mail: paula.kismif@gmail.com.
xi
List of Figures
xiii
CHAPTER 1
Introducing Punk
It is hard to define ‘punk’ with any single definition. The word ‘punk’
began as US jargon describing certain groups of youngsters at the bot-
tom of the social structure, such as ‘hobos’ and ‘black homosexuals’
(Laing 1978, 2015: 124). It gained wider recognition only with its appli-
cation to music. First it denoted a New York music scene, and then, with
traditional Chinese society through small family groups. The father image,
for instance, is especially strongly constructed in a family and serves as an
authoritarian figure. In Leung and Nann’s (1995) analysis, the principle of
filial piety (Xiao, or 孝) encompasses not only the moral obligation that
junior members have to fulfil but also a reciprocal system. The elderly, for
instance, are in the position of disciplining nonconformists and arranging
the careers, marriages, and so on of the younger members of the group. In
fact, the elderly exercise ultimate control over junior members and main-
tain domestic order. Considering the family in a broader sense, Leung and
Nann (1995: 2) argued thus:
The relationship between the state and the individual follows the same
principle, since the state serves as ultimate authority figure. From another
perspective, a conforming society with a hierarchical system is formed with
the state and the elderly identified as the ones at the top of the social hier-
archy. It is this feature of conformity that also builds a ‘we’ network, which
forms the basis of a collective culture. As Weber (2002) remarks, senti-
ments such as the idea that a person should help others establish them-
selves before seeking his or her own establishment appear in Confucian
thinking. Hence, Chinese society is defined as a society framed by ‘we’
culture and a collectivist system.
The concept of collectivism determines the arrangement of social inter-
action in Chinese society. Though there is an inherent dependence on
individuals, a rigid social framework is formed. In the words of Weber
(2002: 352),
1
The Tiananmen Square incident, also known as the June Fourth Incident or 6/4, was a
series of protests and demonstrations in China in the spring of 1989 that culminated on the
night of June 3–4 with a government crackdown on the demonstrators in Tiananmen Square
in Beijing (details are available at http://www.britannica.com/EBchecked/topic/594820/
Tiananmen-Square-incident, accessed in April 2014).
6 J. XIAO AND P. GUERRA
much information about the distinctive music style, as well as the conflicts
between punk musicians and the government, it can be seen that Chinese
punk musicians were greatly influenced by the Western punk style.
During the same general era, Shaun M. Jefford produced a documen-
tary film that offered a record of punk performances and personal lives of
punk musicians at the time surrounding the 2008 Olympics in China.
Beijing Punk explores a lifestyle of punk musicians that involves drugs,
poverty, alcohol, and dissatisfaction with the police and the Olympics.
This film may inform the development of the Chinese punk scene itself;
however, its circulation beyond punk circles is limited: it has been banned
in China on account of its politically sensitive nature.
Given the nature of rebellion, one would imagine that it would be
problematic to perform punk music in the authoritarian Chinese context.
According to Anna Sophie Loewenberg (1999), punk musicians begin to
face restrictions particularly when their performances emerge in main-
stream arenas. In reality, the conflicts between punk musicians and the
party state are negotiated in a complicated way, since, on one hand, the
cultural policy of promoting national values is under increasing threat
from the artistic production and expansion of the commercial market in
popular culture (O’Connor and Gu 2014) and, on the other, the dis-
course around cultural industries can depoliticise the rock culture and
music (Groenewegen-Lau 2014).
Although culture-related productions about Chinese punks exist, few
academic discussions have paid them much heed. Nevertheless, the
Chinese punk phenomenon does attract attention in certain quarters, on
account of the vivid initial impression of Chinese punks constructed in
their mode of dress, performances, and resistant political attitude, coupled
with the controversy surrounding their conflict-laden relationship with the
Chinese government. From this perspective, it is particularly intriguing to
look at how the punk phenomenon developed in the Chinese context.
In the limited discussion regarding the Chinese punk phenomenon,
DeHart (2013) states that punk music can hardly be regarded as a subcul-
ture in China, because of the lack of suitable political and economic condi-
tions for its development there. This book also presents the view that a
CCCS-style subcultural approach as discussed below is not appropriate for
understanding the punk phenomenon in China, although he has no quar-
rel with the commitment of the CCCS approach, characterised by Hilary
Pilkington as ‘understanding micro-cultural practice in relation to deeper
(and historically rooted) social structural change’ (2010: 11). Rather than
INTRODUCTION: CONTEXT, METHOD, AND THEORETICAL FRAMEWORK 7
proceed from the assumption that class or community is the driving force,
one can apply the neo-tribe approach, which leaves room for interest in
punk music and culture as an explanation. In fact, it is hard to sustain the
coherence of a ‘culture’ amidst a great variety of cultural involvement
(Chaney 1994). In this approach, the theme of a ‘culture’ spreading (e.g.,
to the USA or New Zealand through English-speaking intellectual com-
munities) is considered from the perspective of how it is adapted and
remade in day-to-day life. From this angle, culture is, more specifically,
‘less a set of items to be specified, and more a series of ways of “telling”
which provide some sense of confidence in the consistency of knowing
how to go on’ (Chaney 1994: 40). That is the understanding we apply in
this book.
In addition, the term ‘scene’ is adopted here, to afford understanding of
the localisation of punk activities in the Chinese context. Having developed
over a span of 20 years in China, the punk phenomenon tends to be plural-
istic (Xiao and Stanyer 2016), showing diversity of musical styles (e.g., with
the coexistence of genres such as hardcore, Oi!, and street punk), class (with
both working- and middle-class members), and professional background
(encompassing teachers, bar owners, and even civil servants). Within the
limited academic discussion about Chinese punk, Jeroen de Kloet (2010)
regards it as a depoliticised phenomenon, seeing the musicians as seeking
pleasure more than revolution or struggle. While it is undeniable that
Chinese punk musicians pursue a sense of pleasure in performing, the
material presented in this book suggests that benefit can be found in widen-
ing the research scope and paying attention to their day-to-day practices.
BIBLIOGRAPHY
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Tertiary or { Miocene
Cainozoic { Oligocene
{ Eocene
{ Cretaceous
Mesozoic or
{ Jurassic
Secondary
{ Triassic
{ Permian
{ Carboniferous
{ Devonian
Palæozoic
{ Silurian
{ Ordovician
{ Cambrian
Proterozoic Pre-Cambrian
CHAPTER II
T H E C L I M AT I C R E C O R D A S A W H O L E
BIBLIOGRAPHY