ABSTRACT

Young dancers who participate in urban music subcultures have found new social media outlets that help them attain social recognition outside of their group, sometimes bypassing mainstream media circuits and cultural intermediaries, and other times interacting with them. This novel scenario has modified the dialectics between the cultural spheres of youth and celebrity, expanding the ways in which celebrity is manifested and achieved. Drawing empirically on fieldwork conducted within the electro dance scene – a dance-based phenomenon born in France in the past decade that has spread worldwide – I compare the structural and subjective dimensions around which, in different periods, distinctive pathways to celebrity emerge. In particular, two dancers’ pathways to celebrity, one corporate and the other self-made, are examined using an extended approach based on Bourdieu’s field theory. Each pathway leads to a celebrity type, whose relation to media platforms, following, geography, cultural corporations and agents is shaped in different ways by commodified behaviours, class-imbued authenticities and revenue opportunities. While such diversity features novel elements, it ultimately preserves the economic and socio-cultural logic of celebrity, as it (re)produces our now-familiar and increasingly accelerated consumption cycles, ‘normalising’ middle-class values and the commodification of the self.

摘要

参与城市音乐亚文化的年轻舞者找到了新的社交媒体渠道，帮助他们在群体之外获得社会认可，有时绕过主流媒体回路和文化中介，有时与他们互动。这种新颖的场景改变了青年和名人文化领域之间的辩证法，扩展了名人的表现和成就方式。凭借在电子舞场景中进行的实地调查（过去十年在法国诞生并已蔓延到世界各地的一种以舞蹈为基础的现象）进行的实地调查，我比较了结构和主观维度，在不同时期，形成名人的独特途径围绕着这些维度出现。特别是两个舞者成名的途径，一个是公司，另一个是白手起家，使用基于布迪厄场论的扩展方法进行检查。每条路径都通向一种名人类型，其与媒体平台、追随者、地理、文化公司和代理商的关系以不同的方式受到商品化行为、阶级灌输的真实性和收入机会的影响。虽然这种多样性具有新颖的元素，但它最终保留了名人的经济和社会文化逻辑，因为它（重新）产生了我们现在熟悉且日益加速的消费周期，“正常化”中产阶级价值观和自我商品化。阶级灌输的真实性和收入机会。虽然这种多样性具有新颖的元素，但它最终保留了名人的经济和社会文化逻辑，因为它（重新）产生了我们现在熟悉且日益加速的消费周期，“正常化”中产阶级价值观和自我商品化。阶级灌输的真实性和收入机会。虽然这种多样性具有新颖的元素，但它最终保留了名人的经济和社会文化逻辑，因为它（重新）产生了我们现在熟悉且日益加速的消费周期，“正常化”中产阶级价值观和自我商品化。