Abstract：
This article provides an ethnographic account of members of the Phellowship, a group of sober concert goers who connect and sometimes attend informal meetings at Phish concerts. The work attends to the ways this group is meaningful for people\'s sobriety and livelihoods. The overall purpose of this article is to provide a rich description of a novel approach to the creation and extension of a culture of recovery and sobriety through music and music communities.
This article utilizes two years of ethnographic data collected from interviews with roughly 20 participants and conversations from participant observation with people who are generally representative of the demographics of this group and fanbase (25-55, white, about half male and female presenting). The ethnographic data were physically coded into emergent themes and analyzed to highlight the important facets of participation and experience of members of the Phellowship. This method of qualitative analysis utilizes aspects of phenomenological inquiry, in that the subjective experiences of individuals are described and analyzed, to meet the larger aims of an ethnographic analysis that explicates the understandings and cultural practices of this community in their own words.
Thematic results include the performative and oral importance of narration at meetings, the semiotics of recovery and their community, the extension of sobriety beyond their \"programs\" or health-related arenas, and, most importantly, the role of connection and community. Each topic and result includes first-person accounts from interviews and participant observation to explicate how these thematic areas were chosen and have become meaningful for members of the Phellowship.
This nonprogrammatic approach to recovery and sobriety that focuses more on cultural practices and salient versions of people\'s everyday identities, rather than \"healing\" and process seems to be a promising and novel addition to better the lives of people with substance use disorders. This group, and the network of these groups that exists in the jam band music scene at large, could act as a model for person-first approaches to recovery that incorporate different elements of sociality, community, and creative expression.
This article utilizes two years of ethnographic data collected from interviews with roughly 20 participants and conversations from participant observation with people who are generally representative of the demographics of this group and fanbase (25-55, white, about half male and female presenting). The ethnographic data were physically coded into emergent themes and analyzed to highlight the important facets of participation and experience of members of the Phellowship. This method of qualitative analysis utilizes aspects of phenomenological inquiry, in that the subjective experiences of individuals are described and analyzed, to meet the larger aims of an ethnographic analysis that explicates the understandings and cultural practices of this community in their own words.
Thematic results include the performative and oral importance of narration at meetings, the semiotics of recovery and their community, the extension of sobriety beyond their \"programs\" or health-related arenas, and, most importantly, the role of connection and community. Each topic and result includes first-person accounts from interviews and participant observation to explicate how these thematic areas were chosen and have become meaningful for members of the Phellowship.
This nonprogrammatic approach to recovery and sobriety that focuses more on cultural practices and salient versions of people\'s everyday identities, rather than \"healing\" and process seems to be a promising and novel addition to better the lives of people with substance use disorders. This group, and the network of these groups that exists in the jam band music scene at large, could act as a model for person-first approaches to recovery that incorporate different elements of sociality, community, and creative expression.
摘要：
目的：本文提供了Phellowship成员的人种学说明，一群清醒的音乐会观众，他们联系起来，有时参加网络钓鱼音乐会的非正式会议。这项工作关注这个群体对人们的清醒和生计有意义的方式。本文的总体目的是对通过音乐和音乐社区创造和扩展恢复和清醒文化的新颖方法进行丰富的描述。
方法：本文利用了两年的人种学数据，这些数据是从对大约20名参与者的访谈中收集的，以及与通常代表该群体和粉丝群（25-55岁，白人，大约一半的男性和女性出现)。人种学数据被物理编码为紧急主题并进行分析，以突出Phellow成员的参与和经验的重要方面。这种定性分析方法利用了现象学探究的各个方面，描述和分析个人的主观经验，以满足人种学分析的更大目标，用他们自己的话解释这个社区的理解和文化习俗。
结果：主题结果包括在会议上叙述的表演和口头重要性，复苏的符号学和他们的社区，清醒的延伸超出了他们的“计划”或与健康相关的领域，and,最重要的是,联系和社区的作用。每个主题和结果都包括来自访谈和参与者观察的第一人称帐户，以阐明如何选择这些主题领域，并对Phellow的成员具有意义。
结论：这种恢复和清醒的非程序化方法更侧重于文化习俗和人们日常身份的显著版本，而不是“愈合”和过程似乎是一个有希望的和新颖的补充，以改善人们的生活物质使用障碍。这个群体,以及存在于果酱乐队音乐场景中的这些团体的网络，可以作为融入不同社会性元素的人优先康复方法的模型，社区,创造性的表达。
方法：本文利用了两年的人种学数据，这些数据是从对大约20名参与者的访谈中收集的，以及与通常代表该群体和粉丝群（25-55岁，白人，大约一半的男性和女性出现)。人种学数据被物理编码为紧急主题并进行分析，以突出Phellow成员的参与和经验的重要方面。这种定性分析方法利用了现象学探究的各个方面，描述和分析个人的主观经验，以满足人种学分析的更大目标，用他们自己的话解释这个社区的理解和文化习俗。
结果：主题结果包括在会议上叙述的表演和口头重要性，复苏的符号学和他们的社区，清醒的延伸超出了他们的“计划”或与健康相关的领域，and,最重要的是,联系和社区的作用。每个主题和结果都包括来自访谈和参与者观察的第一人称帐户，以阐明如何选择这些主题领域，并对Phellow的成员具有意义。
结论：这种恢复和清醒的非程序化方法更侧重于文化习俗和人们日常身份的显著版本，而不是“愈合”和过程似乎是一个有希望的和新颖的补充，以改善人们的生活物质使用障碍。这个群体,以及存在于果酱乐队音乐场景中的这些团体的网络，可以作为融入不同社会性元素的人优先康复方法的模型，社区,创造性的表达。
