Panas Karampampas is a Social Anthropologist at Durham University (UK) while in the past he has worked at the Università Ca’ Foscari, Venezia, at Panteion University of Social and Political Sciences, the University of Peloponnese, the University of Thessaly and at the École des hautes études en sciences sociales – EHESS, Paris. Previously he was a guest lecturer in the Department of Social Anthropology at the University of St. Andrews, where he also completed his PhD and a visiting scholar at the Faculty of Social Sciences of the National Research University - Higher School of Economics (HSE University), Moscow. He is a co-convenor of the EASA Mediterraneanist Network (MedNet) and Europeanist network (EuroNet). He was also nominated and elected as a Founding Board Member of the Association of Social Anthropologists of Greece.
He currently works on Intangible Cultural Heritage policies and global governance. His doctoral research focused on the goth scene, digital anthropology, dance, cosmopolitanism and globalisation. His work has been published in peer-reviewed journals such as Social Anthropology/Anthropologie Sociale, Teaching Anthropology, the International Journal of Heritage Studies and the Journal of Youth Studies. He has also co-edited the Collaborative Intimacies: Anthropologies of Sound and Movement (Berghahn, February 2017), and edited the Intangible Cultural Heritage in times of economic “crisis”: Marketisation and Resilience (The Hellenic Ministry of Culture and Sports Press, 2023).
Panas has also completed the "Training of Trainers for Intangible Cultural Heritage" and became a member of the network of facilitators who can provide support and training at international level (government officials, training national experts and academics) and local level (supporting and training local communities and NGOs so that they can use the Convention to their advantage). https://ich.unesco.org/en/trainer/karampampas-panas-03511
He currently works on Intangible Cultural Heritage policies and global governance. His doctoral research focused on the goth scene, digital anthropology, dance, cosmopolitanism and globalisation. His work has been published in peer-reviewed journals such as Social Anthropology/Anthropologie Sociale, Teaching Anthropology, the International Journal of Heritage Studies and the Journal of Youth Studies. He has also co-edited the Collaborative Intimacies: Anthropologies of Sound and Movement (Berghahn, February 2017), and edited the Intangible Cultural Heritage in times of economic “crisis”: Marketisation and Resilience (The Hellenic Ministry of Culture and Sports Press, 2023).
Panas has also completed the "Training of Trainers for Intangible Cultural Heritage" and became a member of the network of facilitators who can provide support and training at international level (government officials, training national experts and academics) and local level (supporting and training local communities and NGOs so that they can use the Convention to their advantage). https://ich.unesco.org/en/trainer/karampampas-panas-03511
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Books by Panas Karampampas
Αυτός ο συλλογικός τόμος αναδεικνύει τον δημιουργικό διάλογο που προκύπτει από τη συνάντηση των γενικών αρχών της Σύμβασης με τις δημόσιες πολιτικές για την άυλη πολιτιστική κληρονομιά, όπως αυτές σχεδιάζονται και εφαρμόζονται από θεσμούς, πρόσωπα και συλλογικότητες, ειδικά για την αντιμετώπιση διαφόρων ειδών «κρίσεων». Ταυτόχρονα, οι εθνογραφικές μελέτες που παρουσιάζονται στον τόμο, οι οποίες πραγματοποιήθηκαν σε χώρες, όπως η Βραζιλία, η Ελλάδα, η Ιταλία, η Κίνα και η Τουρκία, διερευνούν πώς οι πολιτικές διαφύλαξης της άυλης πολιτιστικής κληρονομιάς ενδυνάμωσαν την σύνδεση της άυλης πολιτιστικής κληρονομιάς με την αγορά και τον τουρισμό, στην προσπάθειά τους να ενισχύσουν ποικίλες μορφές ανθεκτικότητας (resilience).
