Since its beginnings a decade ago, the mass media, niche media, subculturalists and participants alike have fumbled around cumbersome descriptions and depictions of the essence of rave. For outsiders, rave may symbolize difference, defiance, escapism and meaningless hedonism. For insiders, rave can mean transgression, transcendence, freedom, unity and meaningful fun. / All rave elements, such as the lights, lasers, stomping feet, raised arms in ecstatic bliss, the DJ and the ceaseless beats seem to synchronize in a unifying pulse. As communal as rave's facade may seem, the experience is wholly personal. Rave has been disseminated to undeveloped nations, and remote towns; as it grows in one area it decays in another and morphs into another sub-scene, dress code, venue, and soundscape. As an insider stepping outward, I peer into my memories of rave and catalogue of blissful moments in an attempt to articulate its essence and its cyclical perpetuation.

No description available.

This study examines how rave subculture is constructed differently by participants of the rave scene and by external observers of the rave scene. Mainstream national media articles are compared to interviews with self-identified ravers to understand how rave subculture is constructed. Subcultural and Post-Subcultural theory support this method and illustrates how concepts of subcultures have changed over time. The construction of rave culture by the media as associated with drug abuse and illegal activity attracted drug abusers and irresponsible young people to the rave scene. This consequently led to a change in the rave scene and a criminalization of rave culture and the rave promoters through passing of the Illicit Drug Anti-Proliferation Act

Thesis (M.A.)--York University, 2000. Graduate Programme in Social Anthropology. / Typescript. Includes bibliographical references (leaves 142-147). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ59167.

Made available in DSpace on 2016-04-28T20:40:16Z (GMT). No. of bitstreams: 1 Cristianne Macedo Mendes.pdf: 1633843 bytes, checksum: 7699203be36b0cce33640abf97d23751 (MD5) Previous issue date: 2010-05-21 / This study examines the rave phenomenon, as an organization of contemporary youth culture. Became interesting to study the phenomenon in question and know more about the cultural moment in which we live, as it is specific to modernity, despite having features of the youth of yesteryear. The work also addresses the peculiarities of electronic music, the concepts of sacrifice and feasts, presents a comparison of raves with rituals of Indian tribe and an analysis of the discursive production of some ravers from psicanlíticos concepts. This study might reveal in an interesting speech production cycle is the presentation of the idealized pursuit of pleasure and freedom in the rave experience disappointment, finishing with a more realistic understanding of the same experience as subjetiva.Utilizaram is, as the main reference in this analysis, Freud's texts / O presente estudo analisa o fenômeno rave, enquanto organização cultural da juventude contemporânea. Interessante se fez estudar o fenômeno em questão e conhecer mais acerca do momento cultural em que vivemos, já que este é específico da modernidade, apesar de apresentar características da juventude de outros tempos. O trabalho aborda ainda as peculiaridades da música eletrônica, os conceitos de festas e sacrifício, apresenta uma comparação das festas raves com rituais de tribo indígena e uma análise da produção discursiva de alguns ravers a partir dos conceitos psicanlíticos. O presente estudo pôde revelar nas produções discursivas um interessante ciclo que passa da apresentação da busca idealizada de prazer e liberdade na experiência rave à decepção, concluindo com uma apreensão mais realista da mesma enquanto experiência subjetiva.Utilizaram-se, como referência principal nesta análise, textos de Freud

Made available in DSpace on 2014-12-17T14:19:59Z (GMT). No. of bitstreams: 1 ThiagoTN_DISSERT.pdf: 2550498 bytes, checksum: 36fb49d6019e99290ca8bb88d653464c (MD5) Previous issue date: 2010-08-09 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / The significance of the body in electronic music parties as a sign for communicating and socializing among participants is the focus of this work. Qualitative research undertaken in this study seeks to investigate how sociability happens at raves and nightclubs in Natal/RN. Sociability is understood here as a play expression involving the dimensions of music, dance and party; the body, seen from a transdisciplinary approach, is understood as a symbolic instance, with its own meanings, as a result and a producer of social and as a cross between the cultural and the biological. The body has a communicative potential, is primary media. An intersection point between nature and culture, it serves as the seat of emotions and sociability, since it is through it that social relations are made. In electronic music parties, the body is interpreted based on its communication signs: clothing, accessories, body movements, tactile contact, body language, interactions between the public and dj, the dj and the public, gestures, expressive speech of emotions. Through such signs, body communication and a sense of community among participants develop sociability in the festive place and change the mood of the dancers. The Natal s electronic music parties young goer interacts on parties, adopts cheerful and receptive positions towards the other, maintains physical contact, values dance as a form of communication and lists happiness as the main feeling aroused in electronic music festivals. To achieve this result, a plurimetodological approach was used, which consisted of various methodological devices and various techniques of investigation: ethnographic observation, individual and informal interview techniques, photographic record of the scene, in-depth interview and application thirty questionnaires to patrons of electronic music parties / O significado do corpo nas festas de m?sica eletr?nica como um signo comunicante e sociabilizante entre os participantes ? o foco deste trabalho. A pesquisa qualitativa desenvolvida neste estudo procura investigar como a sociabilidade acontece em raves e em casas noturnas na cidade de Natal/RN. A sociabilidade ? entendida aqui como uma manifesta??o l?dica que envolve as dimens?es da m?sica, da dan?a e da festa; j? o corpo, partindo de uma abordagem transdisciplinar, ? compreendido como uma inst?ncia simb?lica, dotada de significa??es pr?prias, resultado e produtor do social e como cruzamento entre o cultural e o biol?gico. O corpo ? possuidor de um potencial comunicativo, ? m?dia prim?ria. Ponto de interse??o entre a natureza e a cultura, funciona como a sede das emo??es e da sociabilidade, pois, ? por meio dele que as rela??es sociais se efetuam. Nas festas de m?sica eletr?nica, o corpo ? interpretado com base nos seus signos comunicantes: vestimenta, acess?rios, movimentos do corpo, contato t?til, express?es corporais, intera??es entre o p?blico e o dj, entre o dj e o p?blico, gestos, falas expressivas das emo??es. ? por meio de tais signos que a comunica??o corporal e o sentimento de comunh?o entre os participantes ocasionam o desenvolvimento da sociabilidade dentro do local festivo com altera??o no estado de humor dos dan?antes. O jovem frequentador das festas de m?sica eletr?nica em Natal interage nas festas, adota posturas alegres e receptivas em rela??o ao outro, realiza bastante contato f?sico, valoriza a dan?a como forma de comunica??o e elenca a felicidade como o principal sentimento despertado nas festas de m?sica eletr?nica. Para se chegar a esse resultado, partiu-se de uma abordagem plurimetodol?gica, que usou diferentes artif?cios metodol?gicos e diversas t?cnicas de investiga??o: observa??o etnogr?fica, t?cnicas de entrevista individual informal, registro fotogr?fico nos locais de fluxo, entrevista em profundidade e aplica??o de trinta question?rios aos freq?entadores das festas de m?sica eletr?nica

