define subculture essay

47+ Subculture Examples (Definition + Theories)

In the grand tapestry of human society, we often find comfort in belonging to a larger group. We may identify with our nationality, religious beliefs, or social class, among other things.

But have you ever felt like you also belong to a smaller, more specific group that shares your unique interests, values, or activities? That's where the fascinating world of subcultures comes into play.

A subculture is a group of people within a larger culture who share interests, beliefs, or activities that are different from those of the larger culture.

Think of it like a smaller group inside a big group. These subcultures can be based on anything from music and fashion to sports or religion. They have their own rules, lingo, and ways of doing things, but they're still part of the bigger culture they come from.

Ever wondered how punk rockers and goths differ, even though they both seem to love the color black? Or how digital nomads manage to work from the most exotic locations around the globe?

Buckle up, as we're about to dive deep into these captivating worlds. From the iconic to the obscure, from the United States to South Korea, we've got it all covered. Along the way, we'll also delve into theories that help explain why these subcultures exist and what they mean to their members.

The Importance of Subcultures

You might wonder, "Why should we care about subcultures?" Well, subcultures are more than just groups of people who like the same things. They play a big role in shaping who we are, how we see the world, and even how society changes over time. Let's break down some of the main reasons subcultures are important.

A Place to Belong: Feeling like you belong somewhere is super important for everyone, no matter how old you are. Subcultures give people a special place where they can fit in. For example, the "hippie" subculture of the 1960s in America gave people who questioned things like war and traditional social rules a place to belong.

Showcasing Creativity: Subcultures are often full of creative energy. Take the "Harajuku" style in Japan, which became famous around the late 1990s. In this subculture, people wear colorful, wild outfits that you won't see anywhere else. This creativity can even influence mainstream fashion and art.

Challenging the Status Quo: Some subcultures shake things up and make people think differently about big issues. The "punk" subculture that started in the late 1970s in places like the United Kingdom and the United States did just that. They used music and fashion to speak out against things they didn't agree with, like certain government actions or social issues.

Spreading New Ideas: Subcultures can be like testing grounds for new ideas. The "Silicon Valley" tech culture is a great example. Starting around the 1970s in California, USA, this group of tech-savvy folks have come up with inventions that changed the whole world, like smartphones and social media.

Connecting People Across the Globe: Thanks to the internet, some subcultures connect people from all over the world. Take "K-pop" fans as an example. What started as a music genre in South Korea has now spread worldwide. Fans from different countries can share their love for K-pop through social media, even if they've never met in person.

Preserving Traditions: Some subcultures help keep old traditions alive. In Native American communities, there are subcultures focused on preserving traditional practices and languages . This is super important for keeping their history and culture going strong.

Making Us Think: Finally, subcultures make us question what we know. They show us that there's not just one right way to live or think. They help us be more open-minded.

How Subcultures Form

Ever wondered how these cool or quirky groups called "subcultures" come to be? It's not like they pop up overnight. There are some key ingredients that help these special communities form. Let's dive into how subcultures take shape.

Shared Interests or Beliefs: The first step in forming a subculture usually comes from people having something in common. Maybe it's a type of music they all love, or maybe it's a cause they care deeply about. For example, the environmentalist subculture started to really grow in the 1970s in the United States when more people became worried about pollution and saving our planet.

A Feeling of Being Different: Sometimes people feel they're not quite like everyone else around them. This feeling can lead them to seek out others who are similar. That's how the "Goth" subculture started in the United Kingdom in the early 1980s. People who didn't fit into mainstream culture found a new place where they felt at home.

Need for Support: In some cases, subcultures form because people need emotional or even physical support. Think about the LGBTQ+ community, which has many subcultures within it. These spaces offer support and a sense of family for those who might not find it elsewhere.

A Spark or Trigger: Sometimes a big event or a new invention can act like a spark that lights up a subculture. The "Hacker" subculture became more known after the invention of the personal computer and the internet. Suddenly, people could explore a whole new digital world, and those interested in it became part of this subculture.

Leaders and Influencers: Often, strong leaders or influencers help to build and shape subcultures. Martin Luther King Jr. played a crucial role in the Civil Rights Movement, which had its own unique subculture focused on racial equality in America during the 1950s and 1960s.

Places and Spaces: The right place can also be a big factor. Take the "surfer" subculture in places like California, USA, and Australia. The beaches became the perfect spots for this community to grow and live out their passion.

Time and Evolution: Subcultures don't stay the same forever. They can change, mix with other groups, or even fade away. Remember the "disco" craze in the 1970s? It was a huge thing back then but has evolved and mixed with other music styles over time.

Subculture Theories

Each of these theories offers unique perspectives on why subcultures form and what roles they play in society. Understanding them can help us appreciate the richness and complexity of the subcultures we'll explore in this guide.

1) Strain Theory

Creator and origin.

The Strain Theory was primarily developed by American sociologist Robert K. Merton in the early 20th century, specifically in the 1930s and 1940s. Merton was working in the United States when he came up with this theory.

Main Points

Strain Theory suggests that society sets certain cultural goals and social expectations for its members. When individuals or groups are unable to achieve these goals through socially accepted means, they may experience strain or stress.

This emotional strain leads them to form or join subcultures where they can find an alternative set of norms and values that make them feel accepted and validated.

For instance, if society values financial success but not everyone has the opportunity to achieve it, those who can't may join subcultures that value other aspects of life, such as artistry or social activism.

Counter-Arguments

One of the criticisms of Strain Theory is that it might overly simplify human behavior by attributing subculture formation primarily to 'strain.' Critics argue that this ignores other complex factors, including personal choice and historical context.

Additionally, the theory is often critiqued for its focus on deviance and social discord, which may not be a prevalent characteristic in all subcultures.

2) Subcultural Theory

The Subcultural Theory has its roots in the Chicago School of sociology, particularly the work of researchers like Ernest Burgess and Robert E. Park in the early-to-mid 20th century. However, the theory gained significant attention through British sociologists like Albert Cohen and the Birmingham School in the 1970s.

Subcultural Theory claims that subcultures have their own set of norms, values, and practices that may differ significantly from the dominant culture.

The theory often emphasizes style, language, and rituals as ways in which subcultures express their differences. For example, the goth subculture has its own style of clothing (black), language (for instance, "baby bat" is what they call new members), and music that distinguishes it from mainstream culture (for instance, the band Bauhaus ).

A common criticism of Subcultural Theory is its tendency to stereotype or categorize individuals based on their belonging to a particular group. This can lead to oversimplification and may not account for individuals who belong to multiple or overlapping subcultures.

3) Post-subcultural Theory

Post-subcultural Theory emerged in the late 20th and early 21st centuries, primarily in academic circles . It is a critique and extension of traditional subcultural theories, and there is no single person credited with its formation.

The theory argues that the landscape of subcultures is ever-changing, influenced by things like globalization and digital technology.

It recognizes that individuals may participate in multiple subcultures simultaneously and that subcultures themselves can have sub-subcultures.

For instance, the online gaming community could be considered a post-subcultural group, as it includes various gaming genres and international players.

Critics say that Post-subcultural Theory might be too loose in its definitions, making it difficult to study or understand subcultures in a systematic way.

The very fluidity and adaptability the theory celebrates could make it challenging to establish boundaries or characteristics for a given subculture.

4) Resistance Theory

Resistance Theory came from multiple sources but is strongly linked to the works of cultural studies academics like Dick Hebdige and Stuart Hall, especially from the 1970s onward, working primarily in the United Kingdom.

Resistance Theory posits that subcultures offer a form of resistance or opposition to dominant cultural norms or political systems. They act as a space where members can challenge and critique societal expectations.

The punk subculture, for example, was initially a form of resistance against the political and social climates of the 1970s .

One of the main criticisms of Resistance Theory is that not all subcultures are about fighting the system. Some may simply be an expression of preference or lifestyle without any intention to challenge societal norms .

Subculture Examples

The hippie subculture emerged during the early 1960s in the United States, particularly around the San Francisco Bay Area. It gained fame for its opposition to the Vietnam War and its promotion of peace and love.

Influential people like Janis Joplin and Jimi Hendrix became icons, with the Woodstock Music Festival in 1969 serving as a pivotal moment for the movement.

Hippies were known for their laid-back lifestyle, embracing nature, and experimenting with new forms of spirituality. Many were vegetarians or vegans and preferred organic foods. Dressing in colorful, flowy clothing and wearing accessories like peace signs and flowers were common. They also enjoyed psychedelic, folk, and rock music.

The movement had its own media outlets like the “Whole Earth Catalog” that showcased their love for nature and DIY practices.

The goth subculture sprouted in the United Kingdom around the early 1980s, tied closely to the gothic rock scene.

Well-known bands in this subculture include Bauhaus and The Cure. The movie "The Crow" has also been a cult classic among Goths.

Members of this subculture are easily identified by their dark, mysterious, and complex aesthetic, often wearing predominantly black clothing, dark makeup, and sporting unusual hairstyles.

They have a penchant for literature and art that explores themes of existential despair, depression, and other deep emotional states. Some also engage in crafting, like making their own jewelry or clothing.

Originating in Japan in the 1980s, the Otaku subculture is focused around a deep love for anime and manga.

Popular series like "Naruto" and "Dragon Ball" are staples, and Hayao Miyazaki, co-founder of Studio Ghibli, is a significant figure in the community.

Otakus often collect action figures, posters, and other memorabilia of their favorite series or characters. Many also participate in cosplay, dressing up as their favorite characters during conventions.

Online forums and fan websites serve as their communal space where they discuss new releases, plot theories, and share fan-made content like art and stories.

The hip-hop subculture originated in the late 1970s within African American and Latino communities in the Bronx, New York City.

Icons in this subculture range from early figures like Grandmaster Flash to modern-day moguls like Jay-Z. Movies such as "8 Mile" starring Eminem have also popularized the culture.

More than just a musical genre, hip-hop encompasses various art forms including breakdancing and graffiti art. The subculture often tackles themes of identity, social issues, and the struggles and triumphs of life in the inner city. Fashion is also a major component, with styles ranging from baggy pants and oversized shirts to designer labels.

Skateboarding culture took off in California, USA, in the late 1950s and 1960s as an extension of surf culture.

Famous figures like Tony Hawk have brought mainstream attention to skateboarding, and movies such as "Lords of Dogtown" portray its history.

Skaters are dedicated to the art and sport of skateboarding, spending hours at skate parks or other urban areas practicing tricks. The fashion is practical yet distinctive, usually featuring durable and casual clothes like t-shirts, jeans, and skate shoes.

In addition to physical skating, the culture includes its own style of art, photography, and even language, with specific terms for tricks and skateboard components.

6. Punk Rockers

The punk subculture originated in the mid-1970s in the United States and the United Kingdom. It was more than just a music genre—it was a rebellion against mainstream society and its norms.

Iconic bands like The Sex Pistols and The Ramones served as the soundtrack for this movement.

In terms of fashion, punk rockers often wore ripped jeans, leather jackets, and had colorful mohawks or spiked hair. Some would create their own clothes using safety pins and patches.

The ethos of the punk movement was about challenging authority, embracing DIY ethics, and promoting individual freedom. Zines (short for "magazines") were a popular way punks spread their messages, and venues like CBGB in New York City became sacred spaces for them.

7. Beatniks

The Beatniks were a subculture that took shape in the 1950s in America, closely linked to the Beat Generation writers like Jack Kerouac and Allen Ginsberg.

This group was known for its bohemian lifestyle and disdain for conventional society and materialism. They often gathered in coffeehouses and jazz clubs, discussing literature, philosophy, and social issues.

