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This article examines the impact of a poet‐led classroom‐based poetry programme on secondary school students' writer identities and self‐expression, particularly focusing on BPoC teenagers. Drawing on the Writing Realities framework, the research uses focus groups, participant observations, and interviews with the poet‐in‐residence. Rather than analysing the students' poems, the study explores their engagement with poetry writing and the poet‐in‐residence, highlighting the contribution to self‐reflection and meaning‐making. The findings reveal how the residency introduced students to diverse poetry forms, community‐based poetry, and collaborative writing, facilitating critical engagement with themes relevant to their lives. However, the school's status as a Predominantly White Institution hindered full expression of BPoC students' identities. The presence of the poet‐in‐residence, a young mixed‐heritage Muslim woman, positively influenced students' relationships with writing, particularly for BPoC students, by providing a protected space for self‐expression and identity exploration. The study underscores the importance of creating supportive environments in schools to nurture BPoC students' creativity and writer identity, emphasising the need for anti‐racist practices and culturally sustaining pedagogies to empower students from socially marginalised groups. [ABSTRACT FROM AUTHOR]

Based on a doctoral study developed in the Brazilian sociocultural context, the article reflects on the perception of misinformation among young students from public and private schools. In a society permeated by the digital world in the broader context of socio-materiality, the complexity of the terms Misinformation, Fake News, and Post-truth shows the difficulty of understanding true and false nowadays. In the capitalism of data, algorithms, control, and vigilance, misinformation is an increasingly discussed theme in digital culture due to the problems created in the political, economic, social, cultural, and political spheres. The implications of this phenomenon reverberate throughout the educational ecosystem, the teaching-learning interactions and relations in the school, and other informal and nonformal educational spaces. Grounded on the dialogue between cultural studies, media-education, and youth cultures, we seek to identify young students' perceptions of misinformation to create a formative path in the media-education perspective. The qualitative and exploratory research involved an empirical dimension conducted with young students from 14 to 21 years old in Curitiba and Colombo in Paraná, Brazil. We traced the group's profile through the European Framework for Digital competencies during workshops on media education, aiming to identify and reflect on how young students receive, understand, analyze, check, and share information. The workshop analyses suggested clues to build media competencies in the youth culture contexts and how schools can/should develop a work in the perspective of media education to build a better understanding of oneself, the other, and the world, producing and sharing messages and information with more responsibility in the perspectives of citizenship and belonging. [ABSTRACT FROM AUTHOR]

This article takes Gil Calvo's (2006) model of masculine masks as a reference to make visible and explain, based on ethnographic data, the masculinities of the Madrid bacalao in all its versions, present and past. This means addressing, from this perspective that includes this gender variable, both the three youth cultures (Feixa 1998) that constituted this phenomenon in the 1980s and 1990s -- bacalas, bakalas and vakalas (Leste, 2020a) -- as well as the neobakala music scene (Straw, 1991) that they have created in the present as a cultural heritage (Jiménez-Esquinas, 2017). This article also analyzes the rituality of these masculinities based on the work of Turner (1982), something that allows one to see how these subjects deal with their perceived burdens and reaffirm their masculinities. [ABSTRACT FROM AUTHOR]

The launch of the Australian Football League Women's (AFLW) combined with the introduction of grassroots women's Australian football across the country have challenged the landscape of Australian sport and sport media in recent years. Many young women and gender diverse people have had the opportunity to participate in contact sports such as Australian football for the first time. With this, has come exposure to off-field spaces and cultures that they have previously been excluded from, such as post-sport pub culture and locker rooms. Through qualitative interviews with grassroots players in the Hunter Region, this paper explores how spaces can encourage and provide the opportunity for women to challenge binary expectations through comradery and acceptance of masculine bodily displays in conjunction with the normalization of non-heterosexuality. We conceptualize the 'sport-sexuality-assemblage' as a way of accounting for the relations of desire for women and gender diverse people in a range of sport spaces. [ABSTRACT FROM AUTHOR]

