Abstract

This article discusses the danceable music practice of mosh and slam as a form of subversive attitude for the urban youth, based on the carnival theory of Mijail Bajtín. In particular, proposes a transdisciplinary methodology based in the analysis of social discourse, discographic production and ethnographic data. All this allows to achieve the following objective: analyze the carnivalesque form in the danceable practice of ska. music for Costa Rican urban youth during the decade of 1990.

Keywords Bajtín; musical discourse; youth; festivity; carnival