For example, a criminal subculture would develop from a culture that the existing structures within the given community favor criminal activities. A case in point is the mafia during the 1930s. Others could also be as a result of hunger and frustrations and may include conflict subcultures.
My experience as a member of a subculture can be drawn from my subscription to Hip hop. This was a cultural movement formed around 1970s among the African American community in New York City. This subculture manifests through rap music, Djing or rather turntablism, and visually as graffiti art. Further it manifests physically through B-boying. This four underpinning elements are responsible for providing coherence to the culture of hiphop (Rose, 2013).
Hip hop demonstrates a subculture in the sense that it came up as a counterculture. It began as a social movement and has now born all the complete contradictions of a counterculture. It emerged in Bronx explicitly as an alternative to criminal gangland culture and has since risen to prominence due to its socio-political commentary being in tension with its standing as a commodity (Rose, 2013). It has displayed a particular homogeny of dress cord and is mostly male dominated. It also contains visually performed affinities and associations between the visual forms it engages in like the graffiti and clothing, break dancing, and the idioms of musical performance (Rose, 2013). Further it engages in public events done in open air such as Djing, and Mcing which make it share with its sub cultural predecessor’s misappropriation of urban space. This they do also through graffiti among other open air events. The popular mainstream music subjected the subculture to comodification while the mainstream media subjected it to incorporation and become a very strong youth subculture. The subculture has massively grown becoming global and can