Youth Cultures

 

Question One

The best way to determine or define youth culture is by closely scrutinizing the youth. This includes studying their activities, passions, identity, and other aspects of their lives such as dressing. The film “The merchants of cool” narrates the lengths to which marketers will go to produce content that appeals to teens’ culture (Dretzin & Goodman, 2001). One such method was adopted by MTV. It included visiting teens’ homes to get first-hand information about their interests (Dretzin & Goodman, 2001). It, therefore, comes as no surprise that parents of teens are likely to be well informed about youth culture. Kupelian (2004) narrates how a journalist spent three years listening, observing, questioning, bonding, and winning the trust of eight teenagers in Reston, Va. It is through this scrutiny that she gained insight into the youth subculture. Understanding youth culture from the older generation’s perspective also requires close interactions. Through socializing and observing the youth, different generations develop their perspectives on what constitutes this culture. One might, therefore, question them to understand how their views on the youth’s way of life. For instance, Kupelian attempts to understand the youth by observing his 12-year-old son as he interacts with his peers (Kupelian 2004). These are effective ways to determine what constitutes youth culture.

Question Two

Different subcultures exist within the dominant youth culture. They have different ways of representing themselves. Heaven and Tubridy (2003) indicate that subcultures are typically anti-establishment and confrontational. Taylor and Taylor (2004) report that one of such subcultures, hip hop, is expressed through song, poetry, film, fashion, among other ways. Kupelian (2004) states how the subculture of rap was represented by fashion such as baggy t-shirts, oversized jeans, and sexual imagery. Some of these trends still exist to date. Therefore, it is evident that these subcultures have ways of representing themselves. These allow them to have an identity in the group. Identity serves an important role in subcultures as it defines the way a person understands themselves and their world (Heaven and Tubridy, 2003). For instance, graffitists identify with using art to express themselves. They mainly participate in drawing art on walls and other public places aimed at communicating a certain message. The “ravers” subculture is synonymous with Electronic Dance Music (EDM) events where youth meet and dance all night. They represent themselves as celebrators of Peace, Love, Unity, and Respect (PLUR). Furthermore, such events are characterized by heavy drug use. Another subculture is street gangs. These are groups of violent youth whose activities are illegal ranging from drug trafficking to robbery. Many youths in urban neighborhoods are attracted to street gangs due to the identity and ‘brotherhood’ or ‘sisterhood’ they offer. They represent themselves in ways such as tattoos or even wearing certain colors. Although every subculture has a way of representing themselves, others may represent them differently. In most cases, the other generations view youth subcultures as representing delinquents even in cases where such groups are harmless. Malone (2002) notes how the general public treats such groups with suspicion, intolerance, and moral censure.

Question Three 

With time, youth subcultures have co-opted their representations into mainstream practices. In most cases, this is done to gain the acceptance of the general public. By achieving this, such groups can freely carry out their activities without much suspicion. One of such groups is ravers. When this subculture started, groups used to meet in underground events. However, increased drug consumption in such gatherings was revealed through media scrutiny. This resulted in government crackdowns. Rather than end the subculture, the groups started meeting at formal places such as clubs and concerts. This move enabled them to gain acceptance. Graffitists have not been left behind. They were previously considered as vandals and faced a lot of crackdowns. However, many now use their art skills to communicate positive messages. This has earned graffiti art a place in mainstream practices.

Question Four

The space of youth culture is the area where they express their culture or subcultures. This cannot be defined as place-specific because youth culture is a way of life. Hence, it is practiced in different places such as home, school, or streets. Malone (2002), however, notes that young people favor the streets as a place of meeting and expressing their culture, subcultures, or even counter-cultures. However, acquiring such space is not always easy as their activities in the streets are misunderstood by adults. Additionally, curfews and move-on laws are imposed to prevent youth group meetings in the streets. Spaces are mainly classified into two: strongly classified spaces and weakly classified spaces. The former includes areas where only those who behave and belong are welcome. Such spaces including schools and churches do not encourage differences. Hence, youth culture is not facilitated. On the other hand, weakly classified areas have open boundaries with characteristics of social mixing and diversity. These include sporting venues, festivals, and carnivals (Malone, 2002). The youth have more freedom in such places compared to the strongly classified spaces. It is this kind of environment where youth culture thrives.

References

Dretzin, R. (Producer), & Goodman, B. (Director). (2001). The Merchants of Cool [Motion Picture]. United States: Frontline.

Heaven, C., & Tubridy, M. (2003). Global Youth Culture and Youth Identity. Highly Affected, Rarely Considered: The International Youth Parliament Commission’s Report on the Impacts of Globalization on Young People, 149-60.

Kupelian, D. (15 Jan. 2004). Selling Sex and Corruption to Your Kids. WND. Retrieved From https://www.wnd.com/2004/01/22764/

Malone, K. (2002). Street Life: Youth, Culture and Competing Uses of Public Space. Environment and Urbanization, 14(2), 157-168.

Taylor, C. S., & Taylor, V. (2004). Hip-hop and Youth Culture: Contemplations of an Emerging Cultural Phenomenon. Reclaiming Children and Youth, 12(4), 251.