Carnivalesque Dimension of Electronic Dance Music in Festivals

Kübra Arslan; Levent Ergun

Makale detayları

Carnivalesque Dimension of Electronic Dance Music in Festivals

Yazarlar:

Kübra Arslan | Levent Ergun

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 21, pp.106-124

Belge Tipi:

Makale

Yayın Tarihi:

1/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001282662

pISSN:

2651-4818

Anahtar kelimeler:

Özet:

 When we analyze the development of electronic dance music EDM, which comes from an underground culture, we can say that it has become mainstream in recent years owing to festivals. Despite its late recognition in Turkey, EDM has managed to constitute an active audience over time through Disc Jockeys and producers. It entered our country in the 1990s via radio broadcasts, and has grown and developed through the increasing number of parties and festivals in recent years. In this paper, in the fieldwork carried out in electronic dance music festivals, the explicandum and experiences of the audience and the data obtained on the phenomenon of festival and DJing will be explained within the framework of the concept of carnivalesque. Ethnographic data were obtained from EDM festivals held in İzmir and İstanbul through observation, participant observation and interview. Carnivals, from ancient times to the present day, go beyond being simple entertainment celebrations and symbolize a more collective situation. Medieval carnival understanding, which Bahtin analyzed in his Rebelais and His World, has many aspects similar to todays EDM festivals. Festivals can be considered as pre-modern carnivals as a performance space and counterculture which enables the audience to escape from social life. In this paper, some differences along with the situations in which carnivalesque behavior such as laughing and freedom gain visibility are discussed. The traces of the carnivals which are a medieval tradition, also seen formally in todays EDM festivals. Despite the political and economic effects, these festivals maintain a counterculture and an upside-down state of world.

 When we analyze the development of electronic dance music EDM, which comes from an underground culture, we can say that it has become mainstream in recent years owing to festivals. Despite its late recognition in Turkey, EDM has managed to constitute an active audience over time through Disc Jockeys and producers. It entered our country in the 1990s via radio broadcasts, and has grown and developed through the increasing number of parties and festivals in recent years. In this paper, in the fieldwork carried out in electronic dance music festivals, the explicandum and experiences of the audience and the data obtained on the phenomenon of festival and DJing will be explained within the framework of the concept of carnivalesque. Ethnographic data were obtained from EDM festivals held in İzmir and İstanbul through observation, participant observation and interview. Carnivals, from ancient times to the present day, go beyond being simple entertainment celebrations and symbolize a more collective situation. Medieval