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As consumerism becomes a way of life in
contemporary society, cultural forms that hold
values in opposition to consumerism and commercial
success are pushed to the margins. Nowhere is this
process more evident than within the world of sport.
Previously alternative sports like skateboarding,
snowboarding and BMX (bicycle motocross) that often
included an anti-mainstream subcultural component
are being rapidly co-opted by corporate culture
producers and transformed into commercial
entertainment events. This study of action sport
participants and their responses to the
commercialization of their activities indicates that
the dichotomy in the sociological literature between
co-optation and resistance may be artificial. While
the commercialized forms of these activities reflect
the values of mainstream sport, participants have
had some success in preserving the original,
authentic versions of skateboarding, snowboarding
and BMX in a "parallel world" alongside the
commercial version, suggesting that the co-optation
of subcultural forms does not necessarily result in
the death of the original version, nor their
associated oppositional values.
contemporary society, cultural forms that hold
values in opposition to consumerism and commercial
success are pushed to the margins. Nowhere is this
process more evident than within the world of sport.
Previously alternative sports like skateboarding,
snowboarding and BMX (bicycle motocross) that often
included an anti-mainstream subcultural component
are being rapidly co-opted by corporate culture
producers and transformed into commercial
entertainment events. This study of action sport
participants and their responses to the
commercialization of their activities indicates that
the dichotomy in the sociological literature between
co-optation and resistance may be artificial. While
the commercialized forms of these activities reflect
the values of mainstream sport, participants have
had some success in preserving the original,
authentic versions of skateboarding, snowboarding
and BMX in a "parallel world" alongside the
commercial version, suggesting that the co-optation
of subcultural forms does not necessarily result in
the death of the original version, nor their
associated oppositional values.