1

2
3
4
 5

KISMIF CONFERENCE 2021

Keep It Simple, Make It Fast!
DIY Cultures and Global Challenges
PROGRAMME

Paula Guerra & Andy Bennett (Eds.)

Designed by Marcelo Baptista and Sofia Sousa

Cover Design by Dobra Studio

Illustrations by Esgar Acelerado

First Published July 2021 by University of Porto.

Faculdade de Letras [University of Porto. Faculty of Arts and Humanities]

Porto, Portugal

ISBN 978-989-8969-40-8

www.kismif.conference@gmail.com
6

CONTENTS
15 ↗ About
18 ↗ Team
20 ↗ Pratical Information
27 ↗ Porto Wanderlust
33 ↗ Venues
44 ↗ DIY Cultures And Global Challenges
47 ↗ Programmatic Lines
54 ↗ Schort Schedule
93 ↗ Detailed Schedule
94 ↗ July, 5th
102 ↗ July, 6th
112 ↗ July, 7th
134 ↗ July, 8th
162 ↗ July, 9th
184 ↗ July, 10th
206 ↗ The Kismif Partnership
7
8
9
 15

ABOUT
KISMIF Conference (2014- ) is an international
academic/cultural/artistic event based in the city
of Porto (Portugal) and focused on discussing and
sharing information about underground cultures,
DIY practices, urban arts and other related topics.
KISMIF focuses on cultural practices that are used
to face more massive and uniform forms of cultural
production/creation/mediation, by activating an anti-
hegemonic ethos centered around the aesthetics
and policies of the daily ‘arts of doing’.
KISMIF is, so far, the only congress in the world that
analyzes the theory and practice of underground
scenes and DIY cultures as increasingly significant
cultural forms in a global context of precariousness
and uncertainty.
The KISMIF Conference has a multidisciplinary and
transdisciplinary perspective, open for contributions
from the global community of researchers, artists
and activists who work on all aspects of underground
scenes and DIY cultures and conduct their research
within a plural methodological approach. The
objective is to debate not only about music, but
also other artistic fields such as cinema and video,
graffiti and urban art, theater and performing arts,
literature and poetry, radio, programming and
publishing, graphic design, drawing, architecture,
or even cartoons and comics.
The first edition of the KISMIF Conference was
held in 2014 and focused on ‘Underground Music
Scenes and DIY Cultures’. The second edition (2015)
was dedicated to the theme ‘Crossing Borders of
Underground Music Scenes’. The third edition
16

(2016) promoted a discussion about ‘DIY Cultures,

Spaces and Places’. The fourth edition took place
in 2018 and was focused on ‘Gender, differences,
identities and DIY cultures’. The next edition will
be in 2021, focused on the theme of ‘DIY Cultures
and Global Challenges’. All editions of the KISMIF
Conference also offer a summer school / advanced
seminar, where participants can discuss/analyze
in more depth some specific issues around these
themes.
Each edition of the KISMIF Conference, in addition
to its scientific program, also consists of a diverse
social and cultural program formed by a set of
artistic events, with a focus on underground music
and its artistic expressions. It is intended, therefore,
to provide all participants with a unique sensory and
scientific experience in terms of global DIY cultures.
17
18

TEAM
KISMIF Convenors: Andy Bennett and Paula Guerra.

KISMIF Scientific Committee: Alastair Gordon,

Amélia Polónia, Andy Bennett, Anthony Fung,
Augusto Santos Silva, Carles Feixa, Catherine
Strong, Dick Hebdige, Fátima Vieira, George McKay,
Gina Arnold, Guilherme Blanc, Heitor Alvelos, Ian
Woodward, João Queirós, José Machado Pais, Júlio
Dolbeth, Lucy Robinson, Manuel Loff, Mark Percival,
Matthew Worley, Mike Dines, Nick Crossley, Paula
Abreu, Paula Guerra, Paula Cristina Pereira, Pauwke
Berkers, Pedro Costa, Ross Haenfler, Samantha
Bennett, Sara Cohen, Simone Pereira de Sá, Teresa
Sá Marques, and Will Straw.

KISMIF Organising Committee: Ana Oliveira, Ana

Rocha, Benjamin Duster, Carlos Pinto, Emília Simão,
Esgar Acelerado, Camille Girouard, Catherine Strong,
Celeste Reis, Claire Hodson, Giacomo Botta, Gil Fesch,
Hélder Ferreira, Henrique Grimaldi, João Queirós,
Lisa Nikulinsky, Margarida Vales, Mary Fogarty, Matt
Worley, Michael MacDonald, Paula Abreu, Paula
Guerra, Paulo Nunes, Pedro Martins de Menezes,
Pedro Quintela, Richard Frenneaux , Robin Kuchar,
Samantha Bennett, Scott Regan, Sofia Sousa, Susana
de Noronha, Susana Januário, Susana Serro, Tânia
Moreira, and Thiago Pereira Alberto.

