Musik und die rechtsextreme Subkultur.

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Autor/in	Steimel, Ingo Heiko
Titel	Musik und die rechtsextreme Subkultur. Gefälligkeitsübersetzung: Music and the neonazistic scene.
Quelle	Aachen (2008), 542, 650 S. PDF als Volltext kostenfreie Datei Link als defekt meldenVerfügbarkeit Aachen, Techn. Hochsch., Diss., 2008.
Beigaben	Abbildungen
Sprache	deutsch
Dokumenttyp	online; Monographie; Graue Literatur
URN	urn:nbn:de:hbz:82-opus-24609
Schlagwörter	Subkultur; Gruppenbildung; Gruppendynamik; Identitätsbildung; Text; Dorf; Landbevölkerung; Landwirtschaft; Rockmusik; Neonazismus; Sozioökonomische Lage; Sozioökonomischer Wandel; Jugendbewegung; Entwicklung; Gewaltbereitschaft; Hochschulschrift; Jugendlicher; China; Deutschland; Großbritannien; Südostasien
Abstract	Der Beitrag untersucht die rechtsextreme Jugendszene und ihre musikalischen Repräsentanten. Die rechte Musikszene fungiert in der Gegenwart als zentrales Medium der Bewegung und spiegelt hinsichtlich ihrer Aussagen in singulärer Weise die Denkmuster und Geschichte ihrer Anhängerschaft wider. Die Arbeit geht bei ihrer Analyse davon aus, dass die rechte Subkultur und speziell ihre Musikszene maßgeblich von der englischen Skinhead-Bewegung geprägt wurde. Ausgehend von dieser elementaren Bedeutung des Rechtsrock für das subkulturelle Gefüge werden in der Studie zwei Methoden angewandt. Die weitere Darstellung erfolgt in einer deskriptiv-historischen Analyse, einer qualitativen Inhaltsanalyse und einer theoretisch fundierten Gesamtbetrachtung. Im ersten Kapitel werden die Geschichte der rechten Subkultur und der Skinhead-Bewegung in Deutschland sowie in ihrem Ursprungsland Großbritannien untersucht. Ergänzend zu dieser historischen Darlegung werden im zweiten Kapitel der Arbeit die wirtschaftlichen Gesichtspunkte des Rechtsrocks analysiert. Abschließend werden die aus der Analyse gewonnenen Erkenntnisse auf den gesellschaftlichen Kontext übertragen, indem gezeigt wird, welchenEinfluss der Rechtsrock auf die Identitätsbildung und Gewaltbereitschaft seiner Hörer ausübt. (ICG). "The neonazistic movement, and particularly their musical expression has been greatly influenced by English skinhead culture. The skinhead movement's history is unique in several ways. Due to social changes and fractures, English society was not able to offer satisfactory opportunities to its working class children, which motivated these to reorient themselves towards the past. The result was the skinhead movement, a youth subculture, at the heart of which lies an artificial image of masculinity. Compared to other movements, which normally show the limit of their lifetime even as they arise, the skinhead movement was able to surmount multiple upheavals in society, partly by abandoning its own roots. Only 15 years after its inception, an originally multicultural movement had become a universally despised symbol of racism and dehumanizing violence. The various musical communities that had arisen in several countries played a large part in transforming the already violent subculture into a new pillar of right-wing activism. Excitement, esprit de corps and right-wing rock music have replaced the outdated focus on political parties that had been the face of the right for a long time. Especially in countries where right-wing politics have floundered, right-wing youth culture seizes the political field and draws attention from all of society. Modern, global right-wing extremism is always divided between political tradition and the non-conformity of a subculture. The German skinhead movement, while originally oriented towards provocation and diversion, underwent a time of radicalisation, whose terrible consequences became obvious during reunification. Names like Rostock or Hoyerswerda symbolize the final eruption of a national transformation marked by social decline, disillusionment and resignation. The sanctions with which the state reacted to right-wing agitation and violence could not suppress right-wing thugs, only confine them. Especially censoring had an effect opposite the one intended, increasing the interest of many youths towards right-wing musicians. Despite the shunning of the movement and its bands by society at large, its prejudice and militancy have not diminished. Rather, the right has tried to channel its adherents into two different types of behaviour: Either appear as a pillar of democratic society, slyly disguising their deeper intentions, or aggressively subverting society through underground activity. Right-wing activism in 2007 differs from its alter ego in 1992 by its sophistication and cold-hearted cunning. Supplementary to the important role played by right-wing rock in the subculture, the songs also offer the best opportunity for analysis of this youth movement. The nazi rock is the most important medium of communication in the movement, much more important than party politics. The music forges bonds between youths, reaches them emotionally and offers them a pattern of thought. Like no other common link of the right, the musically framed messages are the glue that keeps the many facets of the scene together and presents a value codex capable of creating consensus. Nazi rock lyrics reflect expressively the attempt of this youth culture to master the challenges of a modern society by its own methods. They reply to the emancipation of women and their own ostracisation with an exaggerated masculinity and martyrdom. The multicultural majority is juxtaposed with archaic values like nation and race; enemies are as always easy to find and easier to imagine. Right-wing patterns of thought act as support in everyday life, as a way of shifting blame for personal issues onto the communal scapegoat or as the foundation for a basic feeling of self-worth. Although the right-wing groups are often called 'fringe groups', they reveal fears and aggressions that can be found in countless youths, albeit not in such a contemptuous clarity." (author's abstract).
Erfasst von	GESIS - Leibniz-Institut für Sozialwissenschaften, Mannheim
Update	2010/1