Club Texas: Building Community in Electronic Music Fan Culture through Online Collaboration is a report of results from a content analysis that analyzes the role of online participatory culture for community development and social capital for a local underground EDM ‘scene’ (Electronic Dance Music) in Dallas, TX. This study analyzes DallasDanceMusic.com (DDM), one of the first and largest message board communities to support the EDM community in Dallas, TX since 1994. The study measures participatory culture and social capital using content analysis of the site during high profile activity for a four-month period in 2012. / text

Thesis (M.A.)--University of Delaware, 2006. / Principal faculty advisor: Tammy L. Anderson, Dept. of Sociology and Criminal Justice. Includes bibliographical references.

Diss.--Leipzig. Titre de soutenance : Ausgewählte Aspekte des Drogengebrauchs junger Erwachsener in der Techno-Szene, 1998. / Bibliogr. en fin de chapitres.

I Sverige är kopplingen mellan rave, ungdomar och droger så signifikant att polisen år 1996 upprättar en speciell polisenhet vid namn Ravekommissionen. Uppsatsens syfte är att undersöka hur rave konstrueras som ett problem i svensk dagspress mellan 1995 och 1997, och därmed belysa hur social ordning reproduceras i offentligheten genom samtalsordningen om rave. Från socialkonstruktivistisk synvinkel är media central i konstruktioner av problem. Tidigare forskning inom området rör kopplingar mellan ungdomar och narkotika, samt ungdomskultur och narkotika, men inte den offentliga problemformuleringsprocessen.                                     Studien bygger på 772 förekomster av ordet rave respektive rejv i allt från insändare till debattartiklar i fyra rikstäckande dagstidningar. Den har tagit utgångspunkt i begreppet representation för att kunna belysa de praktiker och aktörer som varit centrala i problemkonstruktionerna.                       I samtalsordningen är det etablerat att rave är en ungdomskultur, och det har skett en successiv betydelseförskjutning i att de frågor som prioriterats övergått från musik till droger. Problemet konstrueras delvis som att det ständigt intensifieras, där praktiker som ligger till grund för detta är att beskriva hur ravespecifika droger ökar i tillgång, sprider sig ut i samhället, och att missbrukarna är en ny grupp, så kallade vanliga ungdomar.                       Analysen visar att samtalet på en övergripande nivå rör farhågor om att den sociala ordningen hotas, genom att ungdomen hotas.  Två ideologiska hotbilder konstrueras. Attityden mot droger hos unga beskrivs ha förändrats till en mer liberal attityd, vilket på sikt utgör ett direkt hot den restriktiva narkotikapolitiken och underförstått den sociala ordningen. Parallellt med detta konstrueras ett mer direkt hot mot den sociala ordningen, delvis i att de påverkbara ungdomarna riskerar präglas av en statsfientlig nyliberalism, delvis genom att polisens praktik skapar en ökad misstro mot den sociala ordningens representanter.

This dissertation explores how the subcultural practice of liquid dance emerged from US rave culture and continues to sustain itself and evolve in today’s era of social media and EDM festival culture. I draw upon the concept of flow as a lens to trace the historical, aesthetic, digital, social and subcultural trajectory of liquid dance. I analyze how this subculture continues to evolve through individual practice, as well as how dance is shared through online and live dance exchange. My dissertation consists of seven chapters that provide both academic and practitioner perspectives of liquid dance. My research methods combine a multidisciplinary approach to implementing semi-structured interviews, participant observation, and digital archival research. My fieldwork consists of interviewing fourteen liquid practitioners, as well as conducting ethnographic research at an EDM festival where liquid dancers annually attend and participate. The purpose of this project is twofold. One, to contribute new knowledge to the field of dance studies on the specific dance genre of liquid, which up until now has not been documented in this field. Two, to provide a space for practitioners to openly share their perspectives in a collaborative effort to produce new knowledge. From the beginning, it has been my intention to produce a dissertation that provides the foundation for a continuing series of academic discussions from which to draw upon for further, future research and critical engagement with liquid dance. This document may also be used as a template for scholars across disciplines to deploy as a lens to analyze and critique other subcultural dance practices within the continuum of rave, club and dance music festivals. / Dance