List of Illustrations and Tables
Preface
Notes on Contributors
Introduction: Collaborative Intimacies
Evangelos Chrysagis and Panas Karampampas
PART I: SOUND, MEANING AND SELF-AWARENESS
Chapter 1. Being in Sound: Reflections on Recording while Practicing Aikido and Shakuhachi
Tamara Kohn and Richard Chenhall
Chapter 2. Performing and Narrating Selves in and through Classical Music: Being ‘Japanese’ and Being a Professional Musician in London
Yuki Imoto
PART II: PEDAGOGIES OF BODILY MOVEMENT
Chapter 3. Kinaesthetic Intimacy in a Choreographic Practice
Brenda Farnell and Robert N. Wood
Chapter 4. The Presentation of Self in Participatory Dance Settings: Data Collecting with Erving Goffman
Bethany Whiteside
PART III: MUSIC PRACTICES AND ETHICAL SELFHOOD
Chapter 5. The Animador as Ethical Mediator: Stage Talk and Subject Formation at Peruvian Huayno Music Spectacles
James Butterworth
Chapter 6. A Sense of Togetherness: Music Promotion and Ethics in Glasgow
Evangelos Chrysagis
PART IV: BODIES DANCING IN TIME AND ACROSS SPACE
Chapter 7. Rumba: Heritage, Tourism and the ‘Authentic’ Afro-Cuban Experience
Ruxandra Ana
Chapter 8. Cinematic Dance as a Local Critical Commentary on the ‘Economic Crisis’: Exploring Dance in Korydallos, Attica, Greece
Mimina Pateraki
PART V: MOTION, IRONY AND THE MAKING OF LIFEWORLDS
Chapter 9. Performing Irony on the Dance Floor: The Many Faces of Goth Irony in the Athenian Goth Scene
Panas Karampampas
Chapter 10. The Intoxicating Intimacy of Drum Strokes, Sung Verses and Dancing Steps in the All-Night Ceremonies of Ambonwari (Papua New Guinea)
Borut Telban
Bibliography
Index
Papers by Panas Karampampas
现代文化遗产局 ( DMCH) 付诸实施，以非物质文化遗产的名义推广传统技术及其产品，目标是通过展示 “希腊人的辛勤工作”来提高当地工业的销售额、创造新的就业机会、改善希腊的国家形象，从而扭转外界对 希腊人的负面刻板印象。
Conference Presentations by Panas Karampampas
Saturday night is considered an opportunity to meet friends, flirt and "dance away" the weekly tension of work, school or university and the economic frugality. However, under the new economic terms, the institution of "Saturday night out" is being reconsidered by clubbers and club owners so that it survives as part of goth life style rather than to be turned into luxury. I argue that, even though the current economic crisis has been affecting both goth scene and its fans in different ways that will be analysed here, goth fans have been trying to find ways to negotiate this situation to keep the scene active and continue performing their goth identity as they used to do.
Industrial dance is the most recent goth dance style that was developed and became a trend from mid to late 2010s'. It is a style that is mainly performed transnationally by younger goths into the industrial and cybergoth fractions. Its importance and practice surpass clubs becoming a regular practice that takes place in multiple physical and digital locations.
Cyberspace is the connecting link of the Goth network that is related with material spaces and its cyber-networks related to non-cyber-networks. For Goths, internet does not replace conventional activities but acts as a supplement and reinforces them, bringing the everyday concerns of Goths into cyberspace; information gained in cyberspace is embodied in everyday life.
Beauty in goth differ (in and out of scene) regarding the bodies, music, dance, dress and style. Each individual has unique taste for beauty and appropriates different music, dance and dress that are characterised as goth creating a distinctive style and perform 'gothness' uniquely. Thus, these choices introduce every subject in the most fitting goth faction.
Gossip is the main context in which contests of beauty are taking place, digitally and physically; digitally in social media, mainly on Facebook and physically in goth locations like clubs. Every performance of 'gothness' must satisfy specific beauty criteria that are different for every faction and evaluated by fellow goths. However, the individuality in beauty taste makes it particularly multi-layered and fluid, creating complex representations and contests of beauty in the Goth scene.
I am looking Goth as a transnational network of interlinked encounters with reciprocal flows among its members and regional scenes. The cyberspace is the connecting link of the Goth network that is related with material spaces and its cyber-networks related with non-cyber-networks. For Goths, internet does not replace conventional activities but acts as supplementary and reinforces them, bringing the everyday concerns of Goths into cyberspace and information gained in cyberspace are embodied in everyday life. It provides with specific knowledge of the scene, construct values, give practical advice and create friendships – locally or transnationally.