Dressing simply, often in black turtlenecks and berets, their minimalist style was a statement against consumer culture. They were also known for their unique spoken-word performances and experimental writing styles.

Rave culture started in the late 1980s in the United Kingdom, particularly linked to electronic dance music (EDM).

DJs like Paul Oakenfold and events like the Second Summer of Love in 1988-1989 are often cited as pivotal points in this subculture.

Ravers are known for their colorful, often extravagant outfits, covered in beads, glow sticks, and sometimes even stuffed animals.

The scene is heavily influenced by a sense of community and unity, often symbolized by the phrase PLUR (Peace, Love, Unity, Respect). Large rave events and music festivals are the main social gatherings, and some members are involved in creating light shows or dance routines.

9. K-pop Fans

Originating in South Korea but now a global phenomenon, the K-pop fan subculture is a dedicated community that revolves around Korean pop music.

Artists like BTS and BLACKPINK are some of the most well-known figures. Fans engage in activities like streaming music videos to break records, creating fan art, and even learning Korean to better understand the songs and shows.

Fashion is also an essential aspect, with many fans emulating the unique and often gender-fluid styles of their favorite idols.

10. Environmentalists

The environmentalist subculture really started to grow in the 1970s in the United States and spread globally.

Notable figures include Rachel Carson, author of "Silent Spring," which helped kickstart the modern environmental movement.

These individuals are passionately concerned about issues like climate change, conservation, and sustainable living.

Practices include recycling, composting, and engaging in activism to protect natural resources. They often read or produce literature and documentaries that focus on environmental issues, and some even adopt minimalist lifestyles to reduce waste.

11. Trekkies

Trekkies, or Trekker if you prefer, are fans of the science fiction series "Star Trek," which originally aired in the 1960s in the United States.

Icons of this subculture include Leonard Nimoy, who played Spock, and Gene Roddenberry, the creator of the series.

Trekkies are known for attending Star Trek conventions dressed as their favorite characters and engaging in deep discussions about the philosophical and ethical questions posed by the series. This subculture spans various generations and has inspired a rich trove of fan fiction, art, and even technical manuals for fictional starships.

12. Bronies

Bronies are adult fans of the animated TV show "My Little Pony: Friendship is Magic," which was intended for young children, particularly girls. Originating in the United States in the 2010s, this subculture took many by surprise.

While the show is the main focus, many bronies also engage in creating fan art, fan fiction, and music based on the series. They often meet at specialized Brony conventions, and some even engage in cosplay.

13. Juggalos

The Juggalos are fans of the band Insane Clown Posse, which originated in Detroit, Michigan, USA, in the 1990s. They're known for their passionate support of the band and their love for Faygo, a brand of soda. They wear face paint similar to that of the band members and have their own slang and hand signs.

The annual Gathering of the Juggalos serves as their main social event. Although often misunderstood, the Juggalos consider themselves a tight-knit community, bound together by their love for the band's music, which often deals with themes of poverty and class struggle.

14. Cybergoths

Cybergoths emerged in the late 1990s as a derivative of the traditional goth community. They blend elements of industrial music, rave culture, and goth aesthetics.

Originating in the United Kingdom, they are often spotted in neon dreadlocks, futuristic attire, and sometimes even wear gas masks. While they share the goth community's love for dark themes, they diverge in terms of fashion and music, often embracing electronic and industrial tunes.

15. Sneakerheads

Sneakerheads are individuals who are enthusiastic about collecting, trading, or admiring sneakers.

This subculture started growing in the United States in the late 1980s, especially with the release of Air Jordans. They follow sneaker release dates religiously and are willing to camp out in front of stores for limited editions.

Celebrities like Kanye West have even entered the space, designing their own line of sneakers. Websites, blogs, and forums act as gathering spaces where sneakerheads discuss upcoming releases, trends, and even the technology of sneakers.

16. Steampunk

Originating in the late 1980s, Steampunk is a subgenre of science fiction that incorporates technology and aesthetic designs inspired by 19th-century industrial steam-powered machinery.

This subculture gained popularity in the United States and United Kingdom and is often seen in literature, fashion, and even some DIY crafts. People in this subculture often dress in Victorian-era clothing but add modern, technological twists. Think goggles, gears, and airships! Events like the "Steampunk World's Fair" serve as gathering points.

17. Rockabilly

Rockabilly is both a musical genre and a subculture, inspired by 1950s rock and roll, most notably by artists like Elvis Presley and Johnny Cash.

Originating in the United States, Rockabilly culture also incorporates vintage fashion, usually from the 1940s and 1950s. Think high-waist skirts for women and grease-styled hair for men. Classic cars and pin-up art are also much admired within this community.

18. Body Modification Enthusiasts

This subculture is focused on altering the human body, often through tattoos, piercings, and sometimes more extreme measures like subdermal implants.

Though practices like tattooing have ancient origins, the modern subculture took shape in Western countries from the mid-20th century. Events like tattoo conventions serve as major gathering points, and magazines like "Inked" are popular reading material.

19. Metalheads

Fans of heavy metal music, commonly known as Metalheads, form a subculture that originated in the late 1960s and early 1970s in the United Kingdom and the United States with bands like Black Sabbath and Led Zeppelin.

Metalheads are known for their distinctive look, often featuring long hair, black clothing, leather jackets, and band t-shirts. Concerts, or "gigs," serve as their primary social setting, and they often engage in headbanging as a form of dance.

20. Preppers

Also known as survivalists, Preppers are individuals who actively prepare for emergencies, ranging from natural disasters to apocalyptic scenarios.

Originating mainly in the United States, this subculture has grown especially with the rise of the internet, where information on survival tactics is readily shared. Preppers stockpile food, learn survivalist techniques, and often live by the motto "be prepared."

21. The Furry Fandom

Originating in the early 1980s in the United States, the Furry Fandom is a subculture interested in anthropomorphic animals—animals with human characteristics.

This community expresses itself through art, writing, and especially through "fursuiting," which is wearing full-body animal costumes. Events like Anthrocon serve as major social gatherings where furries can meet and share their passion.

22. The Maker Movement

Starting in the early 2000s in the United States, the Maker Movement celebrates DIY (Do-It-Yourself) crafting and technology.

This subculture loves to build things from the ground up, from simple crafts to complicated robots. Maker Faires are events where these DIYers can display their creations and share their knowledge.

23. Psychobilly

This unique blend of rockabilly and punk rock originated mainly in the UK in the late 1970s and early 1980s.

Psychobilly fans often wear a unique style that could include mohawks, tattoos, and vintage clothes. The music has a fast tempo and lyrics often inspired by horror themes.

24. Straight Edge

Born out of the hardcore punk community in the early 1980s in Washington, D.C., USA, the Straight Edge subculture focuses on abstaining from alcohol, tobacco, and recreational drugs.

Some also avoid casual dating or eating animal products. Bands like Minor Threat played a big role in shaping this movement. The "X" symbol is often used to mark this lifestyle.

25. CrossFit Community

CrossFit is a fitness regimen that gained popularity in the early 2000s in the United States. However, it quickly evolved into a subculture complete with its own jargon, social norms, and events like the CrossFit Games.

Members often forge a strong sense of community, supporting each other's fitness goals while adhering to a lifestyle that prioritizes health and strength.

The Vaping subculture emerged around 2010 as an alternative to traditional smoking, primarily in the United States.

Vapers are people who use e-cigarettes or other vaporizing devices. They often meet at vaping lounges to try out different flavors and discuss the technology behind vaping.

While critics argue about the health effects, vapers often see themselves as part of a healthier and trendier alternative to smoking.

27. Audiophiles

Audiophiles are enthusiasts of high-quality audio and have been around since the mid-20th century. Originating primarily in the United States and Europe, this subculture is dedicated to achieving the best sound quality possible in listening to music.

Members are often willing to invest in high-end equipment and will even debate over minute details like the quality of audio cables. Specialized audio shows serve as their primary social gatherings.

28. Cosplayers

Cosplay, short for "costume play," is a subculture where people dress up as characters from movies, books, or video games. It has roots in Japan but has become a global phenomenon.

Popular events include Comic-Con and various anime expos. The attention to detail in the costumes can be astounding, with some people spending months crafting their outfits.

29. Hikers and Mountaineers

The hiking and mountaineering subculture dates back to at least the 19th century and originated in Europe.

With famous figures like Sir Edmund Hillary, who was one of the first two men to reach Mount Everest's summit, this subculture is all about conquering natural obstacles. Members often engage in training, invest in specialized gear, and form clubs to undertake expeditions.

30. Van Life Community

Originating in the 1960s with the popularization of the Volkswagen Bus, the Van Life community has seen a resurgence in the 2010s, particularly in the United States.

People in this subculture choose to live, travel, and sometimes work out of their vans. Social media platforms, especially Instagram, are commonly used to share experiences and tips within this community.

31. Krumpers

Krumping is a street dance that originated in the African American communities of Los Angeles, USA, in the early 2000s.

This energetic dance form is a way for people to express their emotions and is often used as a form of spiritual and emotional release. Krumpers frequently participate in "battles" which are competitive but non-violent confrontations with other dancers.

32. Graffiti Artists

Graffiti as an art form has been around for centuries, but the modern graffiti subculture began in the 20th century in New York City.

It involves creating art in public spaces, usually without permission. While many people see graffiti as vandalism, others view it as a legitimate form of art and expression. Names like Banksy have even moved graffiti into mainstream art galleries.

33. Urban Explorers

Also known as "urbex," this subculture involves exploring man-made structures, usually abandoned ruins or places not usually seen by the public.

Originating in the late 20th century in North America and Europe, "urbexers" often document their explorations in photographs or videos. However, this practice is risky and often illegal, raising concerns about trespassing and safety.

34. Surfers

The modern surfing subculture originated in the early 20th century in Hawaii and California. Surfers are not just passionate about riding waves; they often embrace a laid-back lifestyle connected to the sea.

Events like the World Surf League offer professional surfers a platform, while films like "Endless Summer" have popularized the culture.

35. Parrotheads

This unique subculture consists of fans of singer-songwriter Jimmy Buffett and originated in the United States.

Known for their tropical-themed parties and laid-back attitude, Parrotheads are active in community service and often raise money for charity through their events. They take their name from Buffett's song "Margaritaville," where a "parrot" is mentioned.

36. Foodies

The term "Foodie" started getting popular in the 1980s, mainly in the United States and the United Kingdom. Foodies are people who have a strong interest in food, both in its preparation and consumption.

They love trying new culinary experiences, attending food festivals, and are often found taking photos of their meals for social media. Celebrity chefs like Gordon Ramsay and TV shows like "Top Chef" have given this subculture more visibility.

37. E-Gamers

This subculture centers around competitive video gaming and originated in the late 1990s with the popularization of online games.

Originating mainly in South Korea and the United States, e-gamers often compete in large tournaments with massive audiences. Games like League of Legends and Fortnite have massive followings, and professional players can become celebrities in this subculture.

38. Tiny House Movement

Starting in the early 2000s in the United States, the Tiny House Movement is a social and architectural trend advocating living simply in small homes.

Members of this subculture prioritize minimalistic living and often build their own compact houses that are functional but much smaller than the average American home.

39. Witches and Wiccans

Although witchcraft and Wiccan practices have ancient roots, the modern subculture has been growing since the mid-20th century.

It is a religious and spiritual movement that incorporates the worship of the Goddess, nature rites, and often the practice of magic. Books like "The Witch Book" by Raymond Buckland and festivals like Pagan Pride Day contribute to its community aspects.

