Dancecult: Journal of Electronic Dance Music Culture https://dj.dancecult.net:443/index.php/dancecult <p><em>Dancecult</em> is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). A platform for interdisciplinary scholarship on the shifting terrain of EDMCs worldwide, the journal houses research exploring the sites, technologies, sounds and cultures of electronic music in historical and contemporary perspectives.&nbsp;To get started,&nbsp;<a href="/index.php/journal/user/register?source=" target="_blank" rel="noopener">register here</a>. Join the&nbsp;Dancecult-l&nbsp;<a href="http://listcultures.org/mailman/listinfo/dancecult-l_listcultures.org" target="_blank" rel="noopener">mailing list</a>. Or visit the <a href="https://www.facebook.com/Dancecult/">Dancecult Facebook Page</a>.</p> <p><em>Dancecult </em>is an activity of the&nbsp;<a title="Dancecult Research Network" href="https://dancecult-research.net" target="_blank" rel="noopener">Dancecult Research Network</a>&nbsp;whose webportal features a moderated user-updatable reference archive with EDMC researcher profiles and resource lists. Note. When the DRN webportal was re-launched in June 2018, all profiles and references archived in&nbsp;2010 were migrated. Please update profiles and submit entries to the <a title="People" href="https://dancecult-research.net/people/" target="_blank" rel="noopener">People</a> &amp; <a title="References" href="https://dancecult-research.net/references/" target="_blank" rel="noopener">References</a> lists (under Resources).&nbsp;</p> <p>&nbsp;</p> <p><a href="https://dancecult-research.net/" target="_blank" rel="noopener"><img class="center" src="/public/site/images/bvitos/DNR-Logo-Text-Final.png" alt="Dancecult Research Network"></a></p> en-US Dancecult: Journal of Electronic Dance Music Culture 1947-5403 Authors who publish with this journal agree to the following terms:<ol type="a"><li>Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="http://creativecommons.org/licenses/by-nc-sa/3.0/" target="_new">Creative Commons Attribution-Noncommercial-Share Alike License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.</li><li>Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g. post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal. Such derivate works or subsequent publications must happen no less than one calendar year after the initial publication date in <em>Dancecult</em>.</li><li>Authors are permitted and encouraged to post their work online (e.g. in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See <a href="http://opcit.eprints.org/oacitation-biblio.html" target="_new">The Effect of Open Access</a>).</li></ol> Editorial Introduction: Dance Culture in the Time of Corona https://dj.dancecult.net:443/index.php/dancecult/article/view/1184 Dave Payling Graham St John ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 1–2 1–2 10.12801/1947-5403.2020.12.01.00 No Screenshots on the Dance Floor https://dj.dancecult.net:443/index.php/dancecult/article/view/1170 Ben Assiter ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 10.12801/1947-5403.2020.12.01.01 India's Electronic Music Scene Under Lockdown https://dj.dancecult.net:443/index.php/dancecult/article/view/1177 Chris McGuinness ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 10.12801/1947-5403.2020.12.01.02 A Post-Post-Soviet Scene Post-Quarantine https://dj.dancecult.net:443/index.php/dancecult/article/view/1174 Camille LeBlanc Liederman ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 10.12801/1947-5403.2020.12.01.03 Virtual Dance Floors https://dj.dancecult.net:443/index.php/dancecult/article/view/1172 Emilia Simao Paula Guerra ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 10.12801/1947-5403.2020.12.01.04 Good Vibes Friday https://dj.dancecult.net:443/index.php/dancecult/article/view/1178 Sam Warren ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 10.12801/1947-5403.2020.12.01.05 Sound Systems at the George Floyd Protests in Minneapolis During the Summer of 2020 https://dj.dancecult.net:443/index.php/dancecult/article/view/1183 Tommy Colton Symmes ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 10.12801/1947-5403.2020.12.01.06 Transformation Through Connection? https://dj.dancecult.net:443/index.php/dancecult/article/view/1171 Terje Toomistu Jukka-Pekka Heikkilä ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 10.12801/1947-5403.2020.12.01.07 Bring the Break-Beat Back! https://dj.dancecult.net:443/index.php/dancecult/article/view/1153 <p class="western" style="margin-bottom: 0cm; line-height: 100%;" align="justify"><span style="font-family: Cambria, serif;">This article focuses on the critical divergences between rhythm and repetition in contemporary drum ‘n’ bass music in three key ways. First, it shows how the characteristic “chopping” and acceleration of sampled break-beats emphasises continuity with the past, thereby placing the genre in a continuum of Black Atlantic cultural practice that articulates historical recuperation as a political priority, while signifying the </span><span style="font-family: Cambria, serif;"><em>dis</em></span><span style="font-family: Cambria, serif;">continuity of time in an accelerated culture. Secondly, it addresses the persistent use of live break-beats as an impulse within the genre to emphasise competing discourses of authenticity in the context of Black Atlantic cultural memory. Thirdly, having examined the embodied performativity valorised in the sampling of live break-beats, the article shows how the critical valuation of rhythmic characteristics can function as a catalyst of genre mutation and sub-genre development in drum ‘n’ bass and other electronic dance music genres.