地下世界20 世纪 90 年代哥斯达黎加的另类场景和服装风格

Mariela Agüero Barrantes
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引用次数: 0

摘要

20 世纪 90 年代,哥斯达黎加新兴音乐流派的年轻乐队蓬勃发展。本文从后亚文化的角度出发,认为来自不同音乐流派和场景的各种年轻乐队形成了一种团结和支持的意识,从而在 20 世纪 90 年代形成了所谓的 "地下场景"。地下场景 "作为一个平台,开辟了一系列非主流的空间,青年团体可以在这些空间中表演他们的音乐并创造新的风格。在这些新的空间里,地下音乐成员发展出了与他们的音乐品味相联系的新服装风格。通过采访不同的另类摇滚和雷鬼乐队的成员,我们收集并分析了相关信息,从而将这些场景的发展形象化。这些场景的成员根据他们的偶像确立了自己的服装风格,并可根据他们的着装识别出特定的流派。他们的审美混合了直接来自西方国家的影响和乐队。Americanas(旧货店)是年轻人寻找服装的主要渠道,他们直接采用来自美国的流行款式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The underground: Alternative scenes and clothing styles in Costa Rica during the 1990s
During the 1990s, Costa Rica experienced a growth in young bands performing emergent music genres. From a post-subcultural approach, this article argues that a varied array of young bands from different musical genres and scenes created a sense of unity and support that led to the creation of what was known as ‘the underground scene’ during the 1990s. The ‘underground scene’ served as a platform that opened up a series of spaces that were alternative to the mainstream, where youth groups were able to perform their music and create new styles. In these new spaces, members of the underground developed new clothing styles linked to their musical tastes. By interviewing members of different alternative rock and reggae bands, information was gathered and analysed to visualize the development of these scenes. Members of the scene established their clothing styles based on their icons and could be identified within a specific genre due to their dress. Aesthetics were a mix of influences and bands that came directly from western countries. Americanas (thrift stores) was youth’s primary outlet for clothing hunting and they adopted current styles directly from the United States.
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