Research On The Neo-Tribes In The Spread Of Indie Music In China

For more than 30 years,indie music in China has evolved from a Niche Art to a culture of individuality that has gradually collided with the mainstream and become more widely understood.LiveHouse is an emerging music space that provides a meeting place for young people who love independent music,where individuals with different identities and styles meet,forming a new form of group gathering based on emotional ties and mobility.This mode of organization is known as ’neo-tribes’ in the context of the transition from subculture to post-subculture.Individuals forge their identity,gain recognition,and spontaneously drive the dissemination of independent music and related culture in the neo-tribes.This paper examines the creation of a neo-tribes in LiveHouse,the escalation of its performance,and its practical role in the dissemination of independent music cultural practices,focusing on the conditions of its construction,the interactive landscape of performance and group expression,and the manifestations of dissemination practices,drawing on French sociologist Maffesoli’s concept of the ’neo-tribes’.The research is divided into seven sections.A literature review is conducted in the first section to clarify three issues: the current development of independent music,the transition from subculture to post-subculture,and the current status and application of neo-tribes research.The second section provides an in-depth explanation of independent music,including a definition of the scope and development of independent music in China,and emphasizes the importance of LiveHouse as a channel for independent music dissemination.The third section briefly describes the social context of neo-tribes birth and suggests that neo-tribes in LiveHouse fit into the basic category of gathering tribes,establishing the logical framework for the next three chapters with the generation,performance,upgrading,and dissemination practices.The main body of the research is found in Chapters 4–6: Chapter 4 analyzes the elements and mechanisms of neo-tribes generation at three levels: spatial,aesthetic,and emotional;Chapter 5 illustrates the symbols,identities,and symbolic power in the post-subcultural landscape that emerge from the interaction of neo-tribes generation;and Chapter 6 goes on to identify the practical utility of such’neo-tribes’ for the dissemination and cultural practice of independent music at the individual,living,cultural,economic and organizational levels.The final section distinguishes the’neo-tribes’ in LiveHouse from the general fan community and critically examines the potential social risks of this coproduction model.According to the study,there are highly mobile ’neo-tribes’ in LiveHouse,which is an important space for the dissemination of independent music.Furthermore,this organizational structure can be effective in promoting the spread of Chinese independent music to a larger audience.Naturally,the risks it may pose must be addressed with caution.This study hopes to gain an understanding of the neo-tribes in the LiveHouse space through in-depth interviews and participatory observation,and through this,to explore and explore effective ways of disseminating independent music in China,to provide a reference for the dissemination practice of independent music.