KISMIF Dissemination Committee: Airi-Alina

Allaste, André Rottgeri, Asya Draganova, Christina
Ballico, Cihan Ertan, Cláudia Pereira, Dulce Mazer, Evi
 19

Sampanikou, Fernán del Val, Gabriela Gelain, Gina

Arnold, Hector Fouce, Hernando Cepeda Sánchez,
Ion Andoni del Amo Castro, Jonathan Crossley, Katie
Rochow, Loïc Riom, Luiza Bittencourt, Mara Persello,
Margarita Kuleva, J. Mark Percival, Martin Husák,
Patrick Williams, Peter Webb, Piotr Zańko, Rodrigo
N. Almeida, Rylan Kafara, Samuel Lamontagne,
Simone Luci Pereira, Sonja Žakula, Voica Puscasiu
and Zósimo López.

KISMIF Volunteers: Afonso Castro, André Granja,

Ana Maria Marques , Ana Rita Carneiro, Ângela Jesus,
António Gomes, António Carvalho, Bruna Pinto,
Bruno Campos, Carolina Coutinho, Carolina Ribeiro,
Caterina Kuochen, Daniela Pereira, Filipa Sapinho ,
Gonçalo Riscado , Inês Alexandra , Inês Pereira, Júlia
Sousa, Manuel Martins, Matilde Bismark, Matilde
Samagaio , Rodrigo Diogo, Rui Martins, Sandra
Pinheiro, Vítor Nóbrega, Yatan Silva, Zé Miguel
Ricardo.
44

Cultures and
Global
Challenges
We are pleased to announce the fifth KISMIF International Conference ‘Keep It
Simple, Make It Fast! DIY Cultures and Global Challenges’ (KISMIF 2021) which will
take place in Porto, Portugal, between 6 July and 10 July 2021 – in a hybrid format.
The submission of abstracts for this conference was open to academic researchers
working in all areas of sociology, anthropology, history, cultural economics, cultural
studies, geography, philosophy, urban planning, media, and cognate disciplines,
such as design, illustration, popular music, cinema, visual and performing arts.
This initiative follows the great success of the past four KISMIF Conferences (held
in 2014, 2015, 2016 and 2018) and brings together an international community of
researchers focusing on underground music scenes and do-it-yourself cultures.
Andy Bennett and Paula Guerra decided to explore the big theme ‘DIY Cultures
and Global Challenges’ through the following categories.

→ The role/importance of social spaces/places/territo-

ries in underground music scenes and DIY cultures at
the local, trans-local and virtual level.

→ Gender, migrations, diasporas, refugees and artistic

and musical movements.

→ Cities, space and contemporary countercultural

resistance, social and artistic practices.

→ Music scenes, new actors, new equalities: gender,

immigrants and the unemployed.

→ New artistic and musical productions and intermediations

that support spatial justice and environmental stability.
 45

→ Transitions towards sustainability in the DIY scenes

and new DIY sustainable (sub)cultures that re-think
the traditional processes through the – social, econom-
ic and environmental – sustainability lenses.

→ ‘Green’ movements aiming to improve local com-

munity life, fight environmental challenges and pro-
mote sustainable development, and their relationships
with music/artistic scenes.

→ The role of societal challenges, trans-local and

virtual mechanisms of production, intermediation and
musical consumption.

→ Developments in social theory around the count-

er-hegemonic art worlds, musical fields, artistic fields,
local/trans-local/virtual music scenes.

→ Humanitarian movements, instabilities and disas-

ters, memory, historicity, genealogy and diachrony of
music/artistic scenes.

→ Subcultures, post-subcultures, tribes, neo-tribes

and ageing.

→ Heritage, retromania and local/trans-local/virtual

DIY archives and community development.

→ Theoretical and methodological challenges/dilem-

mas in the research of artistic differences all over the
world.

→ Urban micro-economies, DIY careers and inequali-

ties: alternative forms of musical, artistic and cultural
entrepreneurship.

→ Pedagogies and interventions based on artistic/

musical DIY and socioethnic justice.

→ Music scenes and (sub)cultures, ageing, ethnicity

and development.

→ DIY urban aesthetics, including resistance towards

gentrification.