40. Lolitas

Originating from Japan, Lolita fashion is a subculture that involves wearing clothes inspired by the Victorian and Rococo eras.

This style has various sub-genres, including Gothic Lolita, Sweet Lolita, and Classic Lolita. The outfits often include frilly dresses, bonnets, and parasols. This subculture has worldwide popularity, and its followers participate in meetups and tea parties.

41. Rastafarians

Originating in Jamaica in the 1930s, the Rastafari movement blends religion, social consciousness, and Afrocentric ideology.

Followers, known as Rastafarians or Rastas, often wear dreadlocks and promote a back-to-nature lifestyle. Reggae music, particularly through artists like Bob Marley, has helped popularize this subculture worldwide.

42. Burners

Burners are participants in the Burning Man festival, which began in 1986 in the United States.

This annual event, held in Nevada's Black Rock Desert, brings together a unique mix of art installations, music, and alternative community-building. Self-expression and self-reliance are highly valued in this subculture.

43. Train Spotters

Often originating from the United Kingdom, train spotting is a hobby involving the observation and recording of train details.

Enthusiasts often gather at railway stations with notepads and cameras, documenting train models, schedules, and more. Publications and clubs exist to serve this community.

44. Urban Gardeners

This subculture is focused on cultivating plants in an urban environment and originated in various cities worldwide.

Urban Gardeners often use unconventional spaces like rooftops and balconies for their gardens. The movement aims to promote sustainability and community well-being.

45. Modern Nomads

Modern Nomads are individuals who choose a lifestyle that involves constant or frequent travel, often working remotely to sustain their way of life.

Originating in the digital age, members of this subculture can come from almost anywhere but are most prominent in Western countries.

46. Bike Couriers

Mostly found in large metropolitan cities worldwide, bike couriers, or "messengers," form a subculture centered around delivering packages on bicycles. Known for their skillful riding in busy urban environments, they often have their own slang, fashion, and social norms.

47. Yoga Enthusiasts

While Yoga is a physical and spiritual practice originating from India, a new subculture has emerged globally, particularly in Western countries.

This subculture revolves around the practice of yoga not just as exercise but also as a lifestyle that encompasses diet, mindfulness, and spirituality. Yoga practitioners often gather in yoga studios to practice in group yoga classes, and will often have international "retreats" where "yogis" will go for a week or a month or sometimes even longer to engage in yoga full-time.

Subcultures are like the many threads that make up the vibrant tapestry of human society. They offer people a space to express themselves, find community, and often, make a meaningful impact on the broader culture. From the music enthusiasts of K-Pop and Jazz to the lifestyle-centric folks like Van Lifers and Digital Nomads, each subculture brings a unique flavor to the world we live in.

Understanding subcultures isn't just a way to 'know more'; it's a pathway to better understanding the complexities of human life. Many of these groups form around fundamental human needs—like the need to belong, the need to be understood, or even the need to push conventional boundaries. They can offer solace, identity, and a place to call home—even if that 'home' is a virtual forum on the internet or a yearly gathering in a remote desert.

As society keeps evolving, so will the subcultures that spring from it. New forms of music, changes in politics, advancements in technology, and shifts in social attitudes will inevitably give rise to new subcultures. And as they emerge, they'll offer fresh perspectives that will continue to enrich our collective experience.

So the next time you stumble upon a group of people united by a shared passion or a unique way of life, take a moment to understand what makes them tick. Who knows? You might find a new community where you feel right at home.

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What is a Subculture?

Subcultural theory.

Subcultural theory was first developed by sociology scholars at the Chicago School in the 1920s. The Chicago School explored the existence of deviant behavior and discussed deviance as a product of social problems within society. The Birmingham School added to subcultural theory, investigating the ways in which individuals joined groups that participated in collective forms of deviance, referred to as subcultures. For contemporary theorists, the concept itself is controversial, and some align with a “post-subculture” perspective suggesting subculture no longer describes the collective activities. Sociologists’ continue to study subcultures in order to uncover why subcultures form, why subculturists choose to engage in deviant group behavior, and what subcultural activity can tell us about society as a whole.

The Chicago School

The Chicago School defined subcultures using a deviance framework with a heavy emphasis on an ethnographic and empirical approach to their research ( Williams 2007 ). The majority of the contributions that emerged from the Chicago School centered around addressing the question of why certain groups are more likely to engage in crime or deviant behavior, with research focusing on immigrants, African Americans, and the poor working-class ( Williams 2007 ). Additionally, the Chicago School theorists analyzed deviance within the context of social interactionism and thus labeled deviant subcultural/gang participation as the result of social and environmental problems rather than individual personality traits/genetics such as poor individual choices, moral failings, or psychological disorders.

In 1922, Robert Park and Ernest Burgess from the Chicago School developed a “ human ecology ” theory comparing social life to biological organisms. They claimed that social groups and instutitions function together for the stability of the social group as a whole. When conflict, change, and competition arise, people attempt to accommodate or adjust to new conditions, with society eventually returning to equilibrium. Issues such as technological innovation and economic change can cause social disorganization , which in turn can result in deviance. For example, gangs and other delinquent groups arise due to the social strain of having to access legitimate resources in illegitimate ways. Clifford Shaw and Henry McKay ( 1942 ) extended this theory with their development of the social disorganization framework for deviance, in which they claimed that deviance and social instability are first and foremost a result of geographic location, as residential instability tends to be highly concentrated in specific areas. Additionally, Edwin Sutherland and Donald Cressey ( 1934 ) expanded the Chicago School proposition that an individual’s social environment impacts likelihood for delinquency with their differential association theory . The main implication of differential association is that techniques and justification/rationalization for criminal deviance are learned, specifically from intimate friends and family members ( Adler & Adler 2006 ; Sutherland & Cressey 1934 ). As such, tendencies toward deviant behavior are not determined at birth, but develop over time as peer social groups shift from more normative to more deviant friends.

The Birmingham School

The Centre for Contemporary Cultural Studies (CCCS) at the University of Birmingham emerged in the mid 1960s with the goal of explaining the emergence of youth subcultures, such as Teddy boys, Mods, Skinheads, and Rockers, in post-World War II Britain. There, a group of sociologists led by Richard Hoggart set out to examine the various aspects of the working-class subcultural youth. Previous research done by Hoggart ( 1957 ) and CCCS member Raymond Williams ( 1958 ) catapulted the Birmingham subcultural studies into a more focused genre ( Nwalozie 2015 ), and through this CCCS scholars developed several informal hypotheses that remained at the center of their work up until the school’s closing in 2002. First, CCCS scholars saw subcultures as undeniably class based, as they reported that the majority of subculturists they researched appeared to be young, lower-middle class white males ( Williams 2007 ). Additionally, CCCS theorists suggested that what brought subculturists together was a collective desire to “act out” in resistance to hegemonic, mainstream cultural values ( Haenfler 2014 ). Frustrated over socio-economic roadblocks to achieving a better standard of living, working class youths subsequently joined together by virtue of their marginalization from and resistance to the class structure. Lastly, CCCS researchers claimed that such resistance manifested itself most clearly in the group members’ spectacular styles and rituals ( Haenfler 2014: 8 ). However, the Birmingham School saw subcultural symbolic rejection of mainstream bourgeois lifestyle as illusory ( Hall & Jefferson 1976 ). In fact, CCCS scholars went so far as to say that not only does symbolic subcultural resistance have little to no impact on real change, but it may actually work to reinforce their low status in society ( Willis 1977 ).

Expanding on the work done by the Chicago School , CCCS scholars further explored the concept of deviance by highlighting implicit connections between culture and hegemony. Dick Hebdige ( 1979 ) argues that because subcultures stem from deviance, they usually consist of working-class cultures and individuals. Essentially, social groups manage their status problems by creating a new subculture and establishing new norms that do not conform to the dominant culture’s norms. These new norms contain ideological meanings and have symbolic forms of resistance. Additionally, subcultures often take objects and styles of the dominant culture and appropriate them in order to demonstrate a new meaning.

Despite the many significant contributions of the Birmingham School to subcultural studies, the CCCS faces significant criticism. In particular, many sociologists have criticized the CCCS for its overemphasis on resistance, class, and style, as well as its under-representation of any female or queer subcultures. Perhaps the most important limitation to the findings and approaches adopted by CCCS is their lack of any ethnographic research methods. Instead of approaching subculturists, CCCS theorists conducted their research via semiotic analyses of style from afar, potentially misinterpreting (or over-emphasizing) someone’s style and practices.

Characteristics of subcultures

It is important to note that there is no one agreed upon definition of a subculture by sociologists. Subcultural theorists continue to expand and alter the definition of subcultures, as they investigate more subcultural groups and incorporate sociological theories of deviance into the subcultural framework. Thus, the definition of subculture is contentious. Some theorists (see “post-subcultural thought” below) even believe the concept has outlived its usefulness. However, a working definition is necessary for an introductory understanding of subcultures and subcultural theory. Thus, the characteristics of subcultures outlined below incorporate concepts and theories from the most prominent subcultural scholars, but by no means constitute a definitive “checklist” for determining what “counts” as a subculture and what does not.

Diffuse Networks

Subcultures do not consist of formal leadership, formal membership, or any explicit organizational  structure ( Haenfler 2014: 16 ). Rather, subcultures have loose and informal participation, as the boundaries of who and what embodies a subculture are contested and fluid. Membership is not exclusive ( Williams 2011: 41 ); subculturists can identify as part of the subculture and simultaneously interact with people in other cultural and social networks. Consequently, the boundaries between mainstream culture and subculture are often indistinguishable, as the two cultural domains can share ideas and coexist in the  lives of individuals.

The Juggalo scene serves as a good example of diffuse networks at play in a subculture. Juggalos are the fans of the band Insane Clown Posse (ICP). They possess their own shared identity, slang, style, and cultural meanings. Many ICP fans identify as Juggalos, attend the festivals, hang out with fellow Juggalos, and know the shared meanings and values of the subculture. However, they also take off their clown makeup, go to work, participate in other networks of social interaction, and learn other cultural meanings. This wide variety of cultural information from the “outside world” can in turn be shared with the Juggalo culture and vice verse. In other words, subcultures and other cultural networks interact with each other and adapt as they exchange meanings and values ( Williams 2011: 41 ).

Shared Distinct Meanings

Subculturists not only share an identity, but they also share values, practices, and cultural objects ( Haenfler 2014: 17 ). For example, straight edgers value their community and their interpersonal relationships, they practice clean-living (substance-free), and they purchase objects of importance such as the most-popular hardcore punk albums. As subcultures emerge, distinct meanings form to define the scene’s unique practices and cultural objects as well as to distinguish the subculture from mainstream culture. These  meanings continuously grow and change as subculturists debate existing meanings and create new ones. Additionally, meanings are both created and learned through social interaction. The values and expected behaviors of subcultures often deviate in some way from the generally accepted norms of society (Dotter 1988).

For example, underground drag ball participants  share a distinct set of meanings within their subculture. Underground drag balls are competitions that consist of individuals, mainly queer youth of color, who perform different drag genres and categories. The ball participants share their identities both as queer youth of color and participants in the ball scene. As part of the ball scene, they also have knowledge of certain values, rituals, objects, and slang that are unique to the subculture. For example, the average person would not know what the term “realness” means, however, when one enters the ball scene, every participant knows the meanings and intricacies of the term realness . Furthermore, the value of queering oneself and expressing one’s sexuality at the balls, particularly in the 1970s, illustrates how the subculture deviates from mainstream norms and values surrounding gender and sexuality.

