The alternative cultural movements that spread in the field of mass culture by means of subcultural activities throughout the 1980s represented a form of resistance against the dominant culture and a deviation from the repressive state supervision. Increasingly often, these movements would become subversive yet tolerated forms of expressing the political resistance against the inefficient ruling system of socialist self-management. They argued for creativity as well as for the new models of behaviour and ways of life. During the 1980s, the alternative cultural movements with their principal representatives formed a critical wave that contributed to the Republic of Slovenia overtaking the rest of the Yugoslav state as far as liberalisation, democratisation, and tolerance were concerned.
In its main part, this contribution focuses on the presentation of the more renowned representatives of the alternative cultural scene, especially on the complex cultural and artistic entity, the so-called "FV Conglomerate" – a creative theatre and music group in the 1980s, which brought together the topical social contents and innovative technical and artistic means. Furthermore, in the context of the so-called "Disko FV" club programme, the group united and presented a diverse cultural and artistic production; provided the space where the alternative public could socialise; and documented the events by means of its own video production activities.Alternativna kulturna gibanja, ki so se širila v osemdesetih letih 20. stoletja v polju množične kulture skozi subkulturno udejstvovanje, so pomenila zoperstavljanje dominantni kulturi in odklon represivnemu državnemu nadzoru. Vse pogosteje so postajala subverzivna, vendar tolerirana oblika izražanja političnega odpora proti neučinkovitemu vladajočemu sistemu socialističnega samoupravljanja. Zagovarjala so ustvarjalnost, nove vedenjske in življenjske vzorce. Alternativna kulturna gibanja z osrednjimi predstavniki so v osemdesetih letih sestavljala kritični val, ki je povzročil, da je Slovenija v liberalizaciji, demokratizaciji in strpnosti prehitela preostali del države.
V osrednjem delu se prispevek osredotoča na predstavitev pomembnejših predstavnikov alternativne kulturne scene, še zlasti pa na kompleksno kulturno-umetniško figuro, »konglomerat FV«, ki je v osemdesetih letih predstavljala ustvarjalno gledališko in glasbeno skupino, v kateri je združevala aktualne družbene vsebine z inovativnimi tehničnimi in umetniškimi sredstvi; v okviru klubskega programa FV diska pa je združevala in predstavljala raznoliko kulturno umetniško produkcijo in omogočala prostor druženja alternativne javnosti ter dokumentirala dogajanje s pomočjo lastne videoprodukcije
