Call them as you need (illegal or unlicensed raves, community parties, loose parties, floating parties). There have been large gatherings of other people on musical occasions in Europe this summer, despite the risk of a momentary wave of coronavirus.
“You can’t make a social estrangement in the raves, it’s about being very close to each other,” says musicologist and sociologist Beate Peter.
And she’s desperate to get back to the club. “Give me a syncopated rhythm and I’m there,” says Dr. Peter.
She has reveled firsthand with rave culture in Germany, where she grew up and studied, and in the UK, where she is a full professor at Manchester Metropolitan University. He has studied the psychology of delirium, both professionally and personally, and says that he can perceive what motivates others to delirium in the face of the pandemic.
Read more: Berlin police disociate a floating ‘party demonstration’
“The dance floor is an opportunity not to think too much,” he says, but with everything that’s going on, he says he “doesn’t feel like” fainting right now.
“One night” at KitKatClub in Berlin is with all clubs closed due to the coronavirus pandemic
“You’d have to absolutely forget what’s going on, every minute of your life, right now. But with my point of awareness of what’s happening and the potential dangers, I couldn’t get to a state where I can get what I need from a rave,” he says.
Academics, Peter says, focus on a “brain-body dichotomy,” and the brain is “favored in relation to the body, over and over again.” But on a dance floor, this dichotomy dissolves or “at least blurs to a certain extent,” he says.
“We no longer separate what happens to the frame and what happens to the mind. They begin to shape a condition or state, where other people explicit the property or respond to music through dance. And dance is the ultimate detail here: you’re physically. But I’m also convinced that this has an effect on your intellectual state. And that’s true with or without drugs, ” says Peter.
Perhaps it is because of this explanation why thousands more people accumulated in raves and neighborhood parties in Manchester and its rural periphery, such as Carrington, or in London, Berlin, a beach in Porto in Portugal or the French capital Paris and Nantes. This would possibly be an opportunity to get lost in the dance and pandemic around us.
Speaking to Reuters news agency, German DJ Elias Dore said that “people simply aspire to socially bond” because they would spend the summer dancing under the open skies of European festivals.
There is also a safe culture of secret raves dating back 30 years or more until the past 1980s. In the UK, where the scene was born, it culminated in the Castlemorton Common Festival. This free rave, as described, has led to the criminalization of unlicensed raves, adding any music that featured strong “repetitive rhythms”, and a repetitive hype, or “bombo”, is an incredible feature of rave culture, especially techno.
A demonstration on a Berlin canal, protesting over his club and the city’s rave scene.
But for Clifford Stott, a professor of social psychology at Keele University, those massive gatherings at loose parties are also a matter of rights.
“Why don’t you meet?” said Stott in an interview with DW. “Before COVID, we did it all the time. But some other people did it more than others and they are usually other young people. Note that there is no position in which other youth are meeting at this time. They can’t go to nightclubs because they’re all closed. “
In Berlin, municipal directors can consult to replace that. Ramona Pop, a Berlin senator, reportedly wrote to district mayors urging them to locate public spaces for occasions that would come with Berlin’s clubs and techno scene.
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But elsewhere, particularly in the north-west of the UK, where many loose parties have been presented, the government has closed them. And it’s anything other young people feel “vividly,” Stott says.
“They would be fundamentally vital to who collecting and socializing are,” he says. “These lax parties take a stand in a context of restriction, and of course, by definition, it is a confirmation of resistance to these restrictive measures.”
Some of the parties in the UK have been marked with crime tags (drug use, overdose deaths and gunshot wounds) and Stott says there is evidence that organised crime teams (GPOs) are making a cash investment for occasions and artists.
The OCGs would possibly see the loose holidays as a way to assemble a “captive audience,” as Stott describes it, to sell drugs.
Read more: Unprecedented fitness crisis: coronavirus has stopped the use of illicit drugs
But most people who go to those parties probably don’t know or don’t care who hosted the party and paid the DJ. They will only need to dance and socialize with other people, adding drug addicts. Drugs like MDMA are illegal, whether an occasion is allowed or not, yet the law is harder at a loose party, Stott says.
MDMA or ecstasy, an “important role” in rave culture, says Peter, like LSD in the hippie movement.
In the early years of rave culture, MDMA was identified to get rid of the violence of vandalism. People also said it allowed them to lessen their dance floor inhibitions, not necessarily to a point where they would do illegal things, or things they might regret later, but only to allow them to avoid worrying about how they gave up. society, or attention to what society expects of them.
This can be especially difficult at a time when other people constantly record their lives or are recorded through others. Peter says the “selfie culture” doesn’t allow you to dance like no one’s watching. Or one with the dance floor.
“You can’t be an observer of what’s happening on the dance floor with your camera and at the same time fully immerse yourself in the experience, in which you can have ‘an ego dissolution’, or a connection to other bodies on the dance floor,” he says.