Two cases will be examined in order to analyse how the relations extend from local to transnational scenes through the Internet. First, Youtube is used as a media of transmission of bodily practices (industrial dance) between regional scenes. Second, Facebook acts as a common location to meet up Goths from other regional scenes, to arrange trips in festivals and meet up face-to-face for the first time in the festival. Through these two social media and their different uses I will present the cosmopolitanism of Goth scene.""
Reflexive and autobiographical narratives combined with ethnographic data are used and Goth identity is viewed as a performative process suggesting that the presentation of 'gothness' during dancing helps its members to obtain subcultural capital.
As subcultural theorists suggest, subcultures obfuscate class but contain their own forms of social hierarchies. For the analysis of the rules of Goth social hierarchies, Sarah Thornton's model for subcultural capital is used. Gothic subcultural capital is mainly attained by adopting specific style (dress, dance), participating in events, having in scene knowledge and being in a Goth circle with high subcultural capital.
Because the purpose of this paper is to explore dance practices, it explores the kinetic rules of Goth dance styles and tries to understand the hesitation of 'newbies' to enter the dance floor and the uncertainty of their movement. It also ties to connect dancers' subcultural capital with the spatial preferences of their performance on the dance floor, out of it or on clubs' stage. In the Athenian Goth network, most participants have got to know each other. Performing dance is a moment of uncertainty because, while one present one's 'gothness' in the dance floor, most attendees gossip dancer's act as a result of one's revaluation subcultural capital and, consequently, one's place in Goth hierarchies."
Αυτός ο συλλογικός τόμος αναδεικνύει τον δημιουργικό διάλογο που προκύπτει από τη συνάντηση των γενικών αρχών της Σύμβασης με τις δημόσιες πολιτικές για την άυλη πολιτιστική κληρονομιά, όπως αυτές σχεδιάζονται και εφαρμόζονται από θεσμούς, πρόσωπα και συλλογικότητες, ειδικά για την αντιμετώπιση διαφόρων ειδών «κρίσεων». Ταυτόχρονα, οι εθνογραφικές μελέτες που παρουσιάζονται στον τόμο, οι οποίες πραγματοποιήθηκαν σε χώρες, όπως η Βραζιλία, η Ελλάδα, η Ιταλία, η Κίνα και η Τουρκία, διερευνούν πώς οι πολιτικές διαφύλαξης της άυλης πολιτιστικής κληρονομιάς ενδυνάμωσαν την σύνδεση της άυλης πολιτιστικής κληρονομιάς με την αγορά και τον τουρισμό, στην προσπάθειά τους να ενισχύσουν ποικίλες μορφές ανθεκτικότητας (resilience).
List of Illustrations and Tables
Preface
Notes on Contributors
Introduction: Collaborative Intimacies
Evangelos Chrysagis and Panas Karampampas
PART I: SOUND, MEANING AND SELF-AWARENESS
Chapter 1. Being in Sound: Reflections on Recording while Practicing Aikido and Shakuhachi
Tamara Kohn and Richard Chenhall
Chapter 2. Performing and Narrating Selves in and through Classical Music: Being ‘Japanese’ and Being a Professional Musician in London
Yuki Imoto
PART II: PEDAGOGIES OF BODILY MOVEMENT
Chapter 3. Kinaesthetic Intimacy in a Choreographic Practice
Brenda Farnell and Robert N. Wood
Chapter 4. The Presentation of Self in Participatory Dance Settings: Data Collecting with Erving Goffman
Bethany Whiteside
PART III: MUSIC PRACTICES AND ETHICAL SELFHOOD
Chapter 5. The Animador as Ethical Mediator: Stage Talk and Subject Formation at Peruvian Huayno Music Spectacles
James Butterworth
Chapter 6. A Sense of Togetherness: Music Promotion and Ethics in Glasgow
Evangelos Chrysagis
PART IV: BODIES DANCING IN TIME AND ACROSS SPACE
Chapter 7. Rumba: Heritage, Tourism and the ‘Authentic’ Afro-Cuban Experience
Ruxandra Ana
Chapter 8. Cinematic Dance as a Local Critical Commentary on the ‘Economic Crisis’: Exploring Dance in Korydallos, Attica, Greece
Mimina Pateraki
PART V: MOTION, IRONY AND THE MAKING OF LIFEWORLDS
Chapter 9. Performing Irony on the Dance Floor: The Many Faces of Goth Irony in the Athenian Goth Scene
Panas Karampampas
Chapter 10. The Intoxicating Intimacy of Drum Strokes, Sung Verses and Dancing Steps in the All-Night Ceremonies of Ambonwari (Papua New Guinea)
Borut Telban
Bibliography
Index
现代文化遗产局 ( DMCH) 付诸实施，以非物质文化遗产的名义推广传统技术及其产品，目标是通过展示 “希腊人的辛勤工作”来提高当地工业的销售额、创造新的就业机会、改善希腊的国家形象，从而扭转外界对 希腊人的负面刻板印象。
Saturday night is considered an opportunity to meet friends, flirt and "dance away" the weekly tension of work, school or university and the economic frugality. However, under the new economic terms, the institution of "Saturday night out" is being reconsidered by clubbers and club owners so that it survives as part of goth life style rather than to be turned into luxury. I argue that, even though the current economic crisis has been affecting both goth scene and its fans in different ways that will be analysed here, goth fans have been trying to find ways to negotiate this situation to keep the scene active and continue performing their goth identity as they used to do.
