Abstract
AbstractThe music that was produced in Dunedin, New Zealand, during the 1980's occupies a unique place in the global indie music canon. In writing about this supposed ‘Dunedin sound,' critics and scholars alike have fixated on the city's remoteness: it is believed to be distant from metropolitan centres of music industry power and influence, and consequently supported a subversive and democratised local music scene. This article explores the implications of the ongoing historicisation of Dunedin's popular music scene along these lines, and highlights the ways in which the valorisation of the city’s musical heritage obstructs problematic power dynamics that impact the way young musicians in the city express place and musical identity. Our research applies an embedded participatory ethnography to unpack the ideological positions occupied by contemporary local musicians, and to critique factions within the contemporary musical scene in the city.
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