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And this sense of connection with other people on the dance floor, and quite a lot with strangers, is perhaps more vital than the drugs that make it easier. Perhaps especially at a time when we spend months apart, isolated.
There are at least two organizational dynamics at play on the dance floor. First, there’s the music.
“In rave culture, other people dance in combination at a pace. It’s anything other people can agree on, which is for them. It’s not the melody, for example, it’s the rhythm,” says Peter. “Then they move in unson. And one way or another, there is some kind of muscle bond with other people I’ve never met before.”
The concept of muscle union invented through a war historian named William McNeill.
This refers to a feeling of euphoria and connection that is felt through an organization of people, whether in-running infantrymen or civilians on a dance floor, caused through rhythmic and synchronized movements, performed in un comes together, anything like music and dancing. Or a repetitive rhythm, like a 4/4 bass drum. You can feel it in rave culture.
After party: the scene after a rave in Greater Manchester, United Kingdom, in June 2020
“That’s a component of what raves are. You enter an occasion and expand a “standard connection” with other people who are completely unknown,” Stott says. “In any other context, they would remain completely strange. But in this context, there is a form of empathy, enjoyment and solidarity.”
This sense of solidarity can mean many things. Stott says that the mass movements and organizational psychology embedded in them have a tendency to be guided through notions of identity or relationships of strength between one organization and another.
Read more: Berlin festive scene, tourism hit by coronavirus
“So, for example, I go to a crowd to protest against this law that I agree with, but that a government of passage, harder than me, has imposed me. Or I go to a rave because I need to get out and the passing government says I can’t, but you know what? Fk, I’m fainting! Stott said. “There’s a force confirmation here.”
The well-known Berghain Club of Berlin, closed. As Beate Peter says, “You can’t do a social estrangement on the dance floor”
By coming together, Stott says, an organization can assert a force that should not have its individual members when acting alone. By acting collectively, the organization can move from the powerless to the powerful.
“And a lot of joy there, ” says Stott.
If you take a look at the riots, he says, he tends to realize that they are motivated by anger in the first place. But once other people start to cause riots, the overwhelming emotion is joy. No anger.
“People consider the riots incredibly joyful,” Stott says. “Because they place in these riots a feeling of coming in combination and an ability to express themselves in a way that is no different from theirs. And this ability to express himself is joyful. He’s smart for us. feel smart because you can explain who you are.”
Just like you do on the dance floor.
The clubs remained open all night and there were many deserted shopping sites to clear them. The renewed Berlin tradition made the nights sleepless in deserted basements. With the birth of the techno scene, many DJs began their career in mythical nightclubs such as “Tresor”. This former record player from the exhibition “Nineties Berlin” is a tribute to the raves of the 90s.
Concerts, theatre, readings, works of art, debates: creativity in the “Kunsthaus Tacheles” had no limits. Occupied in 1990 through an artists’ initiative, the ruins of the Oranienburger Strasse have become a cultural establishment of the decade. After years of wists, the remaining artists nevertheless had to leave the site in September 2012.
Called “Island of Berlin”, an exhibition corridor recalls the city that was once divided and reunified. A 270-degree, 55-meter (180-foot) wide screen embarks on a discovery adventure through the 1990s, from the night the wall fell to the Love Parade. The original recordings of photographs and videos are accompanied by a soundtrack with the music of the decade.
Celebrating peace and joy, the first Love Parade modestly in 1989 with some 150 techno enthusiasts, but in just a few years it became one of the most important musical occasions in Europe. In 2010, the last Love Parade ended in tragedy in the city of Duisburg, with a great panic that claimed the lives of 21 revelers and injured many of them.
Above the heads of visitors is this impressive exhibition, the original head of a fire-spitting dragon that, through the famous German rock band Rammstein, took everyone on their excursion “Sehnsucht” (Longing) in 1997. The cult organization had trained three years earlier in Berlin. A new album is rumored to be released in 2018.
Conservative Michael Geithner interviewed thirteen former club fans. Their voices make the delight of the 90s as bright as if the visitors were there too, he says. Political celebrity Gregor Gysi and Band 2 singer 2Raumwohnung Inga Humpe were among the interviewees. “Ultimately, everyone has a love and hateful quote that’s not unusual in the city,” Geithner adds.
Pop music icon Inga Humpe is one of many Westerners who settled in central Berlin, the “Mitte”. In cultural terms, the newly discovered city district is a blank slate. The many decrepit and faded communist-era structures in East Berlin were soon occupied by artists, who advocated “intermediate use.” The weekly bars are open everywhere and serve drinks only one day of the week.
This Kalashnikov rifle facility recalls the other 140 people who died between 1961 and 1989 while seeking to cross the Berlin Wall that separates the eastern and western parts of the city and told their stories. Not all of them died from gunfire. Some drowned in border waters or died.
Author: Paula Rasler (rf)