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<div>Chapter 1. Introducing Ethno-Aesthetics.- Part I.&nbsp;Florida, Surfing, and Surf Music: Overview of the Place, the People, and the Practices.- Chapter 2.&nbsp;Florida: Society and Cultures.- Chapter 3.&nbsp;Surfing Florida: History of an Underdog.- Chapter 4.&nbsp;Specificities of Surf Music.- Part II.&nbsp;Effects of Mobility of Surfing and Surf Music on Cultural Appropriation.- Chapter 5.&nbsp;Model One: The Ultra-Marine Model of Cultural Hybridization.- Chapter 6.&nbsp;Contextualizing Ethno-Aesthetic Mobilities: Evolution of Surfing and Surfing Music.- Chapter 7.&nbsp;Model Two: The Phases of Cultural Appropriation.- Part III.&nbsp;The Question of Identity in Ethno-Aesthetic Belonging.- Chapter 8.&nbsp;Thinking the Questions of Identity in Surfing.- Chapter 9.&nbsp;Musical Consumption and Postures Within Surfing Subcultures.- Chapter 10.&nbsp;Ethno-Aesthetic Synthesis and Perspective.- Chapter 11. Epilogue. The Ethno-Aesthetic Paradox: <i>Freedom from</i> and <i>Freedom.</i></div><p></p><p></p><p></p>

<b>Anne Barjolin-Smith</b> received her Ph.D. in American Studies from Paul Valery, Montpellier 3 University, France. She researches lifestyle sports as United States cultural, ideological, and aesthetic experiences. As a former snowboard instructor actively engaged in multiple lifestyle sports, she has traveled the world to explore diverse snowboarding and surfing regions.

<i>Ethno-aesthetics of Surf in Florida&nbsp;</i>discusses surf&nbsp;and music as glocal sociocultural constructs. Focusing on Florida's unexplored surfing culture, the book illustrates how musical experience begets representations about the world that highlight ways of acting and being of various sociocultural communities. Based on the conceptualization of ethno-aesthetics, this ethnographic study provides an analysis of the Space Coast surfers community's collaborative effort to build social cohesion through their musicking. This transdisciplinary research in American Studies draws upon various theoretical perspectives from both the humanities and social sciences, including ethnomusicology, social psychology, and sociolinguistics, to propose new ways of exploring the links between surfing and musicking. This monograph looks past the myth of iconic 1960s Californian surf music to show how, as a result of the glocalization of surfing, the musicking of Floridian surfers has allowed themto express their subjectivities and to make sense of their world. This book contributes to the debate on the disputed notions of identity and representations by establishing connections between a local expression of the surf lifestyle and its music. It proposes theoretical models that explain cultural hybridization, appropriation, and belonging in surfing. It also develops concepts and notions, such as surfanization, surf strand, lifestyle crossover, and identity marking, to illustrate how global practices, such as surfing, are endowed with various modes of expression exemplified by the emergence of unique regional subcultures of surfing. <div><br></div><div><b>Anne Barjolin-Smith</b>&nbsp;received her Ph.D. in American Studies from Paul Valery, Montpellier 3 University, France. She researches lifestyle sports as United States cultural, ideological, and aesthetic experiences. As a former snowboard instructor actively engaged in multiple lifestyle sports, she has traveled the world to explore diverse snowboarding and surfing regions.<br></div>

Combines representational and interactionist approaches to surfing and musicking to explain a number of varied yet intertwined phenomena, such as social and private identity marking, urban development, and cultural mobility Explores surfing and musicking as a sociocultural construct and helps to highlight, analyze, and understand cultural hybridization through surfers’ collaborative efforts to promote social cohesion Presents an interdisciplinary exploration of the ways in which musical experience pertaining to the surf lifestyle can be considered as an identity marker of various American surf subcultures Redefines surf music as a glocal cultural construct, rather than a historically California-bound genre