Public discussion of blockbuster films and TV shows increasingly focuses on the power of representation, with certain works celebrated for their potentially beneficial effects. That celebration, however, often rests on the assumption of non-diverse audiences. Using media discourse on the film Wonder Woman (2017) as a case study, this article examines testimonies describing the psychological effects of fictional content in medicalized terms. Repeated references to tears and hunger tie narrative representation to the bodies of marginalized people, suggesting that responses to representation are involuntarily experienced in a standardized form. In many cases, the unexpected nature of these responses is highlighted. This article argues that public discussions of fictional media representation reify a strict model of media effects, denying complex or diverse readings and positioning cultural change as dependent on audiences "feeling" hegemonic readings of media texts. This discourse works to exclude those who cannot or will not conform to its affective norms, requiring psychological homogeneity that is rhetorically constructed as inescapably natural—as well as imperative to the promotion of cultural diversity. "Feeling" media associates media consumption with the creation of a better future, describing media effects as powerful precisely because of their presumed ability to remake the world. [ABSTRACT FROM AUTHOR]

The independent electronic music scene/circuit in São Paulo—techno, house, and their subgenres—migrated from clubs to street parties or locations in central areas of the city in the 2010s. This scene/circuit has a strong political bias, focusing on the uses of urban spaces, LGBTQIA+ rights, corporeality, and aestheticization. Ethnographic study of the activities of four collectives highlights their ways of occupying and claiming the right to the city and the diversity and temporal dynamics of the circuit. A cena/circuito e música eletrônica independente em São Paulo (tecno, house e suas vertentes), migrou dos clubes para as festas em ruas ou locações em áreas centrais da cidade na década de 2010. Esta cena possui forte viés político ressaltando os usos dos espaços urbanos, os direitos LGBTQIA+, as corporalidades e estetizações. Evidencia-se a centralidade da música e sua dimensão comunicacional e política: dança, corpo e identidades aliadas à construção de modos de estar juntos e ocupar a cidade. A metodologia centra-se na etnografia de quatro coletivos e suas festas em suas formas colaborativas/autogestionárias e maneiras de ocupar e reivindicar o direito à cidade e a diversidade e dinâmica temporal do circuito. [ABSTRACT FROM AUTHOR]

Copyright of Muiraquitã: Revista de Letras e Humanidades is the property of Muiraquita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of MATRIZes is the property of Universidade de Sao Paulo, Programa de Pos Graduacao em Ciencias da Comunicacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to present a reflection on the rhythmic gesture of young students from public schools. The essay is based on the theoretical and philosophical propositions of three different authors: Giorgio Agamben, Vilém Flusser and Muniz Sodré. As a theoretical concern, there will be a dialogue between these three authors safeguarding their theoretical singularities. It is intended to offer conceptual bases to promote debates on public education of ancestral African knowledge, with emphasis on the gesture of drumming. The objective is also to understand students' gestures as an alternative to the logocentric paradigm of production and circulation of knowledge in schools. In addition, we intend to reflect on the gesture of drumming in a culture in which thought form and living form are interwoven. [ABSTRACT FROM AUTHOR]

Copyright of Revista Latinoamericana de Ciencias Sociales, Niñez y Juventud is the property of Centro de Estudiso Avanzados en Ninez y Juventud alaianza Cinde, Universidad de Manizales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines how young people, considered as 'fall-away', engage with the 'curriculum complex', a set of relations of adult expert communities, transnational and international corporate and educational organisations, and legislations and policies, aimed at managing and containing the 'wild' student through the employment of correctional practices. This paper examines young people's engagement with the curriculum complex through two inquiries: one in the U.S. Midwest; and another in the northern Philippines. By using vignettes and student conversations from these inquiries, this paper first asks how the curriculum complex figures in classrooms; second, how students respond to it through their bold, playful, and engaged classroom and school curriculum performances; and lastly, how young people through their acts of guileful ruse, widen the curricular opening, and at the same time, expose its illogic and mastery. [ABSTRACT FROM AUTHOR]