We have seen a connection between the ritual dances us humans have been engaging in for a huge part of our evolution and the rave-culture of today. How they both use music and the moving body as a vehicle to access states of being beyond the everyday life. By diving head first in the world of dance and trance we have discovered even more similarities that we today share with the humans 10.000 years ago than we ever could have imagined. We have with the help of interviews and our personal experience tried to capture what the trance means for the human today, and with our research we want to illustrate the similarities and differences between in digital world we live in today compared to the world we have lived in for thousands of years before the digital technology’s advance. This text has been our vehicle to analyse and discuss the things we still hold on to as humans even though the world around us has changed. / Vi har sett ett samband mellan de rituella danserna som människan har ägnat sig åt under en stor del av vår utveckling och dagens rådande rave-kultur. Hur de båda forumen använder musik och kroppen i rörelse som ett fordon för att ta sig till andra sinnesstadier bortom det vardagliga varandet. Genom att djupdyka ner i dansens och transens värld har vi stött på ännu större likheter vi idag delar med människan för 10.000 år sedan än vad vi någonsin hade kunnat ana. Vi har med hjälp utav intervjuer och egna upplevelser försökt att skapa oss en bild om vad transen har för roll hos människan än idag, och vill med denna undersökning belysa de likheter och skillnader i den digitala världen vi lever i idag gentemot den värld människan levt i under tusentals år innan den digitala teknologins frammarsch. Denna text har varit vårt fordon för att undersöka samt diskutera de som vi har hållit oss kvar vid som människor även fast omvärlden har förändrats.

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This thesis is the result of more than ten years involvement with outdoor dance events in Aotearoa, with a specific focus on Te Wai Pounamu (South Island) and Otautahi (Christchurch). Two symbiotic themes are explored here – that of the significance of the landscape in inspiring a conversion to tribal-based spirituality at the events, and the role of the music in ‘painting’ a picture of Aotearoa in sound, with an emphasis on those musicians heard in the outdoor dance zones. With no major publications or studies specific to Aotearoa to reference, a framework based on global post-rave culture has been included in each chapter so that similarities and differences to Aotearoa dance culture may be established. Using theoretical frameworks that include Hakim Bey’s TAZ (Temporary Autonomous Zone), the carnivalesque, and tribalism, the overriding theme to emerge is that of utopia, a concept that in Aotearoa is also central to the Pākehā mythology that often stands in for a hidden violent colonial history, of which te Tiriti o Waitangi (the Treaty of Waitangi) has been a source of division since it was signed in 1840. Thus, in the Introduction several well-known local songs have been discussed in relation to both the Pākehā mythology and the history of te Tiriti in order to contextualise the discussion of the importance of Māori and Pākehā integration in the dance zones in the following chapters. The thesis comprises of two main themes: the events and the music. At the events I took a participatory-observer approach that included working as rubbish crew, which provided a wealth of information about the waste created by the organisers and vendors, and the packaging brought in by the dancers. Thus the utopian visions that were felt on the dancefloor are balanced with descriptions of the dystopian reality that when the dancers and volunteers go home, becomes the responsibility of a strong core of ‘afterparty’ crew. Musically, the development of a local electronic sound that is influenced by the environmental soundscape, along with the emergence of a live roots reggae scene that promotes both positivity and political engagement, has aided spiritual conversion in the dance zones. Whereas electronic acts and DJ’s were the norm at the Gathering a decade ago, in 2008 the stages at dance events are a mixture of electronic and live acts, along with DJ’s, and most of the performers are local. Influenced by a strong reggae movement in Aotearoa, along with Jamaican/UK dance styles such as dub and drum and bass, local ‘roots’ musicians are weaving a new philosophy that is based on ancient tribal practices, environmentalism and the aroha (love) principles of outdoor dance culture. The sound of the landscape is in the music, whilst the vocals outline new utopian visions for Aotearoa that acknowledge the many cultures that make up this land. Thus, in Aotearoa dance music lies the kernel of hope that Aotearoa dance culture may yet evolve to fulfil its potential.

