By Phil Jackson
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Extra info for Inside Clubbing: Sensual Experiments in the Art of Being Human
Another lull, half-past seven in the morning, everybody’s looking wasted, DJ changes again, I don’t hold out much hope for resuscitation, but I am wrong, deep funk this time, another stampede and away we go. Eventually crawled out at ten o’clock. Brain a bit blistered from the whizz and the E, but without the music the drugs wouldn’t have been enough on their own to keep me going. In Club Cultures, Sarah Thornton (1995) examines music as a form of subcultural capital, an approach that reduces music to a set of signs and symbols that are used as an alternative form of cultural knowledge.
The music affects the dancing, the drugs effect the music and the dancing alters the way people feel the drugs and the music. All these new relationships arise as practices, rather than ideas and people encounter these practices as moments of heightened sensual intensity within a radically altered social framework. They become deep participants, but this level of participation is a bodily technique that can move beyond clubs. It can permanently alter the way music is received by the listener; they learn how to listen to and feel music in different way.
All of the other elements of clubland remain intact and not everybody has sex. People dance, talk and chill out as in every other club space, but there is enough visible sex to move – 35 – Inside Clubbing the space one step further away from the everyday world and so challenge the habitus, which provides the socio-sensual framework through which we encounter sex in that world. The Sexuality of Clubbing Sexual desire is a clubbing constant, regardless of race, age, gender or sexual orientation; the only difference is how much it is expressed in the visual make up of the club.