Dissertação (mestrado)—Universidade de Brasília, Programa de Pós-Graduação em História, 2014. / Submitted by Guimaraes Jacqueline (jacqueline.guimaraes@bce.unb.br) on 2015-10-26T12:24:02Z No. of bitstreams: 1 2015_NathaliaAraujoMoreira.pdf: 4923099 bytes, checksum: 3b5911c71394d3ca0e1718b08a10c34a (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-02-02T15:08:57Z (GMT) No. of bitstreams: 1 2015_NathaliaAraujoMoreira.pdf: 4923099 bytes, checksum: 3b5911c71394d3ca0e1718b08a10c34a (MD5) / Made available in DSpace on 2016-02-02T15:08:57Z (GMT). No. of bitstreams: 1 2015_NathaliaAraujoMoreira.pdf: 4923099 bytes, checksum: 3b5911c71394d3ca0e1718b08a10c34a (MD5) / As chamadas raves psicodélicas são festas embaladas por música eletrônica psicodélica realizadas ao ar livre, normalmente em locais de natureza exuberante, proporcionando experiências sensoriais diversas aos participantes por meio do uso de psicoativos e de emoções partilhadas coletivamente. Se desenvolveram e se propagaram de maneira acelerada a partir da última década do século XX. Sua trajetória histórica nômade lhe conferiu caráter de tribo global, desenvolvendo discursos e práticas identificados em diversas partes do mundo. Nesses lugares, uma atmosfera singular, criteriosamente articulada, parece limitar o tempo, criando assim uma duração coletiva particular. Tal temporalidade se constrói por meio da conexão entre o modo de festejar rave e o fluxo de informações/acúmulo de experiências que caracterizam a pós-modernidade. Por meio dessa modalidade específica de espaço/tempo desenvolvem-se micropolíticas, performances rituais, manifestações contraculturais, mixagens diversas: da música, do visual, das substâncias, das narrativas. Articulações que se apresentam como vestígios para o fazer historiográfico, ao passo em que denunciam uma relação renovada do ser humano com seu tempo e a urgência do presente. / The so called psychedelic raves are parties driven by psychedelic electronic music held outdoors, usually in lush nature sites, providing different sensory experiences to the participants through the use of psychoactive drugs and emotions shared collectively. They developed and spread at an accelerated pace since the last decade of the twentieth century. Its nomadic historical background gave it the features of a global tribe, developing speeches and practices that can be identified in many parts of the world. In those locations a singular atmosphere, carefully articulated, appears to limit the time, thus creating a particular collective duration of it. This temporality is built by the connection between the way of celebrating a rave and the information flow/accumulation of experiences that characterize the post modernity. Through this specific manifestation of space/time are developed types of micro politics, ritual performances, counter-demonstrations, and various kinds of mixes: musical and/or visual ones, of substances, and of narratives. They are articulations that present themselves as vestiges to the historiography work, while denouncing a renewed relationship between humans and their time, and the urgency of the present.

Doing, undoing, and redoing gender debates have established the omnirelevance and performativity of gender. Yet, little is known about the ways that individuals "do" gender in spaces that provide the opportunity for norms to be disrupted, such as subcultures. This study offers an empirical investigation into the performance of gender within the subculture known as EDM (electronic dance music) culture. Using 20 in-depth interviews that were conducted virtually, I analyze the way ravers experience and give meaning to gender within the EDM culture. I find that individuals within the EDM culture can participate in the doing, undoing, and redoing of gender and do so through the embodiment of their subcultural beliefs and ideology, known as PLUR (peace, love, unity, and respect). I argue that the embodiment of PLUR is gendered, and describe the body-reflexive practices that are associated with PLUR.

Electronic dance music is a genre that has been long in the making. Starting with disco in the 1970s, dance culture genres evolved into house, acid house, techno, garage, 2-step, hardcore, gabba, san frandisco, electro, and many others. This paper studies the transformation of electronic sound, and the contributing/impeding factors involved. Drug use is heavily related to the creation and enjoyment of music, and features prominently in the history of dance culture. Starting with the use of acid in the 1960s and progressing to the use of acid, Quaaludes, poppers, speed in the 1970s, with MDA featured in clubs toward the end of the decade. The 1980s began the recreational use of MDMA, but not until the late 80s in UK acid parties did it become known as the party drug that it is known as today. MDMA use then spread rampantly throughout the US as the UK culture was exported and emulated. UK acid parties were the precursor to raves, which were illegal, and the backlash from the law was incredible and organized. Slowly licensing laws became more relaxed, and permits became easier to obtain, making future raves more legal, but according to ravers, less fun, ending at 2am instead of 8am, and forcing the drugs scene underground, rather than having them openly solicited. Organized crime in the UK got much worse as gangs realized the potential profits of selling drugs, and the scene forever changed because of this in the early 90s. The raves of the early 90s in New York, the Midwest, and San Francisco, were paradise in comparison. San Francisco enjoyed the most freedom, and beach raves became common. The electronic dance culture found a home in large festivals, and perhaps because of this the future of electronic music remains uncertain, especially with the casualties that have recently happened relating to ecstasy use, and complications in organizing such massive events.