→ Crisis, protest songs and new dynamics of social

inclusion through music and underground artistic
practices and DIY.
46

→ Spaces, places and the festivalization of culture,

music, underground and DIY practices.

→ Peripheral music and artistic scenes, empowerment

and social justice.

→ Post-colonialism, decolonisation, transglobal artistic

and musical scenes and citizenship.

→ Arts-based research and cultural policies in the

global North and global South.

→ Music-making, COVID-19 and social change.

→ Impacts of the pandemic on cultural and artistic
work, in the global North and in global South.

→ Pandemic, inequalities and forms of artistic and

cultural resistance.

→ DIY in times of a global health crisis.

→ Well-being, quality of life, and artistic practices in a
post-COVID-19 context.

→ Public policies for the arts and culture during the

COVID-19

→ Artistic utopias and dystopias.

 47

PROGRAM -
M TIC LINES
The diversity and quantity of proposals received - even considering the postpo-
nement of last year’s KISMIF Conference to this year, as well as the topic under
reflection - resulted in the organisation of the programme in 11 programmatic
lines presented below.
A diversidade e a quantidade de propostas recebidas – considerando inclusiva-
mente o adiamento da KISMIF Conference do ano passado para o corrente ano,
assim como o tópico em reflexão – desembocou na organização do programa em
11 linhas programáticas a seguir apresentadas.

1. ‘Not the last of the mohicans’. Punk, metamor-

phosis, reinventions and utopias
this programmatic line brings together various perspectives and approaches on
punk, considering its different manifestations. This theme discusses punk as a
form of resistance and its links with the various local contexts that characterise
it, as well as its relationship with territories. Moreover, its metamorphoses are
also taken into account, especially with regard to the transition from the 1990s
to the early 2000s and, of course, the ways in which this subculture has adapted
to the most diverse geographical and digital contexts. Starting this theme with
a reference to its origins - punk as a mode of resistance - we move on to themes
such as the present and the future of punk, its symbolic interactions and the
new punk movements, the latter including artistic practices such as graffiti, the
problem of authenticity, creative sensibilities and acts of rebellion. 18 papers
and two performances are gathered here that show the contemporary vitality of
punk, as well as its metamorphoses.
Esta linha programática reúne várias perspetivas e abordagens sobre o punk,
considerando as suas diferentes manifestações. Neste tema, discute-se o punk
como forma de resistência e as suas ligações com os diversos contextos locais
que o caracterizam, bem como a sua relação com os territórios. Além disso, as
suas metamorfoses são também tidas em linha de conta, especialmente no que
concerne a passagem dos anos 1990 para o início dos anos 2000 e, claro está,
os modos como esta subcultura se adaptou aos mais diversificados contextos
geográficos e digitais. Iniciando-se este tema com uma referência às suas ori-
48
gens – o punk enquanto modo de resistência – caminhámos a passos largos para
temáticas como o presente e o futuro do punk, as suas interações simbólicas e os
novos movimentos punk, estando neste último incluídos práticas artísticas como
o graffiti, a problemática da autenticidade, as sensibilidades criativas e os atos de
rebelião. Reúnem-se, aqui, 18 papers e duas performances que mostram bem a
vitalidade contemporânea do punk, bem como as suas metamorfoses.

2. One way or another: underground cultures,

alternative economies and creativity
this programmatic line is composed of 30 diverse contributions, of which three
are performances. This is an anchor line of our programming that has been
highlighted and consolidated since 2014. This programmatic line is dedicated to
the multiple manifestations of underground cultures, alternative economies and
creativity, with DIY being the aggregating element of the enunciated communi-
cations. Thus, themes such as fashion, creative processes, careers and music in-
dustries are a constant and the basis that supports the organization of this pro-
grammatic line. In parallel, there is also a materialisation of these underground
cultures, these economies and these creative processes with the contemporary
world, something expressed in the proposed approaches to music production
and collaborative dynamics, such as DIT (do-it-together) or DIO (do-it-ourself).
Finally, there is also an emphasis on the technological universe, in terms of mo-
des of involvement, creative environments and institutional contexts.
Esta linha programática é composta por 30 diversificados contributos, dos quais
três são performances. Trata-se de uma linha-âncora da nossa programação
que se tem vindo a destacar e a consolidar desde 2014. Esta linha programática
é dedicada às múltiplas manifestações das culturas underground, economias
alternativas e criatividade, sendo o DIY o elemento agregador das comunicações
enunciadas. Assim, temáticas como a moda, os processos criativos, as carreiras
e as indústrias musicais são uma constante e a base que sustenta a organização
deste tema. Paralelamente, existe ainda uma materialização destas culturas
underground, destas economias e destes processos criativos com o mundo
contemporâneo, algo expresso nas abordagens propostas à produção musical e a
dinâmicas colaborativas, tais como o DIT (do-it-together) ou o DIO (do-it-ourself).
Por fim, existe ainda um destaque para o universo tecnológico, ao nível dos mo-
dos de envolvimento, ambientes criativos e contextos institucionais.

