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Nazima Kadir

feelings about their experiences as squatters. This sharply differed from those of male squatters who tended to narrate their experiences according to plots which centered events that revealed squatter capital, such as their participation in a violent eviction, their managing of a campaign, or their involvement in a social center. Svenke is a punk Swedish squatter with long blond dreadlocks in her late twenties who came to the Netherlands to study in the university. Her entire wardrobe consists of black clothing

in The autonomous life?
Dana M. Williams

movements throughout the world (Bolivia, Czech Republic, Great Britain, Greece, Japan, and Venezuela). Labor movement allies, failing state socialism, and punk subculture have provided conditions conducive to anarchism, while state repression and Bolshevik triumph in the Soviet ANTI-STATE POLITICAL OPPORTUNITIES 113 Union constrained success. This variation suggests that future work should attend more closely to the role of national context, and the interrelationship of political and non-political factors. Additionally, the key question of what constitutes movement

in Black flags and social movements
Abstract only
Ian Goodyer

emphasis on the importance of rank and file organisation and its rejection of the pro-Soviet perspectives of much of the left. A generation of militants in and around the SWP, who combined revolutionary politics with a genuine love for popular music, provided many of RAR’s leading cadres. Meanwhile, the upsurge in radical trends in youth cultures such as punk and reggae, supplied a channel through which this small number of activists could communicate with much larger numbers of campaigners and sympathisers. But RAR was more than an ideological and organisational force

in Crisis music
Nazima Kadir

through the sitex and opened the doors within minutes. With the noise and the sparks from the motor flexes cutting through the metal, the door breaking was highly performative and, “so cool,” extolled Stijn, a nineteen-year-old squatter who was learning how to be a breaker. Three different living groups resided in the Motorflex houses. Self-identified punks who were referred to by their neighbors simply as “the punks” – both crusty and baby – resided in the two center houses. They shared a living room and

in The autonomous life?
Abstract only
Ian Goodyer

platform than the partnership between punk and reggae fostered in the 1970s3 – an observation borne out by the emergence of large numbers of performers whose music incorporates influences from around the world. Bhangra, for instance, a form of music and dance with its origins in rural Punjab, but which has been preserved among Britain’s Indian communities, has mutated and found its way into the repertoires of contemporary British and American artists and producers. Southall-born producer Rishi Rich has been at the forefront of this development, and his collaborators have

in Crisis music
Ian Goodyer

growing love for popular music.42 This experience allowed RAR to propose ways of engaging with young people that drew on these connections. It is important to grasp at this point the link between artistic vitality and social conflict that animated RAR’s founders and which informed their view of the modernist tradition to which they felt an allegiance. It is not the case that RAR’s identity was simply derived from particular youth subcultures – most obviously punk rock and reggae – it also drew on influences from other sources. In a 2007 radio interview, when discussing

in Crisis music
Abstract only
Rethinking youth politics and culture in late socialist Yugoslavia
Ljubica Spaskovska

late 1980s:  for most, Yugoslav socialism was still capable of reforming itself and accommodating these demands. The second chapter reflected on the debates concerning the future of the inherited socialist framework of values and commemorative practices and the ways Tito’s legacy was going to be carried forward following his death. Although frequently reproached for an alleged appropriation of far right ideologies, the different cultural acts (punk music, the controversial Youth Day poster) essentially challenged the norms 199  20 200 The last Yugoslav generation

in The last Yugoslav generation
Open Access (free)
The economy of unromantic solidarity
Nazima Kadir

-war, apocalyptic nightmare. Dilapidated buildings and trash dominated the scenery and starkly contrasted the neat streets, shiny renovated architecture, and cute cafes that abound in Amsterdam of the 2000s. The filmmakers interviewed Morris at age eighteen, wearing a punk leather jacket, handsome, earnest, and articulately explaining his political motivations to squat with enthusiasm and sincerity. The next time I viewed the same documentary was in 2007, with a group of squatter friends. When Morris appeared on the screen, the

in The autonomous life?
Dana M. Williams

tabloid, Green Anarchist, demonstrates how NSM organizational characteristics drawn from Melucci (1996) can be seen in many aspects of the paper’s collective, including selfmanagement of writing and distribution among many geographically dispersed people, and decentralized editing. Some collectives could also be considered cooperatives – designed to either manufacture or provide a good or service, or to purchase or acquire such things, respectively. Anarchists have been active members for decades of housing, food, bike, child care, and even punk rock record store

in Black flags and social movements
The youth sphere and its spaces of negotiation and dissent
Ljubica Spaskovska

the following chapter, the SSOJ was reforming faster than its original senior sibling –​the SKJ. This is captured by the following excerpt from the interview with Janjatovic: When you look back now, you realise that the entire rock, punk and new wave at the time was financed by the League of Socialist Youth! […] In the summer of 1982, we organised a two-​day festival of new punk bands which was called ABRS  –​Alternative Belgrade Rock Scene. You know the ARA album –​Artistic Work Action. So, the idea was to promote those bands. Our guest bands were Idols, Electric

in The last Yugoslav generation