Univ., Diss.--Münster (Westf.), 2003.

Les raves sont des événements festifs dédiés à la musique techno et à la danse qui se distinguent des autres lieux de rassemblement tels que les bars et les discothèques notamment par le fait qu’ils se déroulent toute la nuit dans un lieu aménagé pour l’occasion et qu’il n’y a généralement pas de vente d’alcool. La consommation de drogues de synthèse telles que l’ecstasy et les speeds y est toutefois largement répandue. La tenue de ces rassemblements pose une série de problèmes du point de vue des autorités policières, tels que la présence de trafiquants de drogues ainsi que la sécurité des lieux où se déroulent les raves. Dans le contexte particulier de ces événements, les pratiques de contrôle social sont soumises à un certain nombre d’ambiguïtés. Le but général de l’étude est de permettre une compréhension de la façon dont se déterminent et s’appliquent les règles qui visent à encadrer la tenue de ce type de rassemblements. Trois objectifs spécifiques sont poursuivis, soit 1) de comprendre comment on a tenté de réguler ce type d’événements à Montréal, 2) de comprendre comment les différents acteurs responsables de l’organisation et du bon déroulement des événements établissent une série de règles, aussi bien formelles qu’informelles, et négocient leur application dans le cadre de leur pratique, et 3) de comprendre comment ces acteurs identifient certaines situations comme constituant un problème et éventuellement, y réagissent. La principale méthode de recueil des données a consisté à réaliser des entretiens semi-dirigés avec des promoteurs d’événements rave, des agents de sécurité ainsi que d’autres personnes impliquées dans le milieu telles que policier, pompier, artistes de la scène rave et intervenants. L’observation participante lors d’événements rave fut utilisée comme méthode complémentaire. L’étude démontre comment le service de police s’est vu confronté avec les raves à un vide juridique et comment l’encadrement de ce type d’événements s’est plutôt exercé par le service de prévention des incendies. Les autorités ont également tenté d’encadrer le phénomène par des modifications à certaines règlementations, dont celles sur les permis d’alcool. L’étude démontre également de quelle manière et en fonction de quoi les différents acteurs du milieu négocient les règles en cours d’action dans un contexte où la frontière entre le licite et l’illicite est floue. / Raves are festive events dedicated to dance and techno music, different from other places of gathering such as bars and discotheques by the fact that they take place in all night venues converted for the occasion and where there is generally no sale of alcohol. Synthetic drug consumption such as ecstasy and speed is largely widespread in these events. The existence of these gatherings poses a series of problems from the point of view of the police authorities, such as the presence of drug dealers as well as the safety of the venue where the raves are held. In the particular context of these events, social control practices are subjected to a certain number of ambiguities. The general goal of this study is to allow an understanding of the way the rules, that constitute the framework of this type of gathering, are determined and applied. Three specific objectives pursued in this study are 1) to understand how authorities tried to control these types of events in Montreal, 2) to understand how the various actors responsible for the organization of these events establish a series of rules, formal and informal, and negotiate their application within the framework of their practice, and 3) to understand how these actors identify certain situations as problematic and eventually react to them. The main data collection method consisted in carrying out semi-directed interviews with rave Producers, Security Agents, Police Officer, Fire Marshal, Artists of the rave scene and other parties involved. Participating observation in actual events was a complementary method. This study demonstrates how the police service faced a legal void regarding rave events and how the regulatory framework was rather introduced by the fire department. The authorities also tried to control the rave phenomenon by modifying certain regulations, such as those applicable to alcohol licence. The study also demonstrates how and why key stakeholders negotiate the rules in the course of action in this particular context where the frontier between the licit and the illicit is woolly.