Industrial dance is the most recent goth dance style that was developed and became a trend from mid to late 2010s'. It is a style that is mainly performed transnationally by younger goths into the industrial and cybergoth fractions. Its importance and practice surpass clubs becoming a regular practice that takes place in multiple physical and digital locations.
Cyberspace is the connecting link of the Goth network that is related with material spaces and its cyber-networks related to non-cyber-networks. For Goths, internet does not replace conventional activities but acts as a supplement and reinforces them, bringing the everyday concerns of Goths into cyberspace; information gained in cyberspace is embodied in everyday life.
Beauty in goth differ (in and out of scene) regarding the bodies, music, dance, dress and style. Each individual has unique taste for beauty and appropriates different music, dance and dress that are characterised as goth creating a distinctive style and perform 'gothness' uniquely. Thus, these choices introduce every subject in the most fitting goth faction.
Gossip is the main context in which contests of beauty are taking place, digitally and physically; digitally in social media, mainly on Facebook and physically in goth locations like clubs. Every performance of 'gothness' must satisfy specific beauty criteria that are different for every faction and evaluated by fellow goths. However, the individuality in beauty taste makes it particularly multi-layered and fluid, creating complex representations and contests of beauty in the Goth scene.
I am looking Goth as a transnational network of interlinked encounters with reciprocal flows among its members and regional scenes. The cyberspace is the connecting link of the Goth network that is related with material spaces and its cyber-networks related with non-cyber-networks. For Goths, internet does not replace conventional activities but acts as supplementary and reinforces them, bringing the everyday concerns of Goths into cyberspace and information gained in cyberspace are embodied in everyday life. It provides with specific knowledge of the scene, construct values, give practical advice and create friendships – locally or transnationally.
Two cases will be examined in order to analyse how the relations extend from local to transnational scenes through the Internet. First, Youtube is used as a media of transmission of bodily practices (industrial dance) between regional scenes. Second, Facebook acts as a common location to meet up Goths from other regional scenes, to arrange trips in festivals and meet up face-to-face for the first time in the festival. Through these two social media and their different uses I will present the cosmopolitanism of Goth scene.""
Reflexive and autobiographical narratives combined with ethnographic data are used and Goth identity is viewed as a performative process suggesting that the presentation of 'gothness' during dancing helps its members to obtain subcultural capital.
As subcultural theorists suggest, subcultures obfuscate class but contain their own forms of social hierarchies. For the analysis of the rules of Goth social hierarchies, Sarah Thornton's model for subcultural capital is used. Gothic subcultural capital is mainly attained by adopting specific style (dress, dance), participating in events, having in scene knowledge and being in a Goth circle with high subcultural capital.
Because the purpose of this paper is to explore dance practices, it explores the kinetic rules of Goth dance styles and tries to understand the hesitation of 'newbies' to enter the dance floor and the uncertainty of their movement. It also ties to connect dancers' subcultural capital with the spatial preferences of their performance on the dance floor, out of it or on clubs' stage. In the Athenian Goth network, most participants have got to know each other. Performing dance is a moment of uncertainty because, while one present one's 'gothness' in the dance floor, most attendees gossip dancer's act as a result of one's revaluation subcultural capital and, consequently, one's place in Goth hierarchies."