Slengo kultūra : sociologinis tyrimas

Abstract

Qualitative research on subculture groups of youth in Lithuania, based on the theory and methodology of contemporary culture (including the works of I. Hassan, J.Fornäs, R.Laermans, J.Huizinga, V.Kavolis, P. Alasuutari and others) is presented in this article. Expressions of youth culture, a phe nomena known as the underground culture (applica bly coined undergrounds in Lithuanian), which has been increasingly proliferating over the last decade of this century, have been investigated. Spe cifically, during this time period, the cultural mi lieu has been refuting ideological bolts, as opportu nities for free individual expression have become possible. This study has been treated as a subcul ture phenomena, because an increasing individual ity in orientation of values among young people has been revealed. The analysis highlights the appearance of traits of the late modern culture (the term first used by J.Fornäs, 1987), otherwise known as post-modern, in Lithuania. Life experience in the world of the youth subculture is defined as a created virtual re ality. The fundamental aspect of virtual reality in volve the formation of new and meaningful struc tures of ethics and aesthetics. It is a type of exper imentation on the playing field. It is characteristic of youth to create organizational structures, vital personages, and artistic forms of self-expression, and seek individualistic aesthetic and mystical ex periences, and to develop a world outlook. Three of the main experiments of youth under ground culture are presented in this article. The first, named stage of underground culture, empha sizes the various genres of world of youth subcul ture, such as skinheads, punks, hardcore, bikers (rockers), techno culture, football fans and others. The most popular and more active of them is the musically inclined metal subculture, which subdi vides into numerous different styles. The cultural identity of the member of the underground person is also analyzed. The problem of interaction be tween external image and world outlook is raised, and characteristics of real versus pseudo members of the underground, discussed. The second experiment involves the organization and activities of the underground music culture. The organizational structure of a music underground is analyzed. Although the structure seems like the model of the official culture, it operates on an op posing set of principles. Among them are principles over pragmatism and commercialism of mass soci ety, and the desire to rebel against official culture. Such an analysis probes the problems of under ground culture within the culture in common, par ticularly the influence of developments in popular culture, and its impact on the subculture. The third experiment of youth analysed is the creation of models for cultural identity. Young peo ple model their perspective of the world from con temporary cultural fragments, as well as those of the past, and the meaningfulness and origins of symbolic expression. Among members of the un derground culture, a so-called Pagan world view has been evolving. It has been forming both from myths found in literary sources, as well as those imagined, regarding the feats of ancient Lithua nians, and the struggles and victories of their ances tors. It is also formed of the numerous ideas about Paganism, or even Satanism, which have come from the culture of Western Europe. Expressions of such a world view include avante-garde art forms and stylized arrangements, such as metal music, and the projection of an everyday and a stage image. By considering themselves to be carrying forth their ethnic cultural traditions, members of the under ground culture deny the continuation of traditional thinking. The spiritual state of being during the time under analysis is indicated by more and more widespread ideas, regarding the denial of principles which op erate in contemporary society, and formation of an alternative world in which to live. It is also marked by the search for meaning in the culture of the past, and a cultural niche for spiritual comfort. Empirical data suggests an opposite tendency in the youth culture, the need to accept the cultural forms of the West. On the other hand, there is the need to form cultural individuality, by employing interpreted meanings of traditional culture. Young people accept new ideas from Western culture, how ever the sense of one's immediate world is gained in the here and now. Thus, it would be one sided to consider this cultural phenomena as a borrower of culture. It is far more likely to be an expression of changes occurring in the social and cultural life of Lithuania.