Do you know about - A Surfer's underground Transcript - Hawaiian Surf Culture, Localism, and Representation
Masters Degree In Fashion Merchandising! Again, for I know. Ready to share new things that are useful. You and your friends.James C. Scott's formulation, from his book Domination and the Arts of Resistance, of the "infrapolitics of subordinate groups," is especially thoughprovoking in thinking about one of Hawaii's most cultural and social exports, the art of surfing. If you surf, you are unmistakably aware of the discrete unspoken codes and rules that govern the tribe. These codes and rules exist, in part, as both a kind of self-policing in the lineups as well as warning to outsiders, or "non-locals." ("Local," especially in Hawaii, is quite a loaded term, however we can limit it in our conference to stand in for surfers who aren't from the area/surf spot.) If you don't surf, then what you think you know about these codes or rules is greatly filtered through the social transcript. However, the fact that there are, to varying degrees, distinct representations of the "surfer's code" in both the social and private transcript, offers us an thoughprovoking window into how the private and the social collide.
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As Scott explains, infrapolitics "is a politics of disguise and anonymity that takes place in social view but is designed to have a double meaning or to shield the identity of the actors." Surfers are notorious for rubbing wax on windshields, slashing tires, removing seller caps and spark plug lines, siphoning gas, and discrete others acts surf terrorism to cars that they don't identify as "from" where they surf all of the time. For instance a friend and I got out of the water at Lahilahi, a sharky, deep water break just down the road from Makaha one afternoon and found that all of the cars parked along the side of the road (except ours) had "haole go home" written on them. My buddy grew up on the Westside of Oahu so we were spared trying to wash off permanent ticket (or whatever it was). Likewise, "warning" signs abound on the way to some surf breaks. Crudely spray-painted or drawn on walls, signs, sidewalks, or rubbish cans, markers signify who is allowed to surf, and who is not. Again, if you ever happen to surf China Walls, a surf break off of Portlock on the East side of Oahu, hop the fence (which was put there for social safety, thank you Linda Lingle) and make your way down the path to the stairs that lead down to the "Finger" (a specific section of the wave at China's) and you'll see warnings such as "if you don't live here, don't surf here," (which is ironic because who can afford to live in Portlock?) "go home," and "beat it haole."
Before the mainstream appropriated and disseminated it to the masses, surfer discourse is also a good example of the private transcript. Words such as "rad," tubular," "gnarly," and "bitchin" were used within the social transcript to both mark the identity of the subordinate group (if you knew how and why these words were used you were privy to the club), and alienate the elite (I'm thinking here of Sean Penn's character "Jeff Spicoli" matching wits with "Mr. Hand" in Fast Times at Ridgemont High.) These days, what isn't said seems to carry more weight. For instance, all surfers know that if the waves are great at your local beach, you don't tell whatever about it. There's nothing worse than a carload of surfers piling out into the lineup because one of the "bro's" spilled the beans about a new swell. The "secret spot" is someone else perfect example of this discourse of silence, as surfers go to great lengths to ensure that private spots remain hidden. For example, I hitched a ride on a friend's boat across the channel to Molokai to surf a "secret spot," only to find a half a dozen other boats there as we arrived. My friend was visibly irritated. He recognized a integrate of friends in some of the other boats and proceeded to curse at them for bringing habitancy to the break (when he was guilty of the same crime).
Inevitably, these codes and rules lead to confrontations with the social transcript. However, these incarnations of the private transcript within the social sphere are, as Scott posits, no longer meant to "shield the identity of the actors," instead, the actors are very much in the social eye. So while the events that led up to the formation of surfer groups like The Hui, Wolfpack, and the Bra Boys find their origins in the private transcript, their establishment, and resulting reign, are very much a part of the social transcript (as obvious in films like North Shore, Blue Crush, Bra Boys, television shows like The 808, and all of the Da Hui and Wolfpack merchandise available at your local Costco.) I find it ironic that these groups complain about how they are perceived in social given their pre-revolutionary rough and tumble antics. Watch any of the aforementioned shows or films and these groups (literally, the guys, Kala Alexander, Fast Eddie, Makuakai Rothman, etc) act in the same stereotypical "gangster" fashion. Sure, these are favorite representations, mediated by corporate dollars and sales predictions, but try to catch a wave in any place in the middle of Off the Wall and Ehukai anytime in the middle of November and February and you'll get the same attitude from these kinds of jokers, regardless of how well versed you are in the private transcript. It makes me wonder if, at the very occasion of its introduction to the social narrative, the private transcript cannot help but be subverted in some way. At what point does the private transcript become "the self-portrait of dominant elites as they would have themselves seen?" It appears as if these inherent codes and rules, once codified into a representative identity, read very much like the narrative of the elite. It is, in many ways, "designed to be impressive, to affirm and naturalize the power of dominant elites, and to conceal or euphemize the dirty linen of their rule." What then do we make of Scott's formulation? Is his object of pathology liberating, or is it akin to Althusser's "steel trap," in which we just plainly trade specialist ideologies for other specialist ideologies?
Works Cited:
Scott, James C. Domination and the Arts of Resistance: private Transcripts. Yale Univ. Press, 1990. Print.
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