By Ben Malbon
Clubbing explores the cultures and areas of clubbing. Divided into 3 sections: Beginnings, The evening Out and Reflections, Clubbing comprises first-hand debts of clubbing studies, framing those bills in the appropriate study and a evaluate of clubbing in late-1990s Britain.
Malbon fairly focuses on:
the codes of social interplay between clubbers
issues of gender and sexuality
the results of music
the position of ecstasy
clubbing as a playful act
and own interpretations of clubbing stories.
Read Online or Download Clubbing: Dancing, Ecstasy, Vitality (Critical Geographies) PDF
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Additional info for Clubbing: Dancing, Ecstasy, Vitality (Critical Geographies)
Luke thus contrasts the interactional ordering of clubbing with that of ‘the streets’. A common feature of clubbers’ accounts was the quite different set of codes of social interaction that clubbing appears to both demand and allow. Clubbing was described as being less about the indifference of the crowd—so beloved by Baudelaire, for example—and the civility of structured distanciation necessitated by the crowd, as discussed by Bauman, and more about the identifications possible with and through that clubbing crowd.
Furthermore, and crucially, it appears that these practices of sociality are often themselves what is being consumed. The notion of performativity is one approach to understanding the relationships 26 THREE STARTING POINTS between these practices of sociality and the identities and identifications of the individual consumers. Performativity The practical negotiation of crowd membership or affiliation involves processes of communication that are always dialogical, that is: they are two-way processes (Canetti, 1973; Le Bon, 1930; Maffesoli, 1988b; 1996b).
Modern living means living with strangers, and living with strangers is at all times a precarious, unnerving and testing life’ (Bauman, 1993:161). In his musings on nineteenth century Parisian life, Charles Baudelaire was struck by the relief from their ‘inner subjective demons’ that citizens experienced in a city of passing encounters, fragmentary exchanges, strangers and large crowds (Sennett, 1990). For Baudelaire, this mode of experiencing the city of constant flux as pleasurable was perfectly captured in the figure of the flâneur—a citizen who takes visual possession of the city, wandering at will without a prescribed purpose other than exposure to diversity, gaining a form of melancholy pleasure through this experience (Wilson, 1995) 1 .