3. ‘Last Gang In Town’: Archives, Memory, Heri-

tage, Alternative Media And Nostalgia
This theme seeks to create a debate around themes such as archives, memory,
heritage, alternative media and nostalgia. Thus, topics such as local identities
and modes of resistance are issues that will be emphasized, as well as heritage
 49
and the performativity of memory. The third session will focus on countercultu-
res, album covers and photography, focusing on Anglo-American and non-An-
glo-American contexts. Finally, the last session will focus on archives, graffiti in
São Paulo and new contemporary paths for artistic documentation, with room
for reflection on digital monuments and translocal perspectives. Assuming São
Paulo as a New Babel, this programmatic line features 20 papers where the
focus is on underground musical manifestations, but also on cinema, graffiti,
radio, museums, fine art collections or fashion.
Este tema procura criar um debate em torno de temáticas como os arquivos, a
memória, o património, os média alternativos e a nostalgia. Assim, tópicos como
as identidades locais e os modos de resistência são questões que serão enfatiza-
das, bem como o património e a performatividade da memória. A terceira sessão
será direcionada para as contraculturas, as capas de álbuns e para a fotografia, sen-
do a mesma centrada em contextos anglo-americanos e não anglo-americanos.
Por fim, a última sessão será focada nos arquivos, no graffiti em São Paulo e nos
novos caminhos contemporâneos para a documentação artística, havendo espaço
para uma reflexão acerca dos monumentos digitais e perspetivas translocais.

4. ‘Turns and strokes’. Places, spaces, networks

and music scenes
in the fourth programmatic line, in the first session, we find reflections and
approaches around cities and the changes provoked in the urban space through
the arts, more specifically through music, eventually also being present cultural
heritages and territorial resistance. In the second session, papers are presented
on public space, creativity and artistic and cultural intervention, with a special
focus on urban policies and creative economies. In turn, in the third session, we
find papers that gravitate around independent music circuits and urban imagi-
naries. Furthermore, approaches around contemporary practices and emerging
music scenes emerge, as well as artistic freedom, resilience, social representa-
tions and communities. This is a very important programmatic line in the overall
Conference and has 30 contributions.
Na quarta linha programática, na primeira sessão, encontramos reflexões e abor-
dagens em torno das cidades e das mudanças provocadas no espaço urbano por
via das artes, mais concretamente pela música, acabando por estar também pre-
sente as heranças culturais e a resistência territorial. Na segunda sessão, surgem
comunicações em torno do espaço público, da criatividade e da intervenção artís-
tica e cultural, havendo um especial enfoque nas políticas urbanas e nas econo-
mias criativas. Por sua vez, na terceira sessão, deparamo-nos com comunicações
que gravitam em torno dos circuitos da música independente e nos imaginários
urbanos. Além disso, abordagens em torno das práticas contemporâneas e das
cenas musicais emergentes emergem, e ainda a liberdade artística, a resiliência,
as representações sociais e as comunidades.
50

5. ‘Gender is dead. Pink is forever’. Gender,

(post)-feminism, gender and sexual politics and
artistic-cultural work
this programmatic line will be centred on the themes around gender, (post)
feminism and artistic-cultural work. Indeed, in the first session of this theme,
gender politics will be discussed, but also femininity and feminism, while estab-
lishing a relationship with cultural scenes. In the second session, the discussion
focuses on affectivities and gender equalities and the third session on queer
identities and alternative media, where the role played by fanzines is highligh-
ted. In the fourth session, we reflect – through 25 papers - on the constructions
of gender at the heart of the music industry, setting the tone for the last session,
which will be around sexism and the ways and forms of resistance.
Esta linha programática será centrada nas temáticas em torno do género, do
(pós)feminismo e do trabalho artístico-cultural. Com efeito, na primeira sessão
deste tema, serão discutidas as políticas de género, mas também a feminilidade
e o feminismo, ao passo que se estabelece uma relação com as cenas culturais.
Na segunda sessão, através de 25 papers, a discussão centra-se nas afetividades e
nas igualdades de género e a terceira sessão, nas identidades queer e nos média
alternativos, sendo aqui de destacar o papel ocupado pelos fanzines nas comuni-
cações. Na quarta sessão, reflete-se acerca das construções de género no âmago
da indústria musical, estabelecendo o mote para a última sessão que será em
torno do sexismo e dos modos e formas de resistência.

