Samonikla prizorišča

• Main Author: Šulc, Ajda
• Other Authors: Bučar-Ručman, Aleš
• Format: Bachelor Thesis
• Language: Slovenian
• Published: A. Šulc] 2015
• Subjects: družbena gibanja; subkulture; alternativne kulture; uporništvo; skvotiranje; diplomske naloge; grass-roots venues; alternative culture; rebellion; alternative clubs; anti-capitalism; DIY; squatting; subcultures; info:eu-repo/classification/udc/316.6(043.2); sami
• Online Access: https://dk.um.si/IzpisGradiva.php?id=54270; https://dk.um.si/Dokument.php?id=79555&dn=; http://www.cobiss.si/scripts/cobiss?command=DISPLAY&base=cobib&rid=3027690&fmt=11

Samonikla prizorišča so produkt nevladnih, alternativnih in avtonomnih pobud posameznikov, ki želijo soustvarjati drugačno kulturo in graditi pravičnejšo skupnost. V ta namen navadno zasedejo in si preuredijo prostore, v katerih organizirajo raznolike prireditve z družbenokritično vsebino ter nudijo tudi drugim somišljenikom možnost aktivnega preživljanja prostega časa, neformalnega učenja, soustvarjanja in razvoja družbenokritičnosti. Skupaj tako neodvisno od kapitala in političnih elit gradijo skupnost, drugačno od zunanjega sveta, znotraj katere zavračajo mnoge vrednote in norme trenutnega izkoriščevalskega sistema, ter generirajo svoje. Te so odraz uporništva in nasprotovanja potrošništvu, neenakostim v družbi, vrednotenju le materialnih dobrin, izgubi občutka za sočloveka, diskriminaciji in individualizmu. To pa jih opredeljuje kot nekonformne z večino, zato so s strani širše družbe, predvsem oblasti, obravnavani kot grožnja trenutnim strukturam. Kljub prispevku, ki ga ima bogato kulturno ustvarjanje in razvoj tistih najžlahtnejših vrednot, oblast njihovega delovanja proti njej sami ne podpira. Nasprotno, velikokrat ga celo otežuje. Diplomsko delo predstavlja glavne značilnosti samoniklih prizorišč kot središč alternativne kulture. Za lažje razumevanje odnosa le-teh do širše družbe so najprej opredeljeni temeljni pojmi iz področja kulture, predvsem za pričujoče delo relevantna pojma subkultur in alternativne kulture. Nadaljnje so pojasnjeni pojmi, ki se nanašajo na te prostore drugačnosti. Podrobneje so predstavljeni nastanek, značilnosti prostorov, delovanja in akterjev ter prispevek, ki ga imajo takšna prizorišča v družbi. Naslednje večje poglavje je namenjeno analizi odnosa predvsem državnih in lokalnih oblasti. V empiričnem delu sta predstavljena primera dveh tipičnih samoniklih prizorišč v Kranju in v Kopru. Grass-roots venues are the product of non-governmental, alternative and autonomous initiatives of individuals that are trying to create different culture and more fair community. For this purpose they often squat and rearrange empty buildings, in which they organize a variety of events with socially-critical content. They also offer other sympathizers the possibility of active leisure, informal learning, co-creation of culture and development of social criticism. Together they build a community, different from the ‘outside world’, within which they reject many values and norms of the current exploitative system, and generate their own values. These are reflection of rebellion and opposition to consumerism, inequalities in society, evaluation of only material goods, loss of sense for fellow persons, discrimination and individualism. This takes them out of conformity with the majority. And for that they are often being treated as threat to the current social structure by the wider society, especially the authorities. Despite the contribution that they make with rich cultural creation and development of those most noble values, the authorities obviously don’t support them in their anti-authorities actions. This thesis presents the main characteristics of the grass-roots venues as centers of alternative culture. For easier understanding of the relationship between them and wider society it first define basic concepts about culture. Further, the concepts that relate to those different venues are explained. It presents more information about formation, characteristics and the contribution of grass-roots venues to the society. Next major section analyzes the relationship of the state and local authorities towards the alternative culture. In the end, empirical part presents the cases of two typical grass-roots venues from Kranj and Koper.