</span></p> Chris Christodoulou ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 3–21 3–21 10.12801/1947-5403.2020.12.01.08 Genre in Practice https://dj.dancecult.net:443/index.php/dancecult/article/view/1167 <p class="western" style="margin-bottom: 0cm; line-height: 100%;"><span style="font-family: Cambria, serif;">Digital technology has changed the way in which genre terms are used in today’s musical cultures. Web 2.0 services have given musicians greater control over how their music is categorised than in previous eras, and the tagging systems they contain have created a non-hierarchical environment in which musical genres, descriptive terms, and a wide range of other metadata can be deployed in combination, allowing musicians to describe their musical output with greater subtlety than before. This article looks at these changes in the context of psyculture, an international EDM culture characterised by a wide vocabulary of stylistic terms, highlighting the significance of these changes for modern-day music careers. Profiles are given of two artists, and their use of genre on social media platforms is outlined. The article focuses on two genres which have thus far been peripheral to the literature on psyculture, forest psytrance and psydub. It also touches on related genres and some novel concepts employed by participants (”morning forest” and ”tundra”).</span></p> Christopher David Charles ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 22–47 22–47 10.12801/1947-5403.2020.12.01.09 The Studio as Contemporary Autonomous Zone https://dj.dancecult.net:443/index.php/dancecult/article/view/1166 <p class="western" style="margin-right: 0.05cm; text-indent: 0cm; line-height: 100%;" lang="en-AU" align="left"><span style="font-family: Calibri, serif;"><span style="font-size: small;"><span style="font-family: Cambria, serif;"><span style="font-size: medium;">This article explores electronic music making in a context of precarity and climate crisis. I use ethnographic research conducted in the Australian city of Adelaide and the provocative ideas of nineteenth century German philosopher, Max Stirner, to situate the electronic music studio as a contemporary autonomous zone, an interface between creative expression and capitalist existence. I argue that the studio functions as a physical and psychological space to develop what Stirner termed “ownness”, taking possession and realizing one’s own capacity and power. I propose ownness as a theoretical tool for understanding the studio as a site of self-realisation and micro-political action, investigating how electronic music practice shapes subjectivity, autonomy and resistance. The contemporary studio emerges as a refuge from the anxieties and uncertainties of late-capitalism, a therapeutic outlet and means of becoming, an opportunity to find voice and vocation in the violence of the present.</span></span></span></span></p> <p style="text-indent: 0cm;"><span style="font-size: 12.0pt; line-height: 107%; font-family: 'Times New Roman',serif;">&nbsp;</span></p> Paul Chambers ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 48–65 48–65 10.12801/1947-5403.2020.12.01.10 The Vibe as Peace https://dj.dancecult.net:443/index.php/dancecult/article/view/1163 <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-size: medium;"><span lang="en-CA">While discourses of peace abound in cultural, youth and EDMC studies, notably in relation to concepts like communitas, the dominant moral and modern conceptions of peace and conflict appear limited to tackling the inevitable conflict dynamics inside parties and around </span></span></span><span style="font-family: Cambria, serif;"><span style="font-size: medium;"><span lang="en-CA"><em>the vibe</em></span></span></span><span style="font-family: Cambria, serif;"><span style="font-size: medium;"><span lang="en-CA"> as a peak experience. Inspired by contemporary peace studies, Peter Sloterdijk’s psychopolitical-morphological argument known as spherology and participation in Montreal’s psytrance scenes, this paper offers an alternative understanding of productive conflicts at work in </span></span></span><span style="font-family: Cambria, serif;"><span style="font-size: medium;"><span lang="en-CA"><em>the vibe</em></span></span></span><span style="font-family: Cambria, serif;"><span style="font-size: medium;"><span lang="en-CA"> and outside of it. At the end, this paper seeks to offer observers and practitioners means to discuss the various peace-conflict dynamics nascent on dance floors with effects on global cultural formations.</span></span></span></p> Marc-Olivier Castagner ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 66–84 66–84 10.12801/1947-5403.2020.12.01.11 Bass, Mids, Tops: An Oral History of Sound System Culture (Joe Muggs & Brian David Stevens) https://dj.dancecult.net:443/index.php/dancecult/article/view/1190 Edward Spencer ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 85–88 85–88 10.12801/1947-5403.2020.12.01.12 Night Fever: Designing Club Culture 1960 – Today (Mateo Kries, Jochen Eisenbrand & Catherine Rossi, eds.) & This Must Be the Place: An Architectural History of Popular Music Performance Venues (Robert Kronenburg) https://dj.dancecult.net:443/index.php/dancecult/article/view/1192 Hillegonda C Rietveld ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 89 91 10.12801/1947-5403.2020.12.01.13 Moon Juice Stomper: A Novel (Goa 1987-96) (Ray Castle) https://dj.dancecult.net:443/index.php/dancecult/article/view/1185 Graham St John ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 92–93 92–93 10.12801/1947-5403.2020.12.01.14 Avicii: True Stories (Levan Tsikurishvili, dir.) https://dj.dancecult.net:443/index.php/dancecult/article/view/1191 George Musgrave ##submission.copyrightStatement## https://creativecommons.org/licenses/by-nc-sa/3.0/ 2020-11-13 2020-11-13 12 1 94–97 94–97 10.12801/1947-5403.2020.12.01.15