Etos swakriya

Etos swakriya adalah etos kemandiran yang diwujudkan dengan melaksanakan tugas apa pun tanpa memerlukan pakar yang dibayar. Etos "swakriya" (DIY) melahirkan suatu ide bahwa siapa pun bisa melaksanakan tugas apa pun secara sendiri, tidak mengandalkan spesialis bayaran.

Musik

Musik swakriya komersial mulai muncul bersama dengan lahirnya punk rock 1970-an.^[1] Swakriya lahir untuk mengimbangi industri musik arus utama.^[2] Dengan mengendalikan secara swadaya produksi dan distribusi, grup musik swakriya dapat menjalin hubungan yang dekat antara band dan penggemar. Etos swakriya betul-betul memberikan kontrol penuh atas produk akhir tanpa harus berurusan panjang dengan pihak label.^[2]

Sesuai dengan estetika punk, orang dapat menggerakkan ekspresi dan berkarya dalam ruang terbatas.^[3] Contoh yang paling awal adalah pergerakan musik punk tahun 1970-an.^[4]

Riot grrrl, yang terkait dengan feminisme gelombang ketiga, juga mengadopsi etos swakriya punk dengan meningkatkan komunikasi secara kreatif melalui zine dan proyek-proyek lainnya.^[5]

Bahkan pengikut etos swakriya dapat bergerak secara kolektif. Misalnya, CD Presents milik penyelenggara ajang David Ferguson adalah jaringan produksi konser, studio rekaman, serta label rekaman.^[6]

Referensi

^ Mumford, Gwilym. "Eagulls, Hookworms, Joanna Gruesome: how UK music scenes are going DIY". The Guardian. Diakses tanggal 9 June 2015.
^ ^a ^b Albini, Steve. "Steve Albini on the surprisingly sturdy state of the music industry – in full". The Guardian. Diakses tanggal 9 June 2015.
^ David Byrne, Jeremy Deller (2010) Audio Games, in Modern Painters, March 1, 2010. "I think I embrace a bit of the punk aesthetic that one can express oneself with two chords if that’s all you know, and likewise one can make a great film with limited means or skills or clothes or furniture. It’s just as moving and serious as works that employ great skill and craft sometimes. Granted, when you learn that third chord, or more, you don’t have to continue making 'simple' things, unless you want to. Sometimes that’s a problem."
^ "Oxford Journal of Design History Webpage". Diakses tanggal 2007-09-24. Yet, it remains within the subculture of punk music where the homemade, A4, stapled and photocopied fanzines of the late 1970s fostered the ‘do-it-yourself’ (DIY) production techniques of cut-n-paste letterforms, photocopied and collaged images, hand-scrawled and typewritten texts, to create a recognizable graphic design aesthetic.
^ Bennet, Andy; Peterson, Richard A. (2004). "Music scenes: local, translocal and virtuas". hlm. 116–117.
^ Jarrell, Joe (26 September 2004). "Putting Punk in Place--Among the Classics". San Francisco Chronicle. hlm. PK–45.

Daftar pustaka

Thomas Bey William Bailey, Unofficial Release: Self-Released And Handmade Audio In Post-Industrial Society, Belsona Books Ltd., 2012
Brass, Elaine; Sophie Poklewski Koziell (1997). Denise Searle, ed. Gathering Force: DIY Culture – Radical Action for Those Tired of Waiting. London: Big Issue. ISBN 1-899419-01-2.
Kimmelman, Michael (April 14, 2010). "D.I.Y. Culture". The New York Times Abroad. Diakses tanggal August 4, 2011.
McKay, George (1996). Senseless Acts of Beauty: Cultures of Resistance since the Sixties. London: Verso. ISBN 1-85984-028-0.
George McKay, ed. (1998). DiY Culture: Party & Protest in Nineties Britain. New York: Verso. ISBN 1-85984-260-7.
Graham St John (ed.). FreeNRG: Notes From the Edge of the Dancefloor. Altona: Commonground. ISBN 1-86335-084-5.
Smith, G. and Gillett, A. G., (2015). "Creativities, innovation, and networks in garage punk rock: A case study of the Eruptörs" Diarsipkan 2016-10-06 di Wayback Machine.. Artivate: A Journal of Entrepreneurship in the Arts, 9-24
Wall, Derek (1999). Earth First and the Anti-Roads Movement: Radical Environmentalism and Comparative Social Movements. London: Routledge. ISBN 0-415-19064-9.