No description available.

This thesis is an analysis as to whether or not Subcultural Theory may be utilized to understand how self-identification is configured within a subculture such as rave. Typically, subcultural membership requires various performative rites that express and maintain a group sensibility and identity. Rave, however, is a subculture that involves a relationship to space and technology that changes the nature of group affiliation within the subculture. This thesis focuses on how a body immersed in subcultural practices, and organized around varying technologies, must look toward an analysis of individual and subjective adaptations of those technologies. In essence, rave allows for identification that is shaped and altered by the participant, but only at each moment of interaction with the technologies of the club. Highly individualistic, dynamic, and technology-driven, the rave subculture offers the potential to examine the body as the site for identification, and escape, within an abstracting technological world.

Thesis (Ph.D.)--McMaster University, 2001. / Includes bibliographical references. Also available via World Wide Web.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2014-10-14T14:11:53Z No. of bitstreams: 1 Juliana Cunha Costa.pdf: 4852859 bytes, checksum: 8ee70173af80078fb125994bb6063345 (MD5) / Approved for entry into archive by Jose Neves (neves@ufba.br) on 2016-07-27T15:43:35Z (GMT) No. of bitstreams: 1 Juliana Cunha Costa.pdf: 4852859 bytes, checksum: 8ee70173af80078fb125994bb6063345 (MD5) / Made available in DSpace on 2016-07-27T15:43:35Z (GMT). No. of bitstreams: 1 Juliana Cunha Costa.pdf: 4852859 bytes, checksum: 8ee70173af80078fb125994bb6063345 (MD5) / A música eletroacústica destaca-se por ser um estilo musical essencialmente urbano que se inseriu no campo acadêmico em meio aos novos paradigmas da modernidade. Esses, que alteraram o modo de vida das pessoas das cidades, transformaram os elementos da paisagem e transgrediram as barreiras geográficas continentais, misturando-se aos outros elementos culturais que a transformaram em música eletrônica. Ao ser introduzida na esfera de consumo de massa, a música eletrônica perde seu caráter alternativo e se torna produto cultural – o que pode ser visto a partir da contextualização dos principais agentes de Salvador e de Camaçari, no estado da Bahia, ao segregarem o espaço destinado ao entretenimento. Assim sendo, nesta pesquisa, a música foi utilizada para delimitar os espaços de segregação construídos na capital baiana e em Camaçari a partir da observação das festas de música eletrônica em uma boate, na apropriação do seu espaço público para a realização da festa carnavalesca pelos trios elétricos e camarotes de música eletrônica e, finalmente pelas raves. / ABSTRACT Electroacoustic music stands out for being a musical style which is essentially urban and that was introduced into the academic field within the newest and coming paradigms of modernity. Such paradigms – which changed the people’s way of living in the cities – transformed the elements of the landscape and transgressed continental geographical barriers, whilst mingling with other cultural aspects that turned those barriers into electronic music. When introduced to the sphere of mass consumption, it loses its alternative character and becomes a cultural product. This can be seen in the contextualization of key-players the electronic music scenario in the cities of Salvador and Camaçari, which have segregated a space devoted to entertainment. Therefore, in this research, music was used to define the spaces of segregation that were built in the aforementioned cities from the observation of electronic music festivals in clubs, in the ownership of its public spaces to carry out the carnival festivities by Mobile-Sound System and VIP areas of electronic music, and finally by the raves parties.