described by Graham St John, the aural space of ConFest is decidedly contested. Here,
techno-trance enthusiasts find themselves at odds with a significant constituent of
event-goers who view loud, electronically based music as “invasive,” “inappropriate,”
and threatening the environment as well as the overall authenticity of the ConFest
experience. Sharply contrasting with the techno-primitive view of dancing to techno as
a means of building communitas, this music is regarded by many ConFest participants
as mechanistic and a threat to sociality (ibid.:258–66).
11 The San Francisco Bay area-based Hawaiian hula company Na Lei Hulu I Ka Wekiu
recently fused traditional dance and music with techno for a performance at a Bay area
rave. This performance was repeated for an audience at the downtown Los Angeles
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