This article focuses on the years 1982–1984, which witnessed the first systematic effort to establish a moderate right-wing youth organization in Greece during the Cold War. It shows that the invention of the political songs of the Liberal youth ONNED underpinned its mass mobilization in 1982–1984. In this vein, our analysis enriches recent historiographical approaches that focus on cultures of Conservatism and on political and cultural changes in post-authoritarian Southern Europe in the 1970s to 1980s. Those political songs were linked to both the rhetoric and the practices of ONNED cadres and members. Their lyrics conveyed anti-Communist post-memories of the Civil War in Greece (1943/1946–1949), as reconfigured and filtered through the experiences of ONNED cadres and members in the aftermath of the 1967–1974 dictatorship and the electoral victory of the Socialists in 1981. Thus, the study of the Liberal youth complements the analysis of moderate right-wing subjects in Spain, for whom the Civil War was no reference point after democracy was restored in 1975. Simultaneously, the article enriches research on the Greek Liberal youth so far, which has neglected how this subject reconfigured its approach to the Greek Civil War in comparison to the Right in the preceding decades. Our article also shows that the songs under study accompanied a wide range of ritualistic and prosaic practices of ONNED cadres and members. Listening to and singing those songs was part of a double demarcation process between ONNED cadres and members and their left-wing opponents, as well as within ONNED. For instance, in Thessaloniki, the more Conservative members embraced those songs in their leisure activities and their everyday spaces. By contrast, the more centre-right members were more critical, but still tolerated such music. The everyday life and spatial history approach is crucial to illuminating the varying reception of the political songs of ONNED within this organization. [ABSTRACT FROM AUTHOR]

Spoken word poetry encourages youth to engage in identity construction, resist oppression and construct counternarratives. Through participating in community‐based slams, school workshops and online events, young people can take part in visible activism through exploring their own identity, power and agency and seeing themselves as change agents. In this article, we share longitudinal case studies of two youth poets based in Sydney, Australia. As young women of colour coming of age in troubled times, we consider how poetry offers them a way to engage in story telling and to create counternarratives. We also explore how spoken word allows them to explore their cultural identities, offer testimony about their lived experiences and participate in activism. We situate our research within the COVID‐19 pandemic and critically reflect on how the shift online has offered new opportunities whilst also presenting unexpected challenges for youth poets. [ABSTRACT FROM AUTHOR]

This paper presents the results of the study carried out on the Quilombo de Dandara Collective (Coletivo Quilombo de Dandara), located in Presidente Prudente, which established a Slam Poetry space in the city center. The objective was to understand the Slam educational processes and their relationships with school knowledge, as well as analyze its spatiality in relation to the broader processes of urban space production. Through the interviews, we accessed the life trajectories of the Collective members, their intersections and intertwining, their spatial practices, and their educational role. The Collective educates, by discussing topics such as racism and sexism, by welcoming multiple manifestations, by giving the floor to those who normally have no voice, and by connecting with other educational contexts that form an alternative political and cultural circuit in the city. Therefore, it is possible to think of the Quilombo of Dandara Collective as an insurgent spatial practice. [ABSTRACT FROM AUTHOR]

This study analyzes the impact of the perceptions of youth cultures in the development of public policies in Quindío through youth citizen participation, which is why the historical construction of experiences, representations and testimonies of identities is proposed. present in the department, and that have been involved in the construction and progress of the existing public youth policies, to deepen their political, social and economic inclusion from different forms of citizen participation in the creation of public instruments. [ABSTRACT FROM AUTHOR]

This article seeks to analyze how socio-political changes in the Iberian Peninsula, in the post-dictatorial period affected the course of youth cultures and the penetration of cosmopolitanism. Through a documentary analysis, we examined the diferences/similarities among youth cultures with a focus on the emergence of the Portuguese (post-punk) movement in the late 1970s, the 1980s boom of Bairro Alto and the night in Lisbon, and the 1980s musical and cultural scene of La Movida in Spain. This research promotes knowledge outside the Anglo-American worldview, as a starting point for an analysis of the -unknown dynamics of the Iberian Peninsula. [ABSTRACT FROM AUTHOR]

In this article, I analyze the ways in which fashion, megachurches, and celebrity and youth cultures coalesce in the 21st century, giving rise to the phenomenon of "Cool Christianity." I contend that this repackaged Christianity, directed at the middle-class Millennials and Generation Z, is created not only by megachurches in a bid to attract new generations, as it is usually argued. It is also produced by celebrities, the fashion industry, and young Christian entrepreneurs. I argue that this assemblage of different elements generates a "Fashion-Celebrity-Megachurch industrial complex" that makes Christianity attractive to middle-class youth who do not find a home in more conservative churches that reject youth cultures. I show that this industrial complex creates an "aesthetic formation" that bonds and binds particularly young people as they transition into adulthood. I also demonstrate that because Cool Christianity is a relatively new aesthetic style, it becomes highly visible and needs to be negotiated with older styles of Christianity. This paper draws on six years of multi-sited fieldwork with the Australian megachurch Hillsong in Australia and Brazil, and monitoring and analyzing media reports on this church, its many social media accounts, and how followers interacted with them. [ABSTRACT FROM AUTHOR]