This thesis looks at electronic dance music (EDM) celebrity and fandom through the eyes of four producers on Twitter. Twitter was initially designed as a conversation platform, loosely based on the idea of instant-messaging but emerged in its current form as a micro-blog social network in 2009. EDM artists count on the website to promote their music, engage with fans, discover new songs, and contact each other. More specifically, Twitter is an extension of a celebrity’s private life, as most celebrities access Twitter from their cellphones and personal computers, cutting out gatekeepers from controlling their image. Four power player producers in EDM are used as case studies for analysis of the intimacy and reach Twitter provides. Chosen because of their visibility, style, and recognition, Deadmau5, Diplo, Skrillex, and Tiësto represent different EDM subgenres, run their own record labels, have dedicated fans, and are accessible through social media. All use Twitter to announce shows, interact with fans, promote contests and merchandise, and share stories and pictures of their personal lives with their fan followers. Tweets are a direct line for fans to communicate with these celebrities through the reply, retweet (RT), and mention functions on Twitter. Fan tweets to and from these EDM celebrities are also examined by looking at celebrity-fan encounters in the cyber world and the real world, aftereffects of celebrity RTs, and engagement with said celebrities. The internet is the lifeline for this subculture as it changed the way EDM is shared, promoted, and packaged. Twitter and other social media sites give producers the exposure they never experienced with traditional media and allow fans to participate in a global subculture. To sum up, this is a study on how Twitter influenced EDM and personalized the relationship between producers and fans. / text

Les raves sont des événements festifs gagnant en popularité chez des jeunes adultes qui y consomment des drogues pour un usage récréatif. Cette consommation chez des jeunes qui sont généralement en bonne santé engendre une morbidité et une mortalité évitables. Des recherches menées depuis les 20 dernières années suggèrent de déployer des interventions de réduction des méfaits dans les raves, sans toutefois élaborer les conditions de l’environnement qui sont favorables à une telle pratique. Le but de cette recherche est de décrire l’environnement physique et social de raves publiques de grande envergure afin d’identifier des repères pouvant contribuer à l’introduction d’une pratique infirmière de proximité de réduction des méfaits dans un tel milieu. Cette recherche exploratoire de type qualitatif descriptif interprétatif (Thorne, 2016) s’appuie sur des repères théoriques du cadre socio-écologique de Bronfenbrenner (1979) et sur la Théorie de l’Acteur-réseau. Située dans un champ épistémologique constructiviste pragmatiste, cette étude comporte une entrée progressive sur le terrain de trois raves publiques de type festival de musique électronique dans la grande région de Montréal, Canada en 2016-2017, et un processus itératif de collecte et d’analyse de données. Le constat principal de la recherche est que l’environnement physique et social du type de rave étudié comporte une dynamique de plaisir surveillé au travers de laquelle les divers acteurs en interaction poursuivent des intérêts différents qui se traduisent par des méfaits potentiels ou réels à réduire. Ainsi, pour concevoir une pratique infirmière de proximité de réduction des méfaits qui soit viable, il s’agirait d’en assurer la contextualisation par l’analyse attentive des interactions qui lient les acteurs et leurs usages d’objets matériaux ou symboliques dans l’espace physique de la rave. Comprendre le rôle, l’identité, la position sociale et les atouts de chaque acteur permettrait de se situer à l’interface de divers intérêts et méfaits à réduire. La pratique infirmière de proximité de réduction des méfaits dans une rave serait ainsi celle d’un acteur stratégique à l’interface d’un complexe de méfaits à réduire dans l’optique de création de nouvelles ententes de collaboration. Partant de l’idée que l’environnement est constitutif de la pratique infirmière, cette recherche répond au besoin de développer des connaissances sur le concept d’Environnement dans la discipline. / Raves are festive events that are increasingly popular among young adults. Recreational drug use among young adults that are otherwise known as healthy, has been associated with avoidable morbidity and mortality. Research conducted over the last 20 years suggests the implementation of harm reduction initiatives in raves. However, little is known as to how this particular environment could be conducive to such interventions. The purpose of this research is to describe the physical and social environment of large-scale public raves in order to identify conditions that could be favourable to the introduction of a harm reduction nursing outreach practice in this setting. An interpretive and descriptive qualitative research design (Thorne, 2016) based on Bronfenbrenner’s socioecological framework (1979), Actor-Network Theory concepts and pragmatic constructivist epistemology, was conducted in the greater Montreal area, Canada, in 2016-2017. Gradual entry into the three public raves that qualify as “electronic music festivals” was combined with an iterative process of data collection and analysis. The main finding of this exploratory study is that the physical and social environment of large-scale public raves comprises a dynamic coupling of pleasure and surveillance interactions through which diverse actors each pursue different interests. These interests convey, respectively, different kinds of potential or actual harms to reduce. Thus, a viable harm reduction nursing outreach practice would require careful analysis of the interactions that connect actors with the material or symbolic objects that they use in the physical confines of the rave to ensure its contextualisation in this particular environment. Close attention to the role, identity, social position, and potential assets of each actor could help nurses to situate themselves at the interface of various interests and harms to reduce. A rave located harm reduction nursing outreach practice would then appear as strategic action, at the interface of a nexus of harms to reduce, that attempts to build collaborative arrangements. Taking on the idea that environments are constitutive of nursing practice, this study recognises the need to further develop disciplinary knowledge about the concept of Environment in nursing.