Surveys Closed

May 28th 2016 –  Quick Update

The surveys for Goth – Just a Phase? are now closed.

I have received over 2000 responses to the surveys,  as well as conducting dozens of interviews, online chats, and discussions with people from all over the world. 

It has been amazing!Sureys Closed Small

I always welcome talking to people about their experiences in the Goth subculture, so please contact me directly if you wish to be involved.

Thank you again to everyone who has participated in this project.

Emma

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Thank you and Project Update

Thank you to everyone who has completed the surveys, and for the great interviews, conversations, web link ups, online chats, forums etc so far – without your contributions this project would not be able to continue.

THANK YOU APR 2016


Where to from here?

The anniversary of the project is approaching, and this will signal the conclusion of the data-gathering stage.  As data-gathering for this project draws to a close the focus will  shift to analysis and writing up of findings.

I will continue to conduct interviews until May 22nd 2016, mostly around Melbourne or online, so if you are interested please get in touch.


Update – Surveys Now Closed

28th May 2016 –   The surveys for Goth – Just a Phase? are now closed.  I always welcome talking to people about their experiences in the Goth subculture, so please contact me directly if you wish to be involved.

Sureys Closed Small

 

 

  CLOSED 10Quick WEB MINI Whitby RED

Thank you again to everyone who responded.


Australian Interviews conducted over the last few months in  Perth, Melbourne and Brisbane  as well as online  have provided the opportunity to talk with some fantastic people, all of whom have made valuable contributions to this project.

I have been interested to hear the different perspectives on the scene, individual understandings and experiences of Goth sub/culture and some of the quirks of belonging as a Goth – especially for those who have been involved in the scene for a long time.  Hearing how people  interpret the values of Goth culture, how Goths cope with change as well as the ongoing discussions around what is/not Goth/does it matter? and how we read those differences within the scene is fascinating.

Insights into how Goths in diverse geographic locations  – especially hot ones! – have altered their stylistic choices to suit their environment has been particularly interesting and an aspect of Goth identity which I hope to further explore.

Flinders St

In our conversations we covered topics as diverse as emerging new trends in the scene, music (always music!!!), changes in the club environment, hair techniques, elitism in Goth subculture, religion, ephemera and the value of Goth history, footwear, record stores, pubs, upcoming tours, new bands, image and style, Goth terminology, flour, band T-shirts, travelling in the Goth scene, hanging out on the Post Office steps, Goth aesthetics, hats, belonging within the Goth subculture, frilly shirts, shoes and boots, growing older as a Goth, safety-pins and fishnet, reconnecting with old friends,  urban tribes, DIY fashion, redefining Goth for new generations, Goth nostalgia, preferred tipples, online shopping and everything else in between…

Thank you for your generosity!

Dadas 2  Dadas

Posters 2  Perth from the air

Post Office3


 

Just a Phase Interview

Thank you to Daniel for contacting me for an interview about my project on his podcast Cemetery Confessions.   It was great to discuss the Goth culture in this forum and I look forward to sharing findings from this research in the future.

For the interview please see:

http://www.thebelfry.rip/blog/2016/3/29/just-a-phase-cemetery-confessions


 

ELB 2015

For those people who have already donated time, effort and energy to this research – my heartfelt thanks and gratitude.

I look forward to sharing the stories of our scene and furthering understanding of Goth culture over the course of this project.

Emma.

 

 

Survey Update – Week One!

Survey Update

To all of you wonderful people who responded to my call for survey participants  – a heartfelt thank you.

I have been genuinely overwhelmed by your positivity, generosity and openness and your intelligent and articulate responses.    Collation and analysis of the data is going to take considerable time.

I am determined to present a thorough, authentic and detailed study of the subculture reflecting on the key themes of the research and hopefully incorporating as many of your contributions as possible.

To everyone who indicated that you are interested in participating in interviews, meetings or contributing through other means, thank you!  I will contact you in the coming weeks to discuss interview options.

Thank you all again.

Emma.

Whitby Spires Through Window Arch

Goth Subculture Survey


Take the Survey!!!

What better way to celebrate World Goth Day than by taking a survey all about Goth Subculture!!

Follow the links below to take part or contact me directly if you wish:

                   

                   CONTACT WEB MINI Whitby BLUE

Surveys are now closed – Please contact me if you would like to be involved.

Is Goth Just a Phase?

To find out I am conducting research at Curtin University.   You are all welcome to take the surveys, however I am particularly interested in Goth identity in Australia & for those of us over 40.

How did Goth come to be part of your life… Did you think it was just a phase…How would you describe Goth… Is there a strong Goth population where you live???

Thank you for your contributions.

Curtin University Project Number 5251 Approval Number RDHU-17-15

Is it really just a phase?

Is it really just a phase?

For some people, I am sure it is, and that is as it should be.

But for those of us who have continued to be Goth (yes, even when we said we were not) there must be compelling reasons for this ongoing connection: this is the primary focus of my research.

My research project will undertake an examination of the phenomenon of the Gothic youth subculture (Goth) in Australian and European contexts, engaging with participants whose connection with the Goth community has extended beyond the transitional phase of youth into adulthood.   This post provides a brief introduction to my study, how this research evolved, its personal significance and the foci of investigations to come.

