Towards the ‘electronic re-tribalization of society’I have suggested one possibility for the appropriation of Balinese gamelan by the
rave scene: a similarity in musical structures typically accompanying events
associated with ASC in both contexts. Now I’ll explore the implications of a more
socially complex second possibility. I propose that it is part of the ideology of some
rave participants to associate themselves with icons of a generic “ethnicness’—
perceived as synonymous with “primitiveness.” As an “exotic” entity, the gamelan
affords this association. Note one raver’s ideas about how the gamelan might
function at an event:
I think it would be REALLY cool to have a couple of Balinese dancers dance
to the last gamelan piece, and then have the dj start back up with something
similarly exotic, maybe Middle Eastern, that the dancers could also dance to.
Then bring up the music again slowly, to help tie the different pieces of the
ceremony together.
(posted to sfraves, 27 March 2000)A further exploration of this notion of interchangeable exotica will illuminate the
seemingly contradictory techno-primitive “aesthetic” of the San Francisco rave
scene.
Another participant states: “[w]hat the gamelan was doing was the same as what
rave was doing. That it’s all tapping into the same roots” (personal interview, 21
May 1998). This comment, alluding to “the same roots” of a common, pre-
industrial ancestry, emphasizes the valued connection between raving and ancient
ritual—a connection distinguishing ravers ideologically from industrialized
mainstream society. What is especially interesting in this view is that high
technology (the ultimate product of industrialized society) and especially
electronically produced music are seen as means to accomplish this goal of
reconnection with the primitive in us all. The following posting to hyperreal.org
clearly illustrates this idea: “There are many developments in technology however,
that have the potential to create an electronic re-tribalization of society and help
humanity remember our place on this sacred sphere” (Amoeba 1994:1).
Far from being contradictory, combining high technology with perceived “tribal
values” is viewed as the ultimate tool of collective transcendence and self-
actualization.^10 This vision is clearly expressed in Kathleen Williamson’s
characterization of raving:
There is a pulsating awareness of sharing archaic understandings, reviving lost
traditions...which are all invested with new technological innovation. The
sounds are the new epic poetry of this century.... The knowledge is beyond
consumerism and materialism, and associated disaffected, alienated and
generally self-destructive style of the industrial being... The sounds and rhythms
produced by tekno artists seem to be more and more profound in their abilityGAMELAN AND TECHNO-PRIMITIVISM IN SAN FRANCISCO 203