Youth Citizenship und politische Bildung am Beispiel der Ladyfeste

Ladyfeste sind feministisch-queere Kunst- und Kulturfestivals, die seit der Jahrtausendwende auf allen Kontinenten stattfinden. Als Fortsetzung der von den USA in den 1990er Jahren ausgehenden Riot-Grrrl-Bewegung verstehen die Autorinnen Ladyfeste als "Lernorte" für politische Bildung, die Möglichkeiten für die Artikulation eines Youth Citizenship bieten. In deren Rahmen gewinnen Jugendkulturen zunehmend an Relevanz. Junge Erwachsene bekommen Raum für ihre musikalischen, publizistischen und künstlerischen Aktivitäten und erlauben neben politischer Bildung auch eine Erprobung von kollektiven politischen Partizipationsformen sowie eine kritische, selbstreflexive Bürger_innenschaft. Im Anschluss an eine kursorische Diskussion über neoliberale Umstrukturierungen in den Citizenship-Diskursen beleuchten die Autorinnen anhand ihrer empirischen Studien über Ladyfeste zwei Dimensionen von Youth Citizenship, die Ladyfest-Akteur_innen entwickeln: Die erste Dimension dieses Youth Citizenship umfasst diverse feministisch-queere Aktivierungsstrategien zur Partizipation an Ladyfesten und (sub-)kultureller Produktion von Musik, Medien, Mode und Kunst; die zweite Dimension manifestiert sich in der Entwicklung lokaler, transnationaler und virtueller Netzwerke, wodurch nationale Identität und Citizenship hinterfragt, eine Kritik an einem "consumer citizenship" geübt und kollektive Partizipationsformen an Politik und Zivilgesellschaft erprobt werden, um sich als neue Art von Bürger_innen zu entwerfen. (Verl.)Ladyfests are feminist-queer art and culture festivals that have taken place on all continents since the turn of the century. As a continuation of the riot grrl movement that emerged in the USA in the 1990s, the authors understand Ladyfests to be “places for learning” civic education that offer possibilities for articulating a youth citizenship. Within this context, youth cultures have been increasingly gaining in relevance. Youth cultures provide young adults with a space for their musical, journalistic and artistic activities and allow not only civic education but also the trying out of collective political forms of participation as well as a critical, self-reflective citizenry. Following a cursory discussion of neoliberal restructuring in citizenship discourses, the authors examine two dimensions of youth citizenship being developed by Ladyfest participants and organizers based on the authors‘ empirical studies of Ladyfests: The first dimension of this youth citizenship comprises diverse feminist-queer empowerment strategies for participating in Ladyfests and the (sub)cultural production of music, media, fashion and art; the second dimension manifests itself in the development of local, transnational and virtual networks through which national identity and citizenship are questioned, “consumer citizenship” is criticized and collective forms of participation in politics and civil society are tested in order for participants to re-invent themselves as a new kind of citizen. (DIPF/Orig.

The DIY Careers of Techno and Drum ‘n’ Bass DJs in Vienna

<p>My empirical research on electronic dance music scenes in Vienna, Austria, explores an area of cultural production that unites the ideology of creativity with the aspirations of social networks and individual entrepreneurship. The model for a DJ's career is a hybrid of inspired musician, compelling performer, marketing genius and business strategist. An economically successful career depends not only on performing in clubs; DJs are also involved in music production, making records, marketing themselves through the media, organizing club nights and running labels. Social and cultural capital is invested in creative freedom, a do-it-yourself ethos, and collective enjoyment, yet these DJs tend to promote the neoliberal economic ideal of the "autonomous cultural entrepreneur" combining self-organisation and self-marketing with unregulated labour and gendered constructions of artist identity. Taking Bourdieu's work on the field of cultural production as a theoretical framework, my analysis of the DJs' modes of self-(re)presentation suggests that the opposition Bourdieu made between art and commerce tends to blur.</p

Music as Labour: Inequalities and Activism in the Past and Present

This book brings together research at the intersection of music, cultural industries, management, antiracist politics and gender studies to analyse music as labour, in particular highlighting social inequalities and activism. Providing insights into labour processes and practices, the authors investigate the changing role of manifold actors, institutions and technologies and the corresponding shifts in the valuation and evaluation of music achievements that have shaped the relationship between music, labour, the economy and politics. With research into a variety of geographic regions, chapters shed light on the various ways by which musicians' work is performed, constructed and managed at different times and show that musicians' working practices have been marked by precarity, insecurity and short-term contracts long before capitalism invited everybody to 'be creative'. In doing so, they specifically examine the dynamics in music professions and educational institutions, as well as gatekeepers and mechanisms of inclusion and exclusion. With a specific emphasis on inequalities in the music industries, this book will be essential reading for scholars seeking to understand the collective actions and initiatives that foster participation, inclusion, diversity and fair pay amongst musicians and other workers

Cultural Diasporas

This study examines the contribution that artists from a non-EU background maketowards cultural life and cultural industries in Europe and beyond. In particular, it looksat how such artists form "diasporas" which in turn create networks of cultural exchangeinside the EU and with third countries. It provides examples of these activities in threebroad diaspora groups of African, Balkan and Turkish backgroun