Goth: How I first experienced the subculture

In the early 1980s as punk was subsumed by mainstream culture and exploited by the mass media, the language and representation of youth culture changed; commodification of the once extraordinary “big” hair, torn fishnets and icon-laden T-shirts synonymous with the punk era diluted the anarchic impact of radical fashion so much so that Goth – the slightly more polite voice of ‘teenage rebellion’ – could thrive.  It was at this time I first encountered the pale, interesting fellows in music press articles that loitered like ghosts under a mane of black back-combed hair and velvet frock coats, their lyrics apparently misunderstood and their dark theatrical style a media confection.  Though I had been too young to experience Punk, Goth immediately connected with my own sensibilities and the historic influences promised a deeper cultural link I felt was missing in my suburban Australia.

By 1990 Goth had traversed the post-punk rebellion of the 1980s, emerging globally, in the UK, Europe and Australia in particular, replete with its own brand of dark, collective non-conformist individuality that somehow embraced this difficult relationship with the media (and labeling) and emerged as an intact subculture.  The foundations of Goth identity became standardised and the scene progressed sufficiently as to allow further diversification, resulting in varied style sub-sets which reflected other subcultural groups and celebrated otherness as distinct from mainstream pop-culture.  The idea of otherness and the acceptance of social and aesthetic difference in identity formation will form significant themes within this research.

Goth is the Word

During the early 1990s, Goth experienced a brief and incongruous period of mainstream popularity, with the Goth style influencing pop music videos, Goth characters appeared in television programmes and films, and the term Goth* began finding its way more frequently into conventional media and social discourse.   A seemingly resultant quirk in the Goth scene is the almost universal custom of self-denying of the label Goth [1]From Jaspers’ experience of the Dutch Goth scene, here in Australia as well as in Britain: it seems none of us liked to be labelled.  Through surveys, this paradox is an element of the subculture  I hope to discuss with other Goths in order to provide insight into the social etiquette of belonging in a subculture where authenticity and identity are seemingly visually apparent and yet naming it remains taboo.

Belonging & Social Connections

Connecting with other Goths, developing a sense of place within the subculture and understanding the basis of belonging within Goth will form recurrent themes within this research.  When I first began writing about the subculture  in the 1990s Goth was just beginning its life with the internet and my research at the time used the fledgling networks of online communities and forums to connect with the now globally linked Goth scene.  Through the use of the internet, from my desk in Perth Western Australia, I was able to connect with places, groups and individuals to a greater extent than ever before; replacing old methods of postal correspondence between Goths via NME (and other music press), tape/music exchanges and  fan-based zines.  Only a few years previous the social networks within Australia were tenuous at best and joined to the parent Goth culture in Europe only by our music and  mail-order catalogues and supported by limited personal exposure.  For the Goth scene in Perth, one of the most isolated capital cities in the world, the internet could not happen soon enough and it appeared to promise the subculture longevity.

A Diverse Subculture

In addition to the emergence of genuine commercial opportunities allowed by the internet (which I will explore in future discussions) it also created an environment in which the Goth subculture could evolve with increasing rapidity, developing maturity and complexity as it transitioned from fashion fad to true subculture and in so doing refining and defining the parameters of Goth style, music and identity.  Goth now encompasses a range of subcultural aesthetics which have been absorbed from diverse sources which would perhaps not have occurred without the benefit of our global connection.  Traditional Medieval and Victorian historic periods hold enduring influence on Goth aesthetics, especially High Victorian couture, these sit alongside the pre-imagined futuristic realities of Cyber Goth and hard-edged and militaristic Goth Industrial.  Goth  has incorporated the risqué fashion from other outsider subcultures (Punk, Bondage and Discipline/BDSM, fetish and erotic-horror) and conversely, appropriated elements of the cute and the kitsch from Japanese Harajuku and the 1950s-reminiscent Rockabilly styles[2].

…And  yet somehow Goth maintains its own cohesive style and Goth remains easily recognisable as a distinct subculture, despite these aesthetic shifts.

As a subculture then, Goth is as diverse as any other community; since the early 1990s it has dramatically changed and adapted to expand the basic tenets of the style; it has diversified from the traditional Gothic Rock influences (Trad-Goth) of its’ early years to include a wide variety of ‘looks’ and a breadth of styles which enable it to reach a broader, more committed audience.  My research seeks to explore if this is a result of the collective will of participants or if the changing patterns of social interaction in broader society have enabled this evolution through improved understanding of inter-cultural/inter-generational tolerance.  Discussion on the reduced importance of geography on social connection and how this has transformed the subculture over time will provide insights into the changing character of Goth from the early 1980s to today.

Revisiting this topic, nearly twenty years after my first research project, the profound changes in how the world now connects offers a new way in which to research and interact within the subculture and allows a deeper, more holistic understanding of the value Goth holds for participants  – myself included.


[1] ‘I am not a goth!’: The Unspoken Morale of Authenticity within the Dutch Gothic Subculture Agnes Jasper Etnofoor, Vol. 17, No. 1/2, AUTHENTICITY (2004), pp. 90-115Published by: Stichting Etnofoor  http://www.jstor.org/stable/25758070 Accessed: 26/06/2013 23:27

[2] Brill, D. 2008 Goth Culture: Gender, Sexuality and Style, Oxford: Berg.

Curtin University Project #5251, Ethics Approval RDHU-17-15 see About for more info

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