The paper focuses on program about micro-innovation processes activated in a range of spaces for youth throughout the Puglia region. Partially funded by regional or national policies, these spaces resulted mainly from renovation processes of public buildings. Their environments offer a range of resources for who try to develop and implement new projects in a work-related area, as well as in leisure time activities or social committed initiatives. Firstly, an exploratory mapping involved spaces perceived as innovative and particularly involved in change-making (Fab lab, Makerspace Do-It-Yourself Lab, etc.). A qualitative sample of spaces derived from secondary sources and an on-line survey. A subsequent research stage focused on the participation and learning experiences leading to the development of projects that were felt as agents of change. Narrative interviews involved manager and young people, and a quasi-experimental evaluation design had the purpose to test possible associations between different forms of cooperation and the variation of self-perceived innovation skill. Overall, the research offers insights, ideas and questions that can be discussed with those social actors involved in the research activities, so to make the research more useful for any possible improvement of their project efforts.

This article reflects on the current explanatory value of concepts such as postsocialism and Eastern Europe by exploring how they are represented in contemporary art projects in Estonia. Through an overview of recent exhibitions in which I collaborated with local artists and curators, the research considers generational differences in relation to cultural discourses of the postsocialist experience. Methodologically, artists and curators were not simply my informants in the field, but makers of analytical knowledge themselves in their practice. Exhibitions were also approached as contact zones, whereby new cultural forms are simultaneously reflected and constructed. Critically, this inquiry gathers new ways of representing and conceptualising cultural changes in Estonia and novel perspectives of interpreting the relations to the Soviet past. The focus is put on art practice because of its capacity of bringing together global and local frames of reference simultaneously. The research also draws attention to the inbetweenness of the first post-Soviet generation (those born near the time of the breakup of the USSR); they are revising established cultural forms as well as historical representations through mixing practices, and therefore updating traditional ideas of identity and attachment to places.

The Bakalas were a youth culture that showed up in some Spanish cities, Madrid among them. After disappearing, this culture has been recreated by neobakalas. This article, based on ethnography and in-depth interviews, explores how neobakalas from Madrid have transformed the bakala culture into a music scene that ritualizes some of the features of the bakalas, especially its songs, giving birth to a music genre. Furthermore, the case of bakalas and neobakalas will allow us to question the way Bennet (2012, 2013) has approached music scenes formed by adults. This work therefore interrogates the applicability of the concepts of ageing cultures (Bennet y Hodkinson 2012; Bennet, 2013) and cultural memory for the neobakala scene. The case of neobakalas will also allow us to problematize how St John (1999, 2011, 2014) analyses the ritual practices of the music scenes related to electronic music. [ABSTRACT FROM AUTHOR]

This article aims to analyze how the articulations between two important aspects of youth culture, music, and graffiti, can inspire the emergence of political practices connected to the idea of activism in contemporary Brazil. As a case study, we analyzed the present dialogue between the graffiti "Mais amor por favor" and the song "Não Existe Amor em SP", by rapper Criolo, as a potentializing element for the manifestation of collectives in the city of São Paulo at events of character that would signal a force of mobilization that would be even more highlighted in the so-called June Journeys, in 2013. Given this context, we emphasize that both music and street art can be intermediaries in the relationship between youth and territory in the resignification of daily life in large cities, functioning as a language capable of mediating the relationship between youth, territory, and politics. Under an activist orientation, this arrangement is a testament to the fact that such practices reinforce the capacity and power of the logics of on and offline mobilization that surround youth culture in the 21st century. [ABSTRACT FROM AUTHOR]