6. Festivals and music-making: heterotopias, sus-

tainbility and the festivalization of culture
in this programmatic line we focus on festivals and music-making processes, as
well as on themes such as heterotopias, sustainability and the festivalisation of
culture. In the first session, the speakers present a range of approaches around
the bands and issues such as aura, charisma and heritage at the heart of the
music scenes. In the second session, the focus is on technologies, modes of
consumption and emerging forms of music production. With the role of new te-
chnologies in mind, the third session discusses the relationship between youth
and digital participation and, of course, the fourth session addresses topics such
as the relationship between music, audiences and music consumption beha-
viour. Alongside these themes, cultural policies, festivals, emerging struggles
and difficulties, as well as freedom and diversity will be addressed in depth.
Nesta linha programática debruçamo-nos sobre os festivais e sobre os processos
de music-making, e ainda sobre temáticas como as heterotopias, a susten-
tabilidade e a festivalização da cultura. Na primeira sessão, os conferencistas
 51
apresentam uma série de abordagens em torno das bandas e de questões como
a aura, o carisma e o património no âmago das cenas musicais. Na segunda
sessão, o foco incide nas tecnologias, nos modos de consumo e nas emergentes
formas de produção musical. Tendo em mente o papel das novas tecnologias, na
terceira sessão são discutidas as relações entre juventude e a participação digital
e, claro está, na quarta sessão abordam-se tópicos como a relação entre música,
audiências e comportamentos de consumo musical. A par destas temáticas, as
políticas culturais, os festivais, as lutas e as dificuldades emergentes, bem como a
liberdade e a diversidade serão abordadas em profundidade.

7. Critical pedagogies, artistic cultures and alter-

native cultures
it is a new programmatic line that is becoming increasingly important to our
delegates. Its focus will be on critical pedagogies and on artistic and alternative
cultures. Within such a broad theme, we can highlight the presence of papers that
will address topics such as participatory cultures, music education and punk peda-
gogies, but also alternative and emancipatory methodologies. In this complex topic,
that combines pedagogy, politics, practice, the individual and the collective.
Trata-se de uma linha programática nova que tem vindo a ocupar um espaço cres-
cente nos interesses dos nossos delegados. O seu foco será sobre as pedagogias
críticas e sobre as culturas artísticas e alternativas. Dentro de um tema tão abran-
gente como este, podemos destacar a presença de comunicações que abordarão
tópicos como as culturas participativas, a educação musical e as pedagogias punk,
mas ainda metodologias alternativas e emancipatórias. Trata-se de um tema com-
plexo que conjuga a pedagogia, a política, a prática, o individual e o coletivo.

8. ‘Out of control’. Underground music scenes and

diy cultures facing a global health crisis
this programmatic line focuses on a theme that is experienced worldwide,
that is, the effects, consequences and challenges imposed by the pandemic
of COVID-19. The focus of the first session lies in understanding the challenges
imposed by the pandemic on artistic activities, both at the level of consumption
spaces and in terms of music-making processes. The second session reflects
upon and analyses the music scenes and the alternatives that have emerged to
face the challenges imposed, with special attention also being given to the role
played by digital media. In all, there are 20 presenters including two performan-
ces and two special panels.
Esta linha programática centra-se numa temática que é mundialmente vivida,
isto é, os efeitos, as consequências e os desafios impostos pela pandemia da CO-
VID-19. O foco da primeira sessão reside no entendimento dos desafios impostos
52
pela pandemia às atividades artísticas, quer ao nível dos espaços de consumo
quer no que se refere aos processos de music-making. A segunda sessão reflete e
analisa as cenas musicais e as alternativas que surgiram para fazer face aos desa-
fios impostos, havendo também uma especial atenção ao papel desempenhado
pelos meios digitais. Ao todo, são 20 apresentador incluindo duas performances e
dois painéis especiais.

