Not given lightly

Chris Knox, nationalism, whiteness and punk/indie discourse in Aoteraroa/New Zealand

Datos Bibliográficos

ID14970743
AutoresMatthew Bannister (0000-0001-5273-6819, Waikato Institute of Technology, autor de correspondencia)
Año2020
Volumen20
Número1
Páginas40-67
Fecha de publicación2020-09-22
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaPerfect Beat (JOURNAL)
Identificadores de la revistaISSN: 1038-2909 • E-ISSN: 1836-0343
EditorialEquinox Publishing (PUBLISHER • GB)
DOI10.1558/prbt.39470
OpenAlexW3089204780
IdiomaEN
Referencias citadas24

This article examines punk/indie scenes in 1970s–80s Aotearoa/New Zealand (NZ) in terms of dominant punk discourses of youth ‘resistance’, independence from mainstream values and commercial institutions, and questioning musical meaning. In line with Frith, it aims to show how these discourses were complicated if not contradicted in practice, partly due to their reembedding in settler colonies like NZ, where punk/indie became associated with traditional settler values of white masculinity in ‘pure’ natural settings, on the one hand, while also echoing high modernist discourses authenticating local culture as independent of foreign influence, again drawing on gendered discourse. Chris Knox and the Dunedin Sound are the main examples discussed. The rise of creative industries discourses in the early 2000s served to highlight competing definitions of local music in relation to national identity, as tensions arose between punk/indie’s self-identification with Pakeha masculine ‘authenticity’, and emergent constructions of New Zealand music as popular, commercial and also more gender and ethnically diverse

Aesthetics · Aotearoa · Art · Art history · Frith · Indie film · Linguistics · Mainstream · Masculinity · Media studies · Musical · Political science · Popular music · Punk · Sociology · Visual arts · Cultural Industries and Urban Development · Gender Studies · History · Law · Music History and Culture · New Zealand Economic and Social Studies · Psychology