Shared Identity

Many ethnographers argue that a collective form of self-identification is perhaps the most important distinguisher between a subculture and a simple social group ( Polletta and Jasper 2001 ; Brewer and Gardner 1996 ; Fominaya 2010 ; Melucci 1995 ; Wendt 1994 ; Hodkinson 200 2). Outsiders often perceive the intense degree to which subculturists engage with and partake in their subculture as obsessive or unhealthy. However, the degree to which subculturists engage with their group can in fact be seen as a natural result of a distinctive sense of self in relation to their subculture. Indeed, a woman who has a child is not stigmatized for spending the majority of her day parenting the child, as motherhood is seen to be an important part of her identity.

However, unlike motherhood, an important part of subcultural identity is the collective aspect that subculturists find so unifying. As Turner, Hoggs, Oakes, Reicher, and Wetherell ( 1987: 50 ) suggest, the formation of a collective identity involves “a shift towards the perception of self as an interchangeable exemplar of some social category and away from the perception of self as a unique person.” Subculturists report feeling an innate sense of connection to and relationship with other members of their subculture, and do not necessarily require personal relationships among group members to feel said connection ( Brewer and Gardner 1996 ). As such, it is important to distinguish between social groups that develop from common bonds (attachment to other group members) and subcultures comprised of people that share a strong common identity ( Brewer and Gardner 1996 ). Juggalos often report feeling a sense of deep subcultural belonging that transcends place as they are able to bond over the subculture being such a large part of their identities’, going so far as to refer to each other as “family.” Indeed, at the annual Gathering of the Juggalos , a universal sentiment is that, despite being strangers, “‘you can walk up to anyone and talk to them because it’s family’” (Halnon 2014: 91). Outside the ICP concert scene, Juggalos are just as committed to upholding and reinforcing their collective identity, transitioning from strangers to “family” the moment they realize the other is a Juggalo . On a day-to-day basis, ICP gear and tattoo symbols signify to others their subcultural participation, thus making it easier to spot each other in a crowd. In this way, shared identity can be both internal and external; subcultural style is helpful for subculturists to identify one another, but is not necessarily itself an inherent characteristic of the shared identity. As social movements theorist David Snow ( 2011 ) once said, collective subcultural identity can often be interpreted as “a shared and interactive sense of ‘we-ness’ and collective agency.”

ResistanceF

Resistance, either passive or active, to dominant hegemonic cultural values often accompanies subcultural participation in one form or another. Williams ( 2009 ) suggests that there exist three dimensions that comprise subcultural resistance. First, resistance may either be passive or active , based on participants’ intention to resist. The CCCS, for example, viewed subculturists as passive consumers. Second, resistance may exist at the micro or macro level, depending on what or for whom the resistance is directed. At the micro level, resistance may be developed as a psychological defense mechanism against bullies and peers,  whereas macro level resistance is usually directed at politicians or policy makers, such as Christian Abstinence Youth Groups calling for a ban on birth control. Finally, resistance can be overt or covert , depending on if the actions of subculturists are interpreted by others as resistant. Whereas covert resistance is that which is intentional yet unnoticed by others, overt resistance is much harder to miss, as it, by definition, drives people to take notice. For example, when a Brony  wears a colorful “ I’m A Brony, Deal with It ” t-shirt, he will more often than not succeed in bringing attention to his subculture.

Marginalization

Subculture participants often consist of marginalized individuals who do not fit well within the dominant culture. As Howard Becker ( 1963 ) notes in his labeling theory, dominant social groups determine who the “out-group” is based on shared values and norms of the “in-group.” The “in group” social groups are oftentimes the dominant culture that decide which values and norms the “out group” cannot perform. In contrast, the “out-group” might not have the same resources or practices as the “in-group” and in turn might fail to meet the norms and expectations of the “in-group,” thus making them deviant from the dominant culture. Since these individuals cannot meet the norms of the dominant culture and are labeled as deviant, they are marginalized from fully participating in the dominant culture. Shared marginalization is the idea that many subculturists can share the same “outsider” status despite having different backgrounds in mainstream society ( Haenfler 2014 ). Likewise, subculturists can “choose” their marginalization as opposed to being structurally marginalized. For example, individuals participating in the rock subculture might wear their hair in a mohawk to purposefully raise the eyebrows of mainstream society. Mainstream society may originally marginalize those individuals for a specific aspect of their identity, however once they wear their hair in a mohawk, society marginalizes them for their participation in the subculture and its deviant style.

“ Bronies ,”  men who are fans the television show My Little Pony: Friendship is Magic , exemplify a group of marginalized individuals who make up a subculture. Bronies often find themselves marginalized by mainstream society because of how they break dominant culture norms by enjoying and having conventions focused on My Little Pony: Friendship is Magic , a cartoon show targeted for young girls. Additionally, Bronies break dominant social norms by participating in the subculture and are often stigmatized by mainstream society because of individuals questioning their reasoning for being a part of the subculture.

Stratification, Values, and Specialized Vocabulary

Subcultures create stratification systems in the same way dominant cultures do. The stratification system of subcultures is based on the continuously changing collective values within the group. Similar to dominant cultures, subcultures base stratification on cultural capital, symbolic capital, and authenticity. Cultural capital is based on how the individual follows the norms and practices of the subculture, symbolic capital is how much respect and legitimacy based on the individual’s status in the subculture. Authenticity, however, is a social construction that individuals must consistently perform in order to be a part of the subculture ( Vannini and Williams 2009 ). An additional component of the stratification system and authenticity is the specialized vocabulary of the subculture. Specialized vocabulary illustrates the division between those in the subculture and those who are not, with certain words and phrases being understood by either all or a small percentage of the subculture ( Haenfler 2014 ). Thus, specialized subcultural vocabulary demonstrates how much individuals are a part of a subculture and adds to the  internal hierarchy of the subculture.

An example of a subculture with many levels to its stratification system is the Harry Potter fandom, the community of Harry Potter fans who engage in Harry Potter themed activities. In the community, fans internally rank themselves on how devoted they are to the Harry Potter books and movies. For example, fans who have written fan fiction or actively participate in the Pottermore website would be higher on the stratification system than fans who only read the books and do not go to the movie premieres. Likewise, Harry Potter fans share a specialized vocabulary that is exclusive to the culture. Harry Potter fans often use the word “muggles,” a word meaning non-wizards in the Harry Potter books, to denote individuals who are not a part of the subculture and “Potterheads” to signify fans in the subculture.

Post-Subcultural Thought

Post-subcultural theorists suggest that subcultures either no longer exist or are simply little different from mainstream culture. They emphasize that mass consumption, diffusion of cultures through globalization, and the overall interconnectedness of people, places, and products across the world transform the ways subcultures manifest in the identities of individuals ( Bennett 2011 ; Nwalozie 2015: 10 ). Consumerism influences subcultural communities by making subcultural products such as CDs and outfits available for anyone to buy; the community-based scenes are transformed into product lines. It becomes harder to differentiate between what constitutes a niche subcultural scene and what constitutes mainstream culture, as subcultural objects undergo commodification and commercialization.

Furthermore, in an increasingly interconnected world, people have more freedom to pick and choose what subcultural identity they want to embody, whether that be through their style, mannerisms, or music taste. This freedom means that subcultural identities and participation are fluid rather than stable; in other words, there is less commitment to a particular scene. Whereas other subcultural scholarship emphasize how one’s background (socioeconomic status, race, gender, geographic location, etc.) influences whether they join a particular subcultural scene, post-subcultural thought recognizes that globalization and diffusion of cultures allows for people of many backgrounds to pick and choose the scene(s) they want to participate in. Subcultural performance becomes more about consumerism and pleasure and less about resistance and shared identities ( Bennett 1999 ). For example, the store Hot Topic allows teenagers to pick a scene and buy products that are part of this scene. The store distills the subculture down to its style. This enables teens from all walks of life to embody, for instance, the look of a punk kid without understanding the shared values and meanings of the punk subculture.

Critics of post-subcultural thought point out that in fact many people do adopt subcultural identities and actively participate in the scenes even with the commercialization of their subcultural objects. Furthermore, while consumerism seeps into every aspect of life in society today, it does not prevent people from engaging in resistant activities ( Haenfler 2014: 13 ). Subcultural participants still both resist and uphold mainstream culture and politics through their participation. By lumping all subcultural youth into this category of passive consumers who choose and transform their identities as they please, post-subculturists fail to recognize the authentic self-identification that many youths experience.

Page designed by: Rachel Buckner, Alexis Acosta, and Bryanna Clarke

Key Scholars

Dick hebdige.

Richard “Dick” Hebdige is a British sociologist of resistance and subculture. After graduating with an M.A. from the Centre for Contemporary Culture Studies at Birmingham, Hebdige made his significant contribution to subcultural studies with his authorship of Subculture: The Meaning of Style . Hebdige brings new insight into subcultural theory by emphasizing race, class, and socioeconomic conditions that contribute to the values and meanings within many subcultures.

Stanley Cohen

Stanley Cohen, a Professor of Sociology at the London School of Economics, devoted his life work to fight against human rights violations after witnessing the injustices of Apartheid when growing up in South Africa. In his book Folk Devils and Moral Panics , Cohen contributed to subcultural theory by discussing the role of media in labelling deviant activity. Cohen coined the term “folk devil:” groups of people portrayed by media outlets as deviant. 

Richard Hoggart

Hoggart devoted his life’s work to cultural studies. Hoggart founded the Center for Contemporary Cultural Studies (CCCs, also known as The Birmingham School) in 1964, a research center at the University of Birmingham whose theorists developed some of the earliest theories on subcultures and deviance. Richard Hoggart’s work  The Uses of Literacy was instrumental in the establishment of working class studies. The book explored how the working class establish and maintain a unique culture of their own.

Documentaries

Paris is burning ( 1990 ).

A popular documentary illustrating the lives of drag queens living in New York City participating in the underground ball scene.

https://www.youtube.com/watch?v=hedJer7I1vI

We are Wizards ( 2008 )

This documentary gives more insight to the Harry Potter subculture and highlights Harry Potter inspired bands such as Harry and the Potters.

https://www.youtube.com/watch?v=xZzRh9MHOrU

Bronies: The Extremely Unexpected Adult Fans of My Little Pony ( 2012 )

A trailer for the documentary following the journey of several Bronies across the globe as they prepare for the annual BronyCon convention and reflect on their entrance into the subculture.

[fruitful_sep]

Significant Scholarship

Becker, Howard S. 1963. Outsiders: Studies in the Sociology of Deviance . London: Free Press of Glencoe.

This book gives background on the “in-group” and “out-group” relationship of subcultures and how the relationship is maintained. The “in group” social groups are oftentimes the dominant culture that decide which values and norms the “out group” cannot perform.

Haenfler’s Subcultures: The Basics provides a thorough introduction to subcultural and youth studies. The text uses theory and examples to cast light on the sociological understanding of deviance and subcultural activity.

This book contains a wide range of theories and research done by many others of the Birmingham school.

Hebdige, Dick. 1979. Subculture: The Meaning of Style . London: Methuen & Co.

In this book, Hebdige gives a better understanding of how subcultures grow out of deviance and social problems. Additionally, Hebdige explains bricolage in more detail and how subcultures can overtly and covertly resist dominant cultures through bricolage.

Muggleton, David and Rupert Weinzierl. 2003. The Post-Subculture Reader.  Oxford:Berg Publishers.

Muggleton and Weinzierl discuss how to reconceptualize subcultures in a postmodern world. They examine how subcultures manifest themselves in our globalized world and discuss the usefulness of the term subculture itself.

Vannini, Phillip, and Williams, J. Patrick. 2009. Authenticity in Culture, Self, and Society . Farnham: Ashgate Publishing, Ltd.