9. ‘Protest and survive’. Protest, artivism and new

social movements
this programmatic line revolves around protests, artivism and social movements,
namely at the level of new forms of protest and claim for the right to the city,
artivism, resistance and new life policies. Once again, the digital field has great
emphasis, especially in the field of resistance, assuming itself as a weapon of
contestation and claim, as well as of innovation and creation of protest imagina-
ries. All this through 19 papers and one performance.
Esta linha programática gira em função dos protestos, do artivismo e nos mo-
vimentos sociais, nomeadamente ao nível das novas formas de protesto e de
reivindicação pelo direito à cidade, artivismo, resistência e novas políticas de vida.
Uma vez mais, o campo digital possui grande ênfase, principalmente no campo
da resistência, assumindo-se como uma arma de contestação e de reivindicação,
bem como de inovação e de criação de imaginários de protesto. Tudo isto através
de 19 papers e uma performance.

10. ‘Tranglobal artistic conspiracy’. Cultural and

creative work and public policies
in this programmatic line, public policies and their relationship with cultural
and creative work are emphasised. On the one hand, the new processes of arti-
fication and contemporary perspectives towards art, cultural management and
ecosystems of creation and cultural dissemination are mentioned. As it could
not be missing, the challenges that creative and cultural work faces, projects
and mediations and, of course, professional participation in cultural and artistic
activities will also be emphasised.
Nesta linha programática, são enfatizadas as políticas públicas e a relação destas
com os trabalhos culturais e criativos. Por um lado, são mencionados os novos
processos de artificação e as perspetivas contemporâneas face à arte, à gestão
cultural e aos ecossistemas de criação e disseminação cultural. Como não podia
faltar, serão ainda enfatizados os desafios que o trabalho criativo e cultural
enfrenta, os projetos e as mediações e, claro está, a participação profissional em
atividades culturais e artísticas.
 53

11. Decolonialized art worls. Global societal chal-

lenges and artistic urgencies
in this last programmatic line are present the approaches referring to the
decolonisation processes of the art worlds, but also the global social challenges
and artistic urgencies. In this analytical interstice, topics such as protest song,
indigenous communities, migratory movements, new movements and different
individual and collective transits emerge, as well as their respective impacts on a
transglobal society of arts and music. Furthermore, the Global South and issues
such as precariousness, decolonisation and gender are highlighted, along with
Global South/North divergences.
Nesta última linha programática estão presentes as abordagens referentes aos
processos de descolonização dos mundos das artes, mas também se enquadram
aqui os desafios sociais globais e as urgências artísticas. Neste interstício analítico,
emergem tópicos como a canção de protesto, as comunidades indígenas, os mo-
vimentos migratórios, os novos movimentos e diferentes trânsitos individuais e
coletivos, bem como os respetivos impactos numa sociedade transglobal de artes
e de música. Além disso, o Sul Global e questões como a precariedade, a descolo-
nização e o género são evidenciados, a par das divergências Sul/Norte Globais.
54

SHORT SCHE-
DULE
83
84

JULY, 10th
FROM 08H20 — REGISTRATION
Waiting Room [Entrada Anfiteatro Nobre], Faculty of Arts and Humanities of the Uni-
versity of Porto, Porto, FLUP, Porto

08H30 → 08H50 — MEDITATION ONLINE

Zen Buddhist meditation practice (zazen)
Led by Andrea Copeliovitch

Facilitator: Andrea Copeliovitch

Online
Price: free.

09H00 → 10H30 — PARALLEL SESSIONS

3.4. ‘Behind the Curtain’. Archive, graffiti and
the new paths of artistic documentation
‫ ڼ‬Representation and reconstruction of memories on graffiti
writing – case study about animation as documentary strategy
‫ ڼ‬ObEMMA: Operationalizations and expectations of a pioneer
observatory of electronic music and media arts in Portugal
‫ ڼ‬Constellation Records: a contemporary trans-local
perspective shaped on music and mixed media arts
‫ ڼ‬Secret places for secret societies. The digital
monuments of Northern Soul
‫ ڼ‬The poetic complexity of Encontros de
Graffiti in the city of São Paulo
Room At The Top [Sala de Reuniões I], Faculty of Arts and Humanities of the University
of Porto, Porto
 89

‫ ڼ‬Odin teatret: third theatre and resistance

‫‘ ڼ‬Flowers in the dustbin’: Punk lyrics and the
transnational politics of resistance
‫ ڼ‬Denunciation of the Colombian armed conflict through the
modern sonorities in the industrialized cities: the cases of I.R.A.,
Masacre, La Pestilencia, Aterciopelados and 1280 Almas
‫ ڼ‬The Emergence of Skinheads in the CSSR
‫ ڼ‬Before the Lecture: My doll and I: A double cross-dressing
performance using poetry SPOKEN WORD POETRY PERFORMANCE
No Room for You [203], Faculty of Arts and Humanities of the University of Porto, Porto

