In this paper, I will present a part of my ongoing Ph.D.-thesis work, dealing with three local Swedish raw punk scenes of the 1980s. Through a shared passion for raw punk music, creativity, counter cultural expression and a dismissal of the societal and cultural mainstream hegemony, an international network of punk enthusiasts took shape and grew throughout the 1980s. The scene’s do-it-yourself ethos resulted in a stream of self-produced products, mostly distributed and promoted via a global network in which members of the scene participated in and contributed to.
The dissertation aims to uncover the relevant factors that were at play in the foundation of the local scenes and what inspired its members to become active locally but also to initiate and maintain exchanges and to connect with the global raw punk network. The dissertation’s results will be modeled through the concept of glocality. The term, in the case of this dissertation, represents how and why local raw punk enthusiasts interconnected with global networks of similarly minded individuals and communities. The use of concepts like counter-, sub-, participatory- and, in particular, fan cultures, will also be necessary to understand the scene’s ideological, sociological and creative processes. Through the use of qualitative research methods, the aim is to pinpoint the main themes and networks in mediated communication such as letter correspondences, fanzines, tapes and records. Narrative methods will also be necessary where members of the scene, through interviews, can provide information regarding the scene’s driving forces and communications. This network was a global communicative hub which connected punks in a pre-digital age. Discussing it further at the ENIUGH-congress would hopefully make a good contribution and would also bestow my work with further perspectives and ideas.

This presentation critically interrogates global texts commonly considered outside of the science fiction genre for their cyberpunk elements, specifically those involving gender, sexuality, and technology in the city during the twentieth century. These texts include F. Scott Fitzgerald's novel The Great Gatsby (1925); Alfred Doblin's novel Berlin Alexanderplatz 1929); William S. Burroughs' novels Junky (1953) and Naked Lunch (1959); Jean-Luc Godard's films Alphaville (1965), Pierrot le Fou (1965), Masculin Feminin (1966), Made in U.S.A. (1966), and Two or Three Things I Know About Her (1967); Lino Brocka's films Manila in the Claws of Light (1975), Insiang (1976), Jaguar (1979), and Macho Dancer (1988); and Ming-liang Tsai's films Rebels of the Neon God (1992), Vive L'Amour (1994), The River (1997), and The Hole (1998). This broad sample of literature will be defined as part of an often-unappreciated global history of speculative fiction in non-"science fiction" texts and analyzed for its insights into how the increasing technologization of the twentieth century affected performances of gender and sexuality in the global imaginary. It will thus be proved that, in parallel with global movements towards decolonization and globalization, technology was one of the driving factors behind an increase in public diversity of gender and sexual expression in the global space of the late 20th and early 21st century, including the rise and increased reach of feminisms and queer activisms. The presenter will use their broad knowledge of cyberpunk media, especially cyberpunk novels and video games, to buttress these claims of "proto-cyberpunk" as a genre.

The February 1906 edition of the Spanish magazine Alrededor del Mundo featured an article titled "El Jiu-Jitsu, invención europea: un deporte japonês que nació en Holanda." The article suggested that Jiu-Jitsu had European origins and insinuated that the Japanese copied these techniques from Dutch sailors. The aim of this paper is to analyze this and others similar publications in the early 20thcentury to understand the social and cultural conditions that enabled nationalist manifestations seeking to delegitimize the Japanese origins of Jiu-Jitsu in various Western countries. This nationalist backlash can be understood as a broader trend of emerging nationalisms seeking to reaffirm Western cultural superiority over foreign influences, especially in the field of martial arts. Utilizing Sebastian Conrad's concept of integrated global history, the article examines events and publications in a global and synchronous context that includes the international circulation of Jiu-Jitsu techniques, instructors, books e news from different western countries, as Spain, France, Germany, England, United States, Brazil and other spaces. Nationalist responses to Jiu-Jitsu reveal various strategies to delegitimize Japanese culture, reflecting a global moment of debates on physical culture, new beauty standards, and the circulation of people and techniques and the associated racial and gender tensions from that movement. The study is divided into three parts: the global expansion of Jiu-Jitsu in the West, nationalist appropriations that delegitimized the Japanese origins of the sport, and final considerations.

This paper observes the resurgence of contemporary Indigenous witchcraft, through the exploration of early modern practices of magic, herbal medicine and astrology. Europe witnessed the zenith of witchcraft, magic and witch-hunts during the sixteenth and seventeenth centuries. Today, witchcraft thrives in both physical and digital communities. Whether reading Tarot cards on Youtube, casting spells on TikTok, or teaching herbal medicine on Instagram, today’s witches are on the rise. Through a case study of Juliet Diaz, a modern practitioner of Indigenous heritage, a Bruja, this paper argues for the importance of researching and advocating for contemporary and Indigenous witchcraft. Through Diaz’s work –rooted in plant witchery, spiritual activism and the decolonisation of witches’ practices –we will delve into how these traditions have developed, challenging New Age and mainstream appropriations of Indigenous magical heritage. Resorting to virtual ethnography, thematic analysis and a theoretical framework informed by Benedict Anderson’s ‘Imagined Communities’ and Thomas Gieryn’s ‘Boundary Work’, the research wills to elucidate: To what extent and how are contemporary indigenous witch communities (re)interpreting early modern traditions of astrology, magic and herbal medicine?