Vannini and Williams (2009) define in detail how authenticity is created and performed in subcultures. This book describes how authenticity is an important part of the stratification systems of subcultures, and that it is also an individual’s constant performance within a subculture.

Williams, J. Patrick. 2011. Subcultural Theory: Traditions and Concepts . Cambridge: Polity Press.

In this comprehensive book, Williams helps readers understand the theory behind subcultures. The text focuses on concepts and analysis, but still incorporates examples to give readers a picture of how these theories play out in in the subcultural scenes.

Bennett, Andy. 1999. “Subcultures or Neo-Tribes? Rethinking the Relationship Between Youth, Style, and Musical Taste.” Sociology 33(3): 599-617.

Bennett, Andy. 2011. “The Post-Subcultural Turn: Some Reflections 10 Years On.” Journal of Youth Studies 14(5): 493-506.

Dotter, Daniel. 1995. “Rock and Roll is Here to Stray: Youth Subcultural, Deviance, and Social Typing in Rock Early Years.” Pp. 87-114 in Adolescents and Their Music: If It’s Too Loud, You’re Too Old , edited by Jonathan S. Epstein. New York: Routledge.

Halnon, K.B. 2014. “Dark Carnival and Juggalo Heaven: Inside the Liminal World of Insane Clown Posse.” Advances in Social Sciences Research Journal 1(2): 84-98.

Nwalozie, Chijioke J. 2015. “Rethinking Subculture and Subcultural Theory in the Study of Youth Crime: A Theoretical Discourse.” Journal of Theoretical and Philosophical Criminology 7(1): 1-16.

Park, Robert E. 1936. “Human Ecology.” American Journal of Sociology 42(1):1–15.

Williams, Patrick J. 2007. “Youth-Subcultural Studies: Sociological Traditions and Core Concepts.” Sociology Compass 1(2):572-593.

Williams, Patrick J. 2009. “The Multidimensionality of Resistance in Youth-Subcultural Studies.” The Resistance Magazine 1:20-33.

What are Subcultures?

This essay about subcultures explores the complex interplay of identities, ideologies, and expressions within these distinct cultural groups. It discusses how subcultures, ranging from gothic to punk, serve as communities for shared interests and platforms for creativity and resistance. The piece highlights their role in societal evolution, the challenges of internal conflicts, and the impact on cultural dynamics. Through this analysis, the essay emphasizes the importance of understanding subcultures in appreciating the broader narrative of human culture and societal change.

How it works

Delving into the rich tapestry of subcultures reveals a complex mosaic of identities, ideologies, and expressions that define these fascinating cultural niches. Subcultures, embedded within the broader fabric of society, serve as vibrant ecosystems where individuals with shared passions and beliefs come together, shaping unique collective identities and stories. This exploration seeks to illuminate the distinctive traits, roles, and broader societal impacts of subcultures, highlighting their significant influence on cultural evolution and human interaction.

At the core of subcultures is their ability to draw people into communities based on common interests and convictions.

These subcultural groups often originate from diverse origins, such as musical tastes, fashion trends, political beliefs, or lifestyle choices. The gothic subculture, for example, emerged in the late 20th century as an amalgamation of dark aesthetic, romantic literature, and alternative music, creating a rich, introspective community for its followers.

Subcultures also act as hotbeds of creativity and individual expression, where art, language, and customs converge to craft unique identities and stories. They offer a canvas of symbols, sounds, and styles, where innovation flourishes, enriching the wider cultural sphere with fresh insights and viewpoints. Consider the graffiti subculture, which challenges traditional art forms by converting cityscapes into dynamic expressions of social critique and creative defiance.

In addition to fostering creativity, subcultures provide a voice for the marginalized and a challenge to mainstream cultural dominance. They offer a sanctuary for those seeking solidarity in facing societal challenges, creating a sense of community among those who feel disenfranchised. The punk movement is a prime example of this, promoting an ethos of self-sufficiency and political engagement, sparking widespread influence and ongoing dialogue about social change.

However, despite their appearance of unity, subcultures are not without internal complexities and conflicts. They can be marked by divisions and disagreements over the true essence of their identity and values, reflecting a broader spectrum of human interaction and cultural diversity. These dynamics highlight the inherent complexity and continuous evolution within subcultures, inviting ongoing debate and engagement.

Ultimately, subcultures are dynamic and multifaceted, embodying a spectrum of human experiences and ideologies. They are defined by commonalities in aesthetics and values, fostering environments rich in creativity, resistance, and community bonding. Despite their cohesive fronts, the underlying tensions and disagreements within subcultures remind us of the perpetual motion and complexity of cultural identity. By studying subcultures, we deepen our understanding of the broader human narrative, where individual and collective stories are interwoven into the ongoing dialogue of cultural transformation and societal development.

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110 Subculture Essay Topic Ideas & Examples

Inside This Article

Subcultures are groups within a larger society that have their own distinct norms, values, and practices. These subcultures can be based on a variety of factors, including age, ethnicity, interests, or beliefs. Exploring subcultures can provide valuable insights into the diversity and complexity of society, as well as the ways in which individuals navigate their identities and communities.

If you're looking for inspiration for an essay on subcultures, here are 110 topic ideas and examples to get you started:

• The punk subculture: its origins, values, and impact on mainstream culture
• The hip-hop subculture: how music, fashion, and language shape identity
• The goth subculture: exploring themes of darkness, individuality, and rebellion
• The skateboarding subculture: how a hobby became a lifestyle and community
• The gamer subculture: from arcades to online communities, gaming as a cultural phenomenon
• The LGBTQ+ subculture: the history, struggles, and triumphs of queer communities
• The cosplay subculture: blurring the lines between fantasy and reality through costume play
• The surfer subculture: the connection between nature, sport, and identity
• The rave subculture: electronic music, dance, and the search for transcendence
• The fitness subculture: bodybuilding, CrossFit, and the pursuit of physical perfection
• The vegan subculture: ethics, activism, and the rise of plant-based diets
• The biker subculture: freedom, rebellion, and the open road
• The prepper subculture: preparing for the end of the world and the collapse of society
• The tattoo subculture: body art as a form of self-expression and identity
• The metalhead subculture: heavy music, dark themes, and a sense of belonging
• The hacker subculture: technology, activism, and the fight for digital freedom
• The hippie subculture: peace, love, and the counterculture of the 1960s
• The kawaii subculture: cute aesthetics, consumer culture, and the pursuit of happiness
• The skater subculture: street culture, rebellion, and the DIY ethos
• The surfer subculture: beach culture, environmentalism, and the pursuit of the perfect wave
• The streetwear subculture: fashion, status symbols, and the commodification of cool
• The drag subculture: gender performance, artistry, and the celebration of queerness
• The hipster subculture: irony, nostalgia, and the quest for authenticity
• The conspiracy theory subculture: skepticism, paranoia, and the search for hidden truths
• The witch subculture: spirituality, feminism, and the revival of ancient practices
• The fitness subculture: body positivity, self-improvement, and the wellness industry
• The sneakerhead subculture: collectibles, trends, and the cult of sneakers
• The car enthusiast subculture: speed, aesthetics, and the culture of cars
• The punk subculture: DIY ethics, anti-authoritarianism, and the rejection of mainstream culture
• The anime subculture: Japanese animation, fandom, and the global reach of otaku culture
• The metal subculture: heavy music, subversion, and the sense of belonging in a community of outcasts
• The hip-hop subculture: rap music, street art, and the cultural impact of urban youth
• The skateboard subculture: counterculture, rebellion, and the ethos of DIY skateboarding
• The gamer subculture: online communities, competitive gaming, and the culture of esports
• The goth subculture: dark aesthetics, romanticism, and the celebration of the macabre
• The rave subculture: electronic music, dance culture, and the search for transcendence in the club scene
• The drag subculture: gender performance, artistry, and the celebration of queerness in drag shows
• The cosplay subculture: costume play, fandom, and the blurring of fantasy and reality at conventions
• The fitness subculture: bodybuilding, fitness trends, and the pursuit of physical excellence in the gym
• The punk subculture: DIY fashion, anti-establishment politics, and the spirit of rebellion in punk rock
• The surfer subculture: beach culture, surf lifestyle, and the connection between nature and sport
• The skateboard subculture: street culture, DIY skateboarding, and the sense of community in skate parks
• The metal subculture: heavy music, subversive themes, and the sense of belonging in the metal community
• The hip-hop subculture: rap music, street fashion, and the cultural influence of hip-hop culture
• The gamer subculture: online gaming, virtual communities, and the rise of esports as a global phenomenon
• The goth subculture: dark aesthetics, gothic fashion, and the celebration of the macabre in goth culture
• The rave subculture: electronic music, dance culture, and the search for transcendence through music and dance
• The drag subculture: gender performance, drag queens, and the art of transformation in drag shows
• The cosplay subculture: costume play, fandom, and the creative expression of pop culture at comic conventions
• The fitness subculture: body positivity, health trends, and the pursuit of physical well-being in the fitness industry
• The punk subculture: anti-establishment politics, punk fashion, and the spirit of rebellion in punk rock music
• The surfer subculture: beach lifestyle, surf culture, and the connection between nature and sport in surfing
• The skateboard subculture: street culture, skateboarding tricks, and the sense of community in skate parks
• The metal subculture: heavy music, dark themes, and the sense of belonging in the metal community
• The hip-hop subculture: rap music, street fashion, and the cultural impact of hip-hop culture on mainstream society
• The gamer subculture: online gaming, virtual communities, and the rise of esports as a competitive industry
• The goth subculture: gothic fashion, dark aesthetics, and the celebration of the macabre in goth culture
• The skateboard sub

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3.4A: Subcultures

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A subculture is a culture shared and actively participated in by a minority of people within a broader culture.

Learning Objectives

• Give examples for subcultures by using Gelder’s proposed criteria
• Subcultures incorporate large parts of the broader cultures of which they are part; in specifics they may differ radically.
• The study of subcultures often consists of the study of symbolism attached to clothing, music, and other visible affectations by members of subcultures. Sociologists also study the ways in which these same symbols are interpreted by members of the dominant culture.
• Cultural appropriation is the process by which businesses often seek to capitalize on the subversive allure of subcultures in search of “cool,” which remains valuable in the selling of any product.
• subculture : A portion of a culture distinguished from the larger society around it by its customs or other features.
• symbolism : Representation of a concept through symbols or underlying meanings of objects or qualities.
• cultural appropriation : Cultural appropriation is the adoption of some specific elements of one culture by a different cultural group.

In sociology, anthropology, and cultural studies, a subculture is a group of people with a culture that differentiates themselves from the larger culture to which they belong. A culture often contains numerous subcultures, which incorporate large parts of the broader cultures of which they are part; in specifics they may differ radically. Subcultures bring together like-minded individuals who feel neglected by societal standards and allow them to develop a sense of identity.

Subcultures and Symbolism

The study of subcultures often consists of the study of symbolism attached to clothing, music, and other visible affectations by members of subcultures. Additionally, sociologists study the ways in which these symbols are interpreted by members of the dominant culture. Some subcultures achieve such a status that they acquire a name. Members of a subculture often signal their membership through a distinctive and symbolic use of style, which includes fashions, mannerisms, and argot. Examples of subcultures could include bikers, military personnel, and Star Trek fans.

Identifying Subcultures

It may be difficult to identify certain subcultures because their style—particularly clothing and music—may be adopted by mass culture for commercial purposes. Businesses often seek to capitalize on the subversive allure of subcultures in search of “cool,” which remains valuable in selling of any product. This process of cultural appropriation may often result in the death or evolution of the subculture, as its members adopt new styles that appear alien to mainstream society.