9.4. Geographies of innovation, changing

contexts and imagery protests
‫ ڼ‬Fat body as resistance in Visual Arts: Elisa Queiroz’s Fat Activism
‫ ڼ‬Protest images, collective portraits. Ten years after
the 2011’s ‘Networks of Outrage and Hope’
‫ ڼ‬My doll and I: A double cross-dressing performance using poetry
‫ ڼ‬Spurious communication and dissatisfying resolutions: The
potential killer of counter-hegemonic culture in the ‘Age of Divide’
‫ ڼ‬The use of post-rock in screamo: an aesthetic-expressive device
‫ ڼ‬Without Borders, Without Center: Collective practices in cinema
Room for One More [208], Faculty of Arts and Humanities of the University of Porto,
Porto

15H00 → 16H30 — PARALLEL SESSIONS

1.3. ‘I still don’t know what’s on my mind’:
Building a present punk science
‫ ڼ‬Why can’t I hear Marshallese music? A critique
of the study of punk through punk method
‫ ڼ‬Punks, prophets and the language of the people: Three
decades of Afrikaans music from the ghettos of Cape Town
90

‫ ڼ‬Symbolic exchanges, connections and territorialities

in Southern Brazil: An ethnography of punk
resistance between Porto Alegre and Curitiba
‫‘ ڼ‬Los Frikis’: Origins of punk in Cuba
‫ ڼ‬Babykatze PERFORMANCE EXHIBITION
Room At The Top [Sala de Reuniões I], Faculty of Arts and Humanities of the University
of Porto, Porto

4.2. ‘Welcome to the End of Fun’. Public space,

creativity and artistic-cultural interventions
‫ ڼ‬From reflexivity to transformation: Activist
research at a Prairie Encampment
‫ ڼ‬Exoticization and internationalization in the
cultural history of the fashion district Harajuku
‫ ڼ‬Creative economy, crisis and new alternative
spaces in the Port Area of Rio de Janeiro
‫ ڼ‬Transforming urban public space through art
initiative: Darağaç Art Collective in Turkey
‫ ڼ‬In between building a refuge and a stepping stone: Organisational
and financial analysis of underground music production in Turkey
Room to Breathe [201], Faculty of Arts and Humanities of the University of Porto, Porto

4.6. ‘Well Paid Scientist’. Documents, social

representations, narratives and communities
‫ ڼ‬Bone in the Throat. Documenting and video
archiving the Montréal hard-core scene
‫ ڼ‬People and dancefloors: Narratives of drug-taking
‫ ڼ‬Beating drums, living in communities: discourse,
representation, and performance of self and group identity
in Brazilians community-based percussion bands
‫ ڼ‬The audiovisual archeology of David Bruno
 93

DETAILED
SCHEDULE
184
 185

JULY, 10th
FROM 08H20 — REGISTRATION
Waiting Room [Entrada Anfiteatro Nobre], Faculty of Arts and Humanities of the Uni-
versity of Porto, Porto, FLUP, Porto.

08H30 → 08H50 — MEDITATION ONLINE

Zen Buddhist meditation practice (zazen)
Led by Andrea Copeliovitch

Facilitator: Andrea Copeliovitch

Online
Price: free.

09H00 → 10H30 — PARALLEL SESSIONS

3.4. ‘Behind the Curtain’. Archive, graffiti and
the new paths of artistic documentation
Chair: David WILKINSON, University of the West of England, Bristol, United Kingdom.

‫ ڼ‬Representation and reconstruction of memories on graffiti

writing – case study about animation as documentary strategy
Mattia RONCONI, Polytechnic Institute of Cávado and Ave, Portugal.
Jorge Brandão PEREIRA, Polytechnic Institute of Cávado and Ave, Portugal.
Paula TAVARES, Polytechnic Institute of Cávado and Ave, Portugal.

‫ ڼ‬ObEMMA: Operationalizations and expectations of a pioneer

observatory of electronic music and media arts in Portugal
Emília SIMÃO, Escola Superior Gallaecia, Transdisciplinary Research Centre Culture,
Space and Memory (CITCEM), KISMIF Project, Portugal.
Célia SOARES, Maia University Institute, Portugal.

‫ ڼ‬Constellation Records: a contemporary trans-local

perspective shaped on music and mixed-media arts
Maria Teresa SOLDANI, University of Pisa, Italy.
Francois MOUILLOT, Hong Kong Baptist University, Hong Kong/Canada.

