滑板:从城市空间到亚文化奥运会

Å. Bäckström, S. Blackman
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引用次数: 1

摘要

滑板或“人行道冲浪”出现在20世纪50年代末的南加州,在那里冲浪者不在海里。这期特刊的目的是在国际基础上对滑板,青年和亚文化进行基准批判性研究,以促进从文化角度探索当代滑板的研究领域,重点关注年轻人的日常生活。滑板是一件非常个人化的事情;这是关于平衡的,也是关于你如何在当地社区和全球媒体的集体亚文化中保持自己,弗里德尔(2016)称之为“生活方式”,是一种日常哲学。滑板运动已经从一项富有传奇色彩的城市创意活动演变为一项奥林匹克运动,并成为跨国工业和全球企业的平台。在此基础上,滑板运动中的亚文化真实性与公司追求工具利润之间存在紧张关系,这些公司与年轻人本身有一定距离。将滑板运动纳入主流文化和体育社会的过程一直是缓慢的,并且是一个有争议的过程,因为滑板运动具有开放的民主共鸣,反对基于表达真实性的竞争(Beal & Weidman, 2003)。滑板的偏离亚文化形象来源于肮脏和黑暗的城市空间,只有涂鸦艺术家赋予了色彩和光线,对财产损害的感知和公共场所的冒险行为将其视为一种近乎犯罪的活动,具有“吸引人的特技”(Blackman, 2014;willing&shearer, 2016)。在与Easy E、Lil Wayne和野兽男孩(Beastie Boys)等嘻哈音乐艺术家的接触中,崇尚diy亚文化实践的自制文化的出现为滑板运动提供了一种朋克气质。在西方文化中,随着新一代的培养,从亚文化思想中汲取的真实性倾向于盛行
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Skateboarding: From Urban Spaces to Subcultural Olympians
Skateboarding or ‘sidewalk surfing’ emerged in the late 1950’s southern California, whereby surfers were not in the sea. The aim of this special issue is to benchmark critical research on skateboarding, youth and subculture on an international basis to contribute to the field of research which explores contemporary skateboarding focusing on young people’s everyday lives from a cultural perspective. Skateboarding is a very individual thing; it is about balance, and it is also about how you hold yourself in a collective subculture within local communities and global media where ‘living side ways’ as Friedel (2016) calls it, is a type of philosophy of the everyday. Skateboarding has evolved from a creative urban activity with a legendary past meshed with subcultural values into an Olympic sport and a platform for multinational industry and global enterprises. On this basis there are tensions between subcultural authenticity within skateboarding and the pursuit of instrumental profit sought by corporate companies who are at some distance from the young people themselves. The process of incorporation for skateboarding in mainstream culture and in sport societies has been slow and a contested one as skateboarding has an open democratic resonance that opposes competition based on authenticity of expression (Beal & Weidman, 2003). The deviant subcultural images of skateboarding derived from dirty and dark urban spaces only given colour and light by Graffiti artists, the perception of damage to property and risk-taking in public places saw it as a near criminal activity with ‘attractive stunts’ (Blackman, 2014; Willing & Shearer, 2016). The appearance of a self-made culture celebrating DIY-subcultural practices offered skateboarding a punk ethos, alongside its brush with hip-hop musical artists including Easy E, Lil Wayne and the Beastie Boys. In the cultural West, authenticity drawing from the ideas of subculture tends to prevail as new generations are fostered in this expanding Article
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