In this paper, our goal is to analyze trap music and its development in Spain in recent years. We try to understand its impact among young people, identifying their ethics and aesthetics and finding out how they are perceived among their consumers. Understanding youth cultures as metaphors for social and political changes, we study Spanish trap to find out what it tells us about our society and its recent transformations. Methodologically, we use the analysis of songs and videoclips, we develop interviews and focus groups with young consumers, trappers and producers, and we study representative trapper biographies. Appeared during the crisis that began in 2008 in impoverished areas as a song of the excluded and depoliticized youth, trap will become popular reflecting the concerns of a precarious youth. Trap, we conclude, is a contradictory genre that reproduces the logic of capitalism while opening up spaces for its response. [ABSTRACT FROM AUTHOR]

This article aims to analyze how the articulations between two important aspects of youth culture, music, and graffiti, can inspire the emergence of political practices connected to the idea of activism in contemporary Brazil. As a case study, we analyzed the present dialogue between the graffiti “Mais amor por favor” and the song “Não Existe Amor em SP”, by rapper Criolo, as a potentializing element for the manifestation of collectives in the city of São Paulo at events of character that would signal a force of mobilization that would be even more highlighted in the so-called June Journeys, in 2013. Given this context, we emphasize that both music and street art can be intermediaries in the relationship between youth and territory in the resignification of daily life in large cities, functioning as a language capable of mediating the relationship between youth, territory, and politics. Under an activist orientation, this arrangement is a testament to the fact that such practices reinforce the capacity and power of the logics of on and offline mobilization that surround youth culture in the 21st century.

This article examines two narrative texts published in Peru during the sixties: Los inocentes. Relatos de collera ([1961] 2011) by Oswaldo Reynoso (1932-2016), and Los cachorros (1967) by Mario Vargas Llosa. The analysis focuses on the construction of identities among the adolescent subjects who star in them, considering elements such as social class, generation, gender, territory, language and others, as part of the emergence of the so-called "youth cultures" in western societies since the fifties. In addition, it recognizes the differences between both narratives in terms of the representation of youth cultures, particularly with respect to the relationship that adolescent subjects establish with hegemonic culture. [ABSTRACT FROM AUTHOR]

Copyright of Nexus (1900-9909) is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article thematizes the phenomenon of punk as an example of "unconventional" and "unwelcomed" protest. It focuses on the public perception of West German punks from the late 1970s into the 1980s. In this early phase, punks caused confusion especially because of their alleged passivity. Their seeming rejection of a concept of being (politically) active was regarded as provocative, as the idea of "activity" largely dominated notions of legitimate political protest at that time. Punk was considered destructive and contentless, but non-political and as such "non-real" as a form of protest. Moreover, "experts" from the social sciences and pedagogy, politicians, and journalists interpreted the behaviour of the youth in social terms and responded to the "problem" with attempts to "understanding" and "help." From their point of view too, Punks seemed to be unable to detect any political issues of their own or to fulfil notions of meaningful forms of protest. Using the example of punk perceptions, the article examines how collective knowledge about legitimate and proper forms of protest is negotiated through demarcations. [ABSTRACT FROM AUTHOR]

Drawing on recent framings of young people's environmental activism as a 'game', alongside long-standing characterisations of youth as responsibilised environmental change-agents, in this Viewpoint I identify fertile research opportunities in the liminal spaces between moments of young people's action and the political and socio-cultural spaces through which those actions (might) diffuse. I argue that youth geographers should take care to engage critically with young activists' actions, as well as wider political and cultural responses to them, in order to avoid furthering problematic 'sustainability saviour' framings of youth. [ABSTRACT FROM AUTHOR]

This article restores, through in-depth interviews, the memory of the youth who participated in diverse musical scenes and youth cultures that emerged in Madrid and Valencia in the eighties. From the stories of those people, and the use of the concepts of music scene and youth culture, this article delves into the connections between the Movida madrileña –mainly of the gothic and new romantics cultures– the Valencian postpunk scene and the incipient Valencian Bacalao, showing the relations of competition and emulation among them, that will end up generating the so-called Bacalao madrileño in the nineties. In this way, this work, along with adding in complexity to the phenomenon of the Movida madrileña, makes visible those young people who participated with their own speeches and practices, often anonymously, of those cultural productions.