‫ ڼ‬Secret places for secret societies. The digital

monuments of Northern Soul
Edward MARSDEN, University of Birmingham, United Kingdom.
 195
fetish outfits, which included catsuits, balaclavas, biker style, military and rubber
clothing to match her feminine fantasies and my dominating empowerment.
These transformative encounters affected our perceptions of sexuality and gen-
der. While navigating on our play together Miss Claire became a kind of doll, a
transvestite double, which allowed me to perceive gender, displayed on another
body; to reflect on different aspects of femininity and my personal selves; and to
disassemble and reassemble them as proposed by feminist Donna Haraway in
the Cyborg Manifesto. While writing these performances, I place the reader as a
voyeur of the experience.

No Room for You [203], Faculty of Arts and Humanities of the University of Porto, Porto

9.4. Geographies of innovation, changing

contexts and imagery protests
Chair: Michael GODDARD, University of Westminster, United Kingdom.

‫ ڼ‬Fat body as resistance in Visual Arts: Elisa Queiroz’s Fat Activism

Júlia MELLO, Federal University of Rio de Janeiro, Brazil.

‫ ڼ‬Protest images, collective portraits. Ten years after

the 2011’s ‘Networks of Outrage and Hope’
Madalena MIRANDA, New University of Lisbon, Portugal.

‫ ڼ‬My doll and I: A double cross-dressing performance using poetry

Virna TEIXEIRA, Poet, Performer and Independent Researcher, United Kingdom/Brazil.

‫ ڼ‬Spurious communication and dissatisfying resolutions: The

potential killer of counter-hegemonic culture in the ‘Age of Divide’
John David VANDEVERT, Independent Researcher, United States of America.

‫ ڼ‬The use of post-rock in screamo: an aesthetic-expressive device

Ugo FELLONE, Complutense University of Madrid, Spain.

‫ ڼ‬Without Borders, Without Center: Collective practices in cinema

Caroline Schmidt PATRICIO, Federal university of Rio Grande do Sul, Brazil
Cristiane NOVAIS, Federal university of Rio Grande do Sul, Brazil

Room for One More [208], Faculty of Arts and Humanities of the University of Porto,
Porto

15H00 → 16H30 — PARALLEL SESSIONS

1.3. ‘I still don’t know what’s on my mind’:

Building a present punk science
Chair: Mary FOGARTY, York University, Canada.
196

‫ ڼ‬Why can’t I hear Marshallese music? A critique

of the study of punk through punk method
Jessica SCHWARTZ, University of California, United States of America.

‫ ڼ‬Punks, prophets and the language of the people: Three

decades of Afrikaans music from the ghettos of Cape Town
Schalk D. van der MERWE, Stellenbosch University, South Africa.

‫ ڼ‬Symbolic exchanges, connections and territorialities

in Southern Brazil: An ethnography of punk
resistance between Porto Alegre and Curitiba
Tatiana de OLIVEIRA, Pontifical University, Brazil.

‫‘ ڼ‬Los Frikis’: Origins of punk in Cuba

Carmen Torre PÉREZ, University of Pennsylvania, United States of America.

‫ ڼ‬Babykatze PERFORMANCE EXHIBITION

Lucy BABYKATZE, Argentina/Spain.

BABYAKATZE gravitates beyond the limits of disciplines. Digital art, music pro-
duction, composition, sewing, modeling and academic research. In an entirely
independent manner, and due to the strong desire to create in a personal way,
DIY has worked as a boosting method to reach related communities and to
create synergies with people globally. Artisan work, self-learning, craftsmanship
and own merits blended on a non-hierarchical movement which connects
different communities, embracing diversity, away from the established social
and market rules. It is a revolutionising culture when it also embraces critical
reflection to tackle the transitions towards sustainability, thinking differently and
revolutionising cultural organisations. Easy access to tools and huge amounts
of information brings the democratisation of arts and culture distribution and
consumption, but it is an aesthetic approach what also moves our work. During
2020 on a world turned upside down, we applied the main ideas of art energy,
agile methods and critical reflection to management processes for develop-
ment and transformation -rational planning, driven by aesthetics to implement
changes. BABYKATZE stands up for diversity and the right to use our own body
as a space for experimentation and expression, and to work and live against an
hegemonic society. A mesmerising performance where electronic layers, synths
and samples collide with blunt rhythms, chaotic bits and a magical voice, with
intense lyrics.

Room At The Top [Sala de Reuniões I], Faculty of Arts and Humanities of the University
of Porto, Porto

4.2. ‘Welcome to the End of Fun’. Public space,

creativity and artistic-cultural interventions
Chair: Robin KUCHAR, Leuphana University of Lüneburg, Germany.
210
 211

Organizers Partners

With the support of

212
213