In 2007, Ken Gelder proposed six key ways in which subcultures can be identified:

• Through their often negative relations to work (as ‘idle’, ‘parasitic’, at play or at leisure, etc.)
• Through their negative or ambivalent relation to class (since subcultures are not ‘class-conscious’ and don’t conform to traditional class definitions)
• Through their association with territory (the ‘street’, the ‘hood’, the club, etc.), rather than property
• Through their movement out of the home and into non-domestic forms of belonging (i.e. social groups other than the family)
• Through their stylistic ties to excess and exaggeration (with some exceptions)
• Through their refusal of the banalities of ordinary life

Culture, Subculture, and Their Differences Essay

Works cited.

Culture refers to a group of people who are joined together by similar cultural ties. It describes the social heritage of a particular group of people. Culture provides people with ways in which they can easily solve their own problems which result when they interact with each other as well as with their environment. The manner in which people think, act, feel and perceive other cultures depend on the influence of their own culture. These attributes are also passed on to future generations through teaching and immersion. It is through a culture that people devise what is acceptable and what is not acceptable, right or wrong, and what is important or unimportant (Jenks 45).

People who belong to the same culture share the same assumptions, knowledge, values, behavior, language and dress. This is an indication that people who belong to the same culture engage in similar activities together. The different activities that people across the world engage in lead to the existence of different. Therefore, since different cultures engage in different activities, which is acceptable in one culture may be unacceptable in another culture (Turner and Rojek 65). The difference in the practices that different cultures engage in often leads to disagreements between cultures.

Culture has a significant influence on the way that people live. Culture is known to influence the manner in which people interact socially. It also affects people’s family life and shapes people’s personalities and attitudes. Culture is very broad in scope. There are various characteristics that are associated with culture. These include language, Art and Science, Spirituality, Social Activities, Thought, and Interaction (Gudykunst 65). Language is the oldest medium of communication that has enabled people to express themselves to each other for centuries.

People who belong to the same culture, therefore, speak in a common language. It has also been noted that people who belong to the same culture practice the same art and science (Jenks 32). People who belong to a similar culture also have a common way in which they perceive and understand their environment. They also engage in similar festivals and life-celebrating events (Muggleton 34). It is, therefore, true that culture has a lot of influence on the way of life of people. It is the one that shapes the way in which different people in different parts of the world relate to each other.

Culture plays a very important role in influencing the manner in which human beings conduct their daily activities and the way in which they relate with each other. Culture is known to provide a background to various factors that influence people’s way of life such as social class and the family (Gudykunst 12). The manner in which people who belong to different social classes and families relate is as a result of cultural influence.

For example, in the modern world, the different perceptions that consumers have regarding different products being offered in the market are a result of cultural influence. In this perspective, there is a certain group of people who can consume a particular product while another group is restricted by culture to consume a particular product (Muggleton 34). This scenario is illustrated in the situation whereby Muslims do not consume pork because of the restrictions imposed by their culture.

Subculture refers to a subgroup of people who are distinguished by residence, religion, ethnic background, and status. There are certain societies that criticize subcultures because subcultures are said to act against the dominant standards of a society. Subculture normally brings together a group of people who are like-minded and who feel that their society has neglected them. As a result, such people enter into a subgroup which enables them to develop a sense of uniqueness. People who engage themselves in a subculture mostly aim at raising their status and knowledge so that they can differentiate themselves from the larger cultural background (Muggleton 32). There are various ways in which subcultures can be identified.

The punk subculture is a perfect illustration of a subculture. People who belong to the punk subculture are known to express themselves in the form of fashion, clothing, dance, film and literature. The punk subculture is said to have originated from punk rock. People who belong to the punk subculture often love listening to aggressive rock music. Punks are also said to cover the political spectrum whereby they demonstrate trends such as anti-capitalism, anti-racism, anti-militarism and socialism. The mode of clothing, body modification, and hairstyles that these people adopt are also outrageous (Jenks 32). Punks, therefore, seem to act contrary to the expectations of other members of society.

When people develop negative impressions of the activities that their society undertakes they are said to be in a subculture. In this perspective, such people do not participate in the activities that other members of society engage in. Instead, they either remain idle or engage in other leisure activities. People belonging to a subculture often have negative relations with their social class. In this perspective, they tend to engage in activities that do not conform to the traditional activities of their social class. They also move out of their homes and engage with other social groups that are not in any way related to their original social class (Muggleton 34). These attributes are found in those people who are members of the punk subculture

A subculture is normally characterized by the value that a particular group of people attaches to activities such as music and clothing. The members of a subculture often have affectations which they use to identify them with a particular subculture. The dominant culture often has a different interpretation of the affectations that the members of the subculture adopt. In most cases, the various affectations that are adopted by the members of different subcultures are often not welcome by the dominant culture.

In this perspective therefore, the members of the subculture are therefore not treated as members of the dominant culture especially when they keep on violating the rules and regulations that are stipulated in the dominant culture (Turner and Rojek 43). In order for people to identify themselves with a particular subculture, people use styles such as fashions, argot and mannerisms (Jenks 46). In this perspective, therefore, the punk subculture can be observed to act according to the expectation of the society

Subcultures are prevalent at various levels of an organization. This means that it is possible for multiple subcultures to exist in a particular culture. For example, there is a large number of Americans who exercise the punk subculture. In order to ensure that the dominant cultures in society continue to operate, the various subcultures that emerge in different societies need to be regulated.

From this analysis therefore, it is true that there is a significant difference between culture and subculture. Therefore, a person can be able to choose which subculture to participate in but is it is not for him to choose his own culture.

Gudykunst, William B. Bridging Differences: Effective Intergroup Communication . New York: SAGE, 2004. Print.

Jenks, Chris. Subculture: The Fragmentation of the Social . New York: SAGE, 2005. Print.

Muggleton, David. Inside Subculture: The Postmodern Meaning of Style . New York: Berg, 2000. Print.

Turner, Bryan S and Chris Rojek. Society and Culture: Principles of Scarcity and Solidarity . New York: SAGE, 2001. Print.

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IvyPanda. (2024, January 18). Culture, Subculture, and Their Differences. https://ivypanda.com/essays/culture-subculture-and-their-differences/

"Culture, Subculture, and Their Differences." IvyPanda , 18 Jan. 2024, ivypanda.com/essays/culture-subculture-and-their-differences/.

IvyPanda . (2024) 'Culture, Subculture, and Their Differences'. 18 January.

IvyPanda . 2024. "Culture, Subculture, and Their Differences." January 18, 2024. https://ivypanda.com/essays/culture-subculture-and-their-differences/.

1. IvyPanda . "Culture, Subculture, and Their Differences." January 18, 2024. https://ivypanda.com/essays/culture-subculture-and-their-differences/.

Bibliography

IvyPanda . "Culture, Subculture, and Their Differences." January 18, 2024. https://ivypanda.com/essays/culture-subculture-and-their-differences/.

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Open Education Sociology Dictionary

Table of Contents

Definition of Subculture

( noun ) A group within society whose behaviors , norms , and values differ in some distinct ways from the dominant culture.

Example of Subculture

• The Trekker (also called Trekkie ) subculture has its own mode of dress (e.g., original series, Next Generation)  beliefs (e.g., the Prime Directive), language (e.g., Klingon), and folklore (e.g ., the individual wearing a red shirt will not return from an away mission).

Subculture Pronunciation

Pronunciation Usage Guide

Syllabification : sub·cul·ture

Audio Pronunciation

Phonetic Spelling

• American English – /sUHb-kuhl-chuhr/
• British English – /sUHb-kuhl-chuh/

International Phonetic Alphabet

• American English – /ˈsəbˌkəltʃər/
• British English – /ˈsʌbˌkʌltʃə/

Usage Notes

• Plural: subcultures
• A type of culture .
• Type: counterculture
• Variant spelling: sub-culture

Related Video

Additional Information

• Word origin of “subculture” – Online Etymology Dictionary: etymonline.com

Related Terms

• dependency culture
• explicit culture
• high culture
• low culture
• mass culture
• nonmaterial culture
• popular culture

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Situating ‘Subculture’: On the Origins and Limits of the Term for Understanding Youth Cultures

• First Online: 31 July 2020

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• Andy Bennett 11  

Part of the book series: Palgrave Studies in the History of Subcultures and Popular Music ((PSHSPM))

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After critically evaluating research on subcultures since the 1970s, this chapter questions the validity and analytical potential of the term ‘subculture’. Speaking of the academic ‘myth of subcultures’, first the limits of subcultural research are fleshed out, before an explanation is proposed for the longevity and continued prominence of the term. The chapter concludes that although the concept may not be adequate to analyze the development of leisure-based youth cultures, the myth of subcultures itself is an important starting point for critically engaging with subculture research.

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See, for example, F. Zweig, The Worker in an Affluent Society: Family Life and Industry (London: Heinemann, 1961).

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Ibid., 199.

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There is a considerable number of critical accounts of the CCCS work and I deal only with a small selection here. See also, for example, S. Frith, Sound Effects: Youth, Leisure and the Politics of Rock (London: Constable, 1983); S. Cohen, Folk Devils and Moral Panics: The Creation of the Mods and Rockers [3rd ed.] (Oxford: Basil Blackwell, 1987); D. Harris, From Class Struggle to the Politics of Pleasure: The Effects of Gramscianism on Cultural Studies (London: Routledge, 1992); Bennett, ‘Subcultures or Neo-Tribes?’.

A. McRobbie and J. Garber, ‘Girls and Subcultures: An Exploration’, in Hall and Jefferson, Resistance Through Rituals , 209–222.

Indeed it could be argued that McRobbie and Garber significantly overestimate the ‘hidden’ nature of teeny-bopper culture given the highly visible—and vocal—presence of female teeny-bopper fans at concerts by seventies teeny bopper pop icons such as David Cassidy and the Bay City Rollers.

Clarke, ‘Defending Ski-Jumpers’.

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In their comparative research on urban and rural punk scenes in Germany, Hafeneger et al. illustrate some of the distinctive differences in stylistic meaning and response which local experience can generate. See B. Hafeneger, G. Stüwe and G. Weigel, Punks in der Großstadt, Punks in der Provinz: Projektberichte aus der Jugendarbeit (Opladen: Leske + Budrich, 1993).

Cohen, Folk Devils and Moral Panics , xvii.

See, for example, Muggleton, Inside Subculture and A. Bennett, ‘Researching Youth Culture and Popular Music: A Methodological Critique’, The British Journal of Sociology vol. 53 (2003) no. 3, 451–466.

Muggleton, Inside Subculture , 5 (my emphasis).

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Cagle Reconstructing Pop/Subculture , 47.

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R. Jenkins, Lads, Citizens and Ordinary Kids: Working Class Youth Lifestyles in Belfast (London: Routledge and Kegan Paul, 1983), 41.

J. Macbeth, ‘Ocean Cruising: A Sailing Subculture’, Sociological Review vol. 40 (1992) no. 2, 319–343, 322.

See, for example, Cohen, Subcultural Conflict and Working Class Community and T. Jefferson, ‘Cultural Responses of the Teds: The Defence of Space and Status’ in Hall and Jefferson, Resistance Through Ritual , 81–86.

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Harris, From Class Struggle to the Politics of Pleasure .

A. Bennett, ‘“Speaking of Youth Culture”: A Critical Analysis of (Post)Youth Culture in the New Century’ in D. Woodman and A. Bennett (eds.) Youth Cultures, Transitions and Generations: Bridging the Gap in Youth Research (Basingstoke: Palgrave, 2015), 42–55.

