Abstract
The second part of this work, titled “Effects of Mobility of Surfing and Surf Music on Cultural Appropriation,” presents two theoretical models. They are meant to highlight how cultures circulate and are reconfigured to meet the needs of local populations, who appropriate them. This chapter starts with a preamble that defines the notions of localism and glocalization in surfing. An essential part of this chapter rationalizes the transposition of sociolinguistic theories and terminology to surfing culture using modeling. The Ultra-marine model of cultural hybridization is meant to represent the creolization or hybridization of surfing and surf music, from their respective birthplaces (Hawaii for the former, California for the latter) to their Floridian iteration. This chapter shows that the hybridization of surfing and surf music resulted in the emergence of musical repertoires adapted to spaces, cultures, and periods, reflecting the ethos of surfing as a lifestyle crossover.
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Notes
- 1.
According to Jeremy Lemarié (2016a), localism was born on the Californian coasts in the mid-twentieth century because of the democratization of surfing and the increasing use of surfing areas (p. 256). War rhetoric is assimilated to the phenomenon: locals seek to protect their territory by going so far as to physically assault those whom they consider invaders.
- 2.
Steve Oliver (2013) asserted that snowboarding, as it is much more regulated than surfing, does not face issues of territoriality and violence: “territoriality and violence are virtually unheard of on the slopes” (p. 175). This is an erroneous generalization used to justify an already fragile perspective. Freestyle parks (sections of the mountain with artificial features for jumping and other tricks) are places where individuals compete for access to the modules. Thus, in the lineup, it is not uncommon to see two snowboarders elbow against elbow pushing each other to access the features. Having spent a lot of my time in these parks, I have witnessed these behaviors, which sometimes, lead to two snowboarders jumping at the same time. Besides, conflicts between locals and visitors are common. Locals sometimes aggressively call out visitors on their lack of responsiveness or their incongruous positioning on the mountain. In contrast, in eight years in Florida, I have never witnessed a conflict on the beach (I am not claiming that they do not occur).
- 3.
Interviewed on June 13, 2017.
- 4.
Translocality refers to fluid interrelations between places and people. These interconnections are enabled by mobility and migrations and result in identity formations and sociocultural modifications (Greiner & Sakdapolrak, 2013).
- 5.
This point will be developed later in Model two: the capacity to determine the chronological and directional characteristics of a culture that is observed makes it possible to establish a paradigm in the classification of cultures according to these aspects.
- 6.
Sociolinguistic notions are used throughout this work to discuss cultures as linguistic and cultural phenomena through homology. While the concept of homology is implemented it this case, its application is criticized when applied to music and societies.
- 7.
The notions of hybrid and creole are generally synonymous in sociolinguistic studies (Cohen, 2007a, p. 4), so they are used interchangeably here.
- 8.
There is a distinction between Pidgin and Creole, the definitions of which help to understand the status I give to surfing in the dynamics of creolization. Pidgins are used for “vertical commands” whereas Creoles are “horizontal languages” (Cohen, 2007a, p. 6). In this homology, cultures become primary languages as opposed to Pidgins forced into reduced spaces and a lower status.
- 9.
The model itself and its name are inspired by my own experience as a Creole from a French Island, Reunion Island, and by my own research in Applied Linguistics.
- 10.
Diglossia is a linguistic term which refers to the social inequality of languages.
- 11.
- 12.
In Hawaiian, the verb he’e nalu means to surf waves. As a noun, it means a surfer (Clark, 2011, p. 198).
- 13.
A haole is a foreigner (Silva, 2004, p. 12).
- 14.
Interviewed on September 10, 2016.
- 15.
The dialectic of rooting and movement is discussed in detail in the next chapter.
- 16.
Southern rock is a heterogeneous style developed during the 1960s and 1970s.
- 17.
Interviewed on January 16, 2016.
- 18.
The expression is borrowed from Sean Slater. It very accurately represents the characterization of the Floridian lifestyle and surf music proposed here, which are constituted thanks to the crossing of various aesthetic and cultural practices.
- 19.
Interviewed on June 7, 2017.
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Barjolin-Smith, A. (2020). Model One: The Ultra-Marine Model of Cultural Hybridization. In: Ethno-Aesthetics of Surf in Florida. Palgrave Macmillan, Singapore. https://doi.org/10.1007/978-981-15-7478-8_5
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