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We review our involvement in social justice movements and projects over the past half-century that led to our understanding of importance of democracy. We contrast our understanding based on our extensive involvement in schools, our record of accomplishments from national and state legislation. e.g., “New Careers” projects, task forces in Australian state schools, to successful inclusion of the excluded into higher education, e.g.,. Upward Bound and HEP with Critical Pedagogy which at least from its most prominent advocates is mostly talk, little action. We contrast our testable democratic theory with clearly articulated principles with Critical Pedagogy efforts to impose “truth.”

Within the context of hyper surveillance and panic over young people's political and creative forms of participation, we draw on biographical interviews to explore how young people from socio-economically disadvantaged and migrant backgrounds of Sydney's Western suburbs participate in Slam Poetry scenes. Slam poetry is a global cultural activity, with a strong base in places like Western Sydney where young people from minority backgrounds collectively develop a shared language of resistance. Indeed, it is argued that neo-tribal leisure scenes are important sites for understanding how young people construct their identities as "pleasure citizens" in collectivist terms (Riley, S., Y. Morey, and C. Griffin. 2010. "The 'Pleasure Citizen' Analyzing Partying as a Form of Social and Political Participation." Young 18 (1): 33–54). We aim to build on this argument, considering how categories of ethnicity, class and gender are embodied by our informants within youthful forms of sociality. [ABSTRACT FROM AUTHOR]

Playing digital games is increasingly pathologized as an addiction or a disorder, but there is limited research into the impact of game addiction discourse on children who play digital games. In this article, we present results from a study into the digital play of twenty-four 9–14-year-olds, attending to our participants' perspectives and attitudes towards 'game addiction' and how it interacts with their play and identity. Focused primarily on the online multiplayer first-person shooter game Fortnite, we examine how children encounter and attempt to negotiate game addiction discourse and demonstrate how the discourse in and of itself produces challenges for young people whose interests and passions revolve around games. This article subsequently discusses how the discursive frameworks that are perpetuated in the media around 'problematic play' need to incorporate and be inclusive of the child's right to play, and the relevance of our findings to the study of media panic and children's critical media literacies. [ABSTRACT FROM AUTHOR]

In 1998 Howard Parker, Judith Aldridge & Fiona Measham published Illegal Leisure, a ground‐breaking study of profound changes in British youth cultures in the 1990s, and the place of drugs and drug use in these upheavals. This work introduced the 'normalization thesis' to the social sciences, offering a novel vocabulary for re‐imagining the normative character of young people's attitudes towards and experiences of illicit drug use. Arriving at the dawn of the new century, the book offered a thoroughgoing re‐thinking of the character of youth cultures at a time of great social, cultural, economic and technological disruption. In so doing, the book deftly anticipated many of the most interesting currents of critical drug studies that followed. [ABSTRACT FROM AUTHOR]

Skateboarding has emerged from an alternative subculture to an influential action sport, boosted by recent inclusion in the Olympic Games. Central to debates in both academic and practice communities are the tensions between skateboarding as a lifestyle and ethos, and skateboarding as an Olympic discipline. This article presents a thematic analysis of The Bones Brigade documentary which follows the rise of Tony Hawk, a high profile skateboarder, and the team he skated with during an important historical era in skating. All are men, presenting an opportunity to investigate masculinity in the sport. We reveal how these pivotal figures embody flexible and overlapping formations of hyper to alternative masculinity. Importantly, we also highlight forms of emotional connection and expressiveness that can unify all skaters. Such insights promote a deeper understanding into diverse formations of masculinity and various expressions of identities in skateboarding and with insights for other action sports. [ABSTRACT FROM AUTHOR]

Copyright of Sociologia & Antropologia is the property of Sociologia & Antropologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents the results of a two-year research project on the Brazilian music festival Rock in Rio. The research consists of an analysis of the particular circumstances that led to the formation of the festival's multigenerational audience. Rock in Rio was held for the first time in 1985, soon after the end of the military dictatorship in Brazil, which lasted for more than 20 years (1964-1985). Meanwhile, Brazilian youth cultures were experiencing the emergence of a new local rock music scene that highlighted some of the country's most relevant social and political issues at that time. Since then, the festival's various editions, held in its hometown of Rio de Janeiro, have brought together wide audiences from different age groups. [ABSTRACT FROM AUTHOR]