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Bennett, A. (2020). Situating ‘Subculture’: On the Origins and Limits of the Term for Understanding Youth Cultures. In: van der Steen, B., Verburgh, T. (eds) Researching Subcultures, Myth and Memory. Palgrave Studies in the History of Subcultures and Popular Music. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-41909-7_2

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Subcultures and Reasons for Their Existence

Introduction, definition of the term “subculture”, why do subcultures successfully exist for so long.

Each person living in a society is a part of its culture. This is inevitable; whether we want it or not, we learn from what surrounds us and adopt other people’s habits and manners. However, there exists such a phenomenon as subcultures; members of subcultures are a part of a somewhat different culture than the mainstream one.

But, if we take into the account that the main culture is virtually omnipresent, a question arises: how is it even possible? In our paper, we are going to discuss how a subculture is able to appear, survive and remain successful even though it is constantly pressurized by a dominant culture.

Before trying to answer the given question, it is important to define the notions. The term “subculture” is somewhat contradictory; it is sometimes used disapprovingly to say that the participants of the indicated group are deviants who disrupt the normal, orderly flow of things; but sometimes it is utilized to refer to groups that oppose the mainstream culture, having the progress of society as their aim (Dowd & Dowd, 2003, p. 20).

However, we are going to describe a subculture using a more neutral definition, according to which it is a group of individuals who possess a particular type of beliefs and attitudes that differ from those of the mainstream, and attempt to keep to those beliefs and behaviors. Therefore, our definition includes both the “deviant” and the “progressive” types of groups.

Subcultures are often comprised of people who, using various methods (such as particular styles of clothing, music, etc.), try to differentiate themselves from the mainstream (Hebdige, 2002, p. 2-4). It should also be pointed out that if a subculture deliberately and systematically endeavors to be antagonistic towards the mainstream culture, such a subculture is usually described as a counterculture (Dowd & Dowd, 2003, p. 22).

There are many famous examples of subcultures; they include the punk subculture coming from the UK, the hippies subculture originating from the USA, and many others.

Subcultures are the target of constant pressure. They are continuously pressurized by the culture that has hegemony in the society. The word “hegemony” indicates a situation when a number of social groups are able to “exert ‘total social authority’ over other subordinate groups, not simply by coercion… but by ‘winning and shaping consent so that the power of the dominant classes appears both legitimate and natural’” (Hebdige, 2002, p. 15-16). Therefore, the pressure subcultures experience comes from everywhere, for, as it was mentioned above, their members are sometimes (actually, quite often) perceived as deviants and ones that should be returned to the mainstream culture.

Despite that, subcultures often exist and even remain successful for many years or decades. So, what are the factors that contribute to their ability to survive and for such a long time despite the severe conditions they find themselves in?

It might be argued that one of the main reasons for this longevity is the fact that subcultures usually emerge to existence as an opposition to the dominant, hegemonic culture (Dowd & Dowd, 2003). Even though this opposition is not always very strong (for not every subculture is a counterculture), it is present in most cases. It means that the members of a counterculture have a particular set of views which restrain them from merging into the majority.

Sometimes this set of views develops into a whole ideology, which may directly resist the hegemonic culture. Moreover, members of a subculture often socialize mostly with fellow members of the same culture, or, at least, experience their continuous influence, which means that they continuously experience direct influence from their peers, and are therefore much less likely to leave them (Dowd & Dowd, 2003, p. 34).

We might generalize the statement about a subculture’s emergence as an opposition to something by saying that the reason not only for their emergence but also for their longevity is the fact that there is a flaw of some kind in the society, a nagging problem that may or may not be explicitly realized by most people (but often, even if it is realized, this realization is not very clear in society). It means that a subculture is the society’s response to this flaw.

This response might be of different natures, from peaceful according to principles to extremely violent. It is logical to assume that the more major the flaw is, the more radical subculture appears as a result. Therefore, it might be reasoned that before the flaw is gone, this flaw, as one of the main conditions that led to the subculture’s appearance, continues to maintain its existence and successfulness, supply it with new members, and persuade many ‘veteran’ members to carry on.

A subculture often spreads to other regions where there is the same problem; it might undergo various metamorphoses depending on changing internal needs and external circumstances (transformations in the flaw that caused the culture’s emergence, or other conditions such as a shift in the environment caused either by change in the mainstream culture or by the subculture’s spreading to new regions, etc.), like it happened e.g. with punks (Paris & Ault, 2004, p. 404). This, obviously, also maintains the subculture’s existence, even though in a new form.

We would like to give two examples of subcultures, even quite extreme countercultures, which have or had a great influence on the society they exist or existed in. The first one is the contemporary gangs present in Central America, the so-called maras. Breve-Travieso (n.d.) argues that their emergence in 1990–2000s was the result of military actions in their country, and it was worsened by social problems such as poverty, bad education, unemployment or underemployment, and so on. (para. 2, 5).

Maras pose a great threat, terrorizing the locals, dealing in drugs and weapon, etc. Until the trouble that led to the emergence of maras is solved, and their current members are rehabilitated, the gangs are most likely to continue their terror.

Another example is the anarchist counterculture and a political movement. It opposes capitalism and hierarchization (inequality) of society, which it perceives as immense flaws, and supports those at the bottom of the social hierarchy, the poor and blue-collar workers being among them.

The movement has existed for centuries, though often in a somewhat clandestine form. One of the major achievements of the movement is now celebrated internationally on 1 May: anarchists played an important role in 1886 Haymarket protests in Chicago; the protests eventually became an important reason for adoption of 40-hour work week (Zinn, n.d., p. 249-251). Still, this achievement, or any other ones, did not solve the problem of social inequality, and the movement continues to exist nowadays.

As we have seen, there are reasons why subcultures are able to exist and remain successful for years, decades and even centuries. The main reason for this, in our opinion, is that there is a flaw in society, and the emergence of a subculture is the society’s response to this flaw. Subcultures might try to solve the flaw they are a result of; sometimes they even exacerbate the problem. But, in any case, until the main reason of their appearance is gone, their existence can continue for a long time.

Breve-Travieso, F. (n.d.). The maras: A menace to the Americas . Web.

Dowd, J. J., & Dowd, L. A. (2003). The center holds: From subcultures to social worlds. Teaching Sociology, 31 , 20-37.

Hebdige, D. (2002). Subculture: The meaning of style . London, UK, New York, NY: Routledge.

Paris, J., & Ault, M. (2004). Subcultures and political resistance. Peace Review, 16 (4), 403-407.

Zinn, H. (n.d.). A People’s History of the United States , 1492-Present .

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Pop Culture, Subculture, and Cultural Change

• Discuss the roles of both high culture and pop culture within society
• Differentiate between subculture and counterculture
• Explain the role of innovation, invention, and discovery in culture

It may seem obvious that there are a multitude of cultural differences between societies in the world. After all, we can easily see that people vary from one society to the next. It’s natural that a young woman from rural Kenya would have a very different view of the world from an elderly man in Mumbai—one of the most populated cities in the world. Additionally, each culture has its own internal variations. Sometimes the differences between cultures are not nearly as large as the differences inside cultures.

Popular Culture

The term popular culture refers to the pattern of cultural experiences and attitudes that exist in mainstream society. Popular culture events might include a parade, a baseball game, or the season finale of a television show. Rock and pop music—“pop” is short for “popular”—are part of popular culture. Popular culture is often expressed and spread via commercial media such as radio, television, movies, the music industry, publishers, and corporate-run websites. Unlike high culture , reserved for the elite, popular culture is known and accessible to most people. You can share a discussion of favorite football teams with a new coworker or comment on American Idol when making small talk in line at the grocery store. But if you tried to launch into a deep discussion on the classical Greek play Antigone at a subway station, few members of U.S. society today would be familiar with it.

Subculture and Counterculture

A subculture is just what it sounds like—a smaller cultural group within a larger culture; people of a subculture are part of the larger culture but also share a specific identity within a smaller group.

Thousands of subcultures exist within the United States. Ethnic and racial groups share the language, food, and customs of their heritage. Other subcultures are united by shared experiences. Biker culture revolves around a dedication to motorcycles. Some subcultures are formed by members who possess traits or preferences that differ from the majority of a society’s population. The body modification community embraces aesthetic additions to the human body, such as tattoos, piercings, and certain forms of plastic surgery. In the United States, adolescents often form subcultures to develop a shared youth identity. Alcoholics Anonymous offers support to those suffering from alcoholism. But even as members of a subculture band together, they still identify with and participate in the larger society.

Sociologists distinguish subcultures from countercultures , which are a type of subculture that reject some of the larger culture’s norms and values. In contrast to subcultures, which operate relatively smoothly within the larger society, countercultures might actively defy larger society by developing their own set of rules and norms to live by, sometimes even creating communities that operate outside of greater society.

Cults, a word derived from culture, are also considered counterculture group. The group “Yearning for Zion” (YFZ) in Eldorado, Texas, existed outside the mainstream and the limelight, until its leader was accused of statutory rape and underage marriage. The sect’s formal norms clashed too severely to be tolerated by U.S. law, and in 2008, authorities raided the compound and removed more than two hundred women and children from the property.

Skinny jeans, chunky glasses, and T-shirts with vintage logos—the American hipster is a recognizable figure in the modern United States. Based predominately in metropolitan areas, sometimes clustered around hotspots such as the Williamsburg neighborhood in New York City, hipsters define themselves through a rejection of the mainstream. As a subculture, hipsters spurn many of the values and beliefs of U.S. culture and prefer vintage clothing to fashion and a bohemian lifestyle to one of wealth and power. While hipster culture may seem to be the new trend among young, middle-class youth, the history of the group stretches back to the early decades of the 1900s.

Where did the hipster culture begin? In the early 1940s, jazz music was on the rise in the United States. Musicians were known as “hepcats” and had a smooth, relaxed quality that went against upright, mainstream life. Those who were “hep” or “hip” lived by the code of jazz, while those who were “square” lived according to society’s rules. The idea of a “hipster” was born.

The hipster movement spread, and young people, drawn to the music and fashion, took on attitudes and language derived from the culture of jazz. Unlike the vernacular of the day, hipster slang was purposefully ambiguous. When hipsters said, “It’s cool, man,” they meant not that everything was good, but that it was the way it was.

By the 1950s, the jazz culture was winding down and many traits of hepcat culture were becoming mainstream. A new subculture was on the rise. The “Beat Generation,” a title coined by writer Jack Kerouac, were anti-conformist and anti-materialistic. They were writers who listened to jazz and embraced radical politics. They bummed around, hitchhiked the country, and lived in squalor.

The lifestyle spread. College students, clutching copies of Kerouac’s On the Road , dressed in berets, black turtlenecks, and black-rimmed glasses. Women wore black leotards and grew their hair long. Herb Caen, a San Francisco journalist, used the suffix from Sputnik 1 , the Russian satellite that orbited Earth in 1957, to dub the movement’s followers “Beatniks.”

As the Beat Generation faded, a new, related movement began. It too focused on breaking social boundaries, but it also advocated freedom of expression, philosophy, and love. It took its name from the generations before; in fact, some theorists claim that Beats themselves coined the term to describe their children. Over time, the “little hipsters” of the 1970s became known simply as “hippies.”

Today’s generation of hipsters rose out of the hippie movement in the same way that hippies rose from Beats and Beats from hepcats. Although contemporary hipsters may not seem to have much in common with 1940s hipsters, the emulation of nonconformity is still there. In 2010, sociologist Mark Greif set about investigating the hipster subculture of the United States and found that much of what tied the group members together was not based on fashion, musical taste, or even a specific point of contention with the mainstream. “All hipsters play at being the inventors or first adopters of novelties,” Greif wrote. “Pride comes from knowing, and deciding, what’s cool in advance of the rest of the world. Yet the habits of hatred and accusation are endemic to hipsters because they feel the weakness of everyone’s position—including their own” (Greif 2010). Much as the hepcats of the jazz era opposed common culture with carefully crafted appearances of coolness and relaxation, modern hipsters reject mainstream values with a purposeful apathy.

Young people are often drawn to oppose mainstream conventions, even if in the same way that others do. Ironic, cool to the point of noncaring, and intellectual, hipsters continue to embody a subculture, while simultaneously impacting mainstream culture.

As the hipster example illustrates, culture is always evolving. Moreover, new things are added to material culture every day, and they affect nonmaterial culture as well. Cultures change when something new (say, railroads or smartphones) opens up new ways of living and when new ideas enter a culture (say, as a result of travel or globalization).

Culture lag can also cause tangible problems. The infrastructure of the United States, built a hundred years ago or more, is having trouble supporting today’s more heavily populated and fast-paced life. Yet there is a lag in conceptualizing solutions to infrastructure problems. Rising fuel prices, increased air pollution, and traffic jams are all symptoms of culture lag. Although people are becoming aware of the consequences of overusing resources, the means to support changes takes time to achieve.

This video was taken from the “Sociology Crash Course” series of videos http://thecrashcourse.com and created by Cindy Hager in collaboration with the Alexandria Technical Community College.

Sociologists recognize high culture and popular culture within societies. Societies are also comprised of many subcultures—smaller groups that share an identity. Countercultures reject mainstream values and create their own cultural rules and norms. Through invention or discovery, cultures evolve via new ideas and new ways of thinking. In many modern cultures, the cornerstone of innovation is technology. Technology is also responsible for the spread of both material and nonmaterial culture that contributes to globalization.

Section Quiz

Short answer.

Identify several examples of popular culture and describe how they inform larger culture. How prevalent is the effect of these examples in your everyday life?

Consider some of the specific issues or concerns of your generation. Are any ideas countercultural? What subcultures have emerged from your generation? How have the issues of your generation expressed themselves culturally? How has your generation made its mark on society’s collective culture?

What are some examples of cultural lag that are present in your life? Do you think technology affects culture positively or negatively? Explain.

Popular culture meets counterculture in this article as Oprah Winfrey interacts with members of the Yearning for Zion cult. Read about it here: http://openstaxcollege.org/l/Oprah

Greif, Mark. 2010. “The Hipster in the Mirror.” New York Times , November 12. Retrieved February 10, 2012 ( http://www.nytimes.com/2010/11/14/books/review/Greif-t.html?pagewanted=1 ).

Ogburn, William F. 1957. “Cultural Lag as Theory.” Sociology & Social Research 41(3):167–174.

Rogers, Everett M. 1962. Diffusion of Innovations . Glencoe: Free Press.

Scheuerman, William. 2010. “Globalization.” The Stanford Encyclopedia of Philosophy , edited by E. N. Revised 2014. Zalta, Summer. Retrieved February 10, 2012 ( http://plato.stanford.edu/archives/sum2010/entries/globalization/ ).

mainstream, widespread patterns among a society’s population

the cultural patterns of a society’s elite

groups that share a specific identification, apart from a society’s majority, even as the members exist within a larger society

groups that reject and oppose society’s widely accepted cultural patterns

the gap of time between the introduction of material culture and nonmaterial culture’s acceptance of it

Rothschild's Introduction to Sociology Copyright © by Teal Rothschild is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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Definition of subculture

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1885, in the meaning defined at sense 1a

Dictionary Entries Near subculture

subcurative

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• a rolling stone (gathers no moss) idiom
• flower child
• go/get back to nature idiom
• New Age traveller
• the Beat Generation
• underground

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• the criminal/drug/youth subculture

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Subcultures.

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            Subcultures are formed when a person's values and beliefs are shaped around particular styles of fashion, music, language and other individuals with the same or similar interests. .              "Homies", "goths" and car enthusiasts are examples of youth subcultures, in which many Australian young people are a part of. Subcultures are not a useful way to analyse the positions or experiences of youth in Australia due to a variety of reasons. The negative portrayal by the media, stereotypes and government policies can change the way young people are represented in society. However, young people can also be viewed in a positive way as there are many choices for them to take on such as employment, education, technology, socialisation and support. It is unfortunate that young people in Australian society are most often under scrutiny for violence, crimes, and drugs rather than for their positive contributions to society. .              Subcultures are formed when an individual's attitude, images, experiences, values and identity are shaped around particular styles of fashion, music, language and culture. Subculture can be seen as a subdivision of a national culture; it exists between the parameters of certain cultures" (Najman, 2000)Identity can be defined as "The distinct personality of an individual regarded as a persisting entity; made and fixed in childhood" (Bessant, 1998). Identity is continually made and re made as young people grow older and encounter social and cultural settings in which they explore new ways of doing things. (Bessant, 1998). Analysing a subcultural group, for example a group of "homies" will not determine the position or experiences they are in as trends and beliefs constantly change. Bias may also affect the analysis, which would not provide broad ideologies of subcultures, experiences and positions of young people in Australia. Social identity which is constructed by a variety of social influences such as peers, institutions, family, and media, assists in the formation of the individual's interests, beliefs and choices he or she makes when joining a subcultural group (Adams, 1999).

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When determing which people participate in hip hop subculture we look for signifiers that represent or are attached to members of the subculture. " We should not underestimate the signifying power of the spectacular subculture not only as a metaphor for potential anarchy 'out there' but as a actual mechanism for semantic disorder" (Hebdige, 1979:90 cited in Cultural Studies Theory and Practice, Barker,2000, pg 327,). ... These assumptions/stereotypes are based on the people who display these signifiers within the subculture. ... In the case of hip-hop, news, reports, reviews and a...

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In this paper I will analyze and discus the articles "Democracy and Destiny" by Gary Young and "Subcultures, Cultures and Class" by John Clarke et al. ... The next article I will critique is a chapter taken from The Subcultures Reader, a book written by Gelder, K. and Thornton, S. ... In summary, this reading covered the different schemes of subcultures and class, along with the search for individual identity. ... To sum this up, Clarke et al. have stressed emphasis on the development of subcultures, and the stigma associated with these individual subcultures. ... Interestingly enough, "subcul...

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Review: ‘Black Twitter’ Looks at Who Gave the Platform Its Voice

Hulu’s docuseries on a social-media subculture doubles as a serious snapshot of recent history.

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By James Poniewozik

Who created Twitter?

On one level, the business level, the Wikipedia level, the answer is simple: Twitter, a social-media service allowing users to post brief messages, was founded in 2006 by Jack Dorsey, Noah Glass, Biz Stone and Evan Williams.

But on the level of culture, the people who “create” a social platform — that is, who decide what it’s for, what it can do, how it feels — are the people who use it. “Black Twitter: A People’s History,” which arrives on Hulu on Thursday, argues that it was Black users who, as much or more than anyone, gave Twitter its voice.

A couple of caveats are useful here. Though Twitter, now called X, is a global infosystem with worldwide effects, the three-part documentary, based on a Wired oral history by Jason Parham, focuses mainly on Twitter as an American phenomenon. And Black Twitter, the series is careful to point out, isn’t a monolith or formal group but the more general phenomenon of Blackness and Black culture manifesting online.

“Black Twitter” treats the network not mainly as technology or business but as a cultural artifact — a platform, even an art form, for commentary, community and comedy. Twitter, it argues, is another part of American culture, like music and food, that Black Americans defined by coming to it from the margins.

“In the same way that we took our lamentations and made gospel music, we took a site like Twitter and we made it a storytelling forum,” Meredith Clark, a journalism professor undertaking an archive of Black Twitter, says in the documentary. Or as the comedian Baratunde Thurston pithily puts it: “We repurposed Twitter the way we repurposed chitlins.”

This scaffolding of ideas elevates “Black Twitter” above the kind of remember-this-remember-that pop-history documentary that it can resemble on the surface. Appropriate to its subject, it tells its story in a series of small bites. It stitches together interviews with academics, journalists, entertainers, viral stars and figures from business and politics with a nimble narration by the director, Prentice Penny.

In the early, janky, manual-retweet days of Twitter, it wasn’t clear what the medium was going to be for. But it was fast, conversational and accessible, an open space to create community. The development of hashtags — a workaround for Twitter’s search function — allowed users to plant signposts for instant conversations.

One of them, #uknowurblackwhen, coined by the Twitter user Ashley Weatherspoon in 2009, became a sort of origin story for Black Twitter. Wildly viral (according to Parham’s original story, it at one point accounted for 1.2 percent of all Twitter traffic), it became a magnet for riffs, family stories, self-deprecating exaggerations — far-flung users improvising in the moment a collective definition of a culture. This is how social-media comedy often functions: Making a joke produces a laugh, but getting a joke produces a connection.

Twitter had jokes, but the jokes could also have purpose, as when the tag #OscarsSoWhite crystallized a protest against a lack of diversity in Hollywood’s award and reward systems.

Hashtagging was one way, “Black Twitter” argues, that Black users shaped Twitter’s vernacular. Another was through memes, which allowed a layered visual vocabulary for mood, irony, emotion and attitude. Black people, the documentary argues, were pioneers of memes-as-language and often the faces of it: Michael Jackson munching popcorn (to convey excited spectatorship), James Harden eye-rolling away from an interviewer (wry dismissal), Donald Glover walking into a burning room (surprised horror) and of course, the Pietà of memes, Crying Jordan .

Like any social platform, Twitter is people; its history is human history. So “Black Twitter” doubles as a social history of America from the beginning of the Obama era to the aftermath (and resumption?) of the Trump era, an arc of hope to disillusionment to acrimony. It begins nostalgically, with the election of the first Black president (who was also an early Twitter adopter) and memories of over-the-top online beefs and “Scandal” watch parties.

With the killings of Trayvon Martin and Michael Brown, Black Twitter served as a crowdsourced information network and protest forum. The hashtag #IfTheyGunnedMeDown invited Black users to post pairs of photos of themselves, grimly satirizing the tendency of media outlets to choose the most menacing images of Black people shot by the police.

The rest of “Black Twitter” is (recent) history: the element of racial backlash around Donald J. Trump’s election; Black Lives Matter and the George Floyd protests; the pandemic; BBQ Becky and Permit Patty and the Jan. 6 attackers at the Capitol. Eventually, Elon Musk buys the platform, reinstates banned accounts and presides over a toxic spill of hate speech . (Most recently Musk restored the account of the white supremacist Nick Fuentes .)

Seen hopefully, the story of “Black Twitter” is that of the irrepressibility of a culture’s expression. Seen more gloomily, it’s a reminder of the fine line between a public forum providing a voice for the less powerful and its being used as a cudgel against them.

If there’s an optimistic takeaway from this fast, impressionistic history, it’s that Black Twitter is really a phenomenon that preceded Twitter — as seen in Black users’ earlier embrace of outlets like Myspace — and that it will persist elsewhere if it comes to that. (Already, the documentary says, its energy is in some ways shifting to video platforms like TikTok.)

“Black Twitter: A People’s History” doesn’t have grand predictions about what comes next. But it’s an engagingly specific snapshot of the Twitter era and the social period it overlapped with: a time that was serious even when it was silly, that was fun until it wasn’t.

James Poniewozik is the chief TV critic for The Times. He writes reviews and essays with an emphasis on television as it reflects a changing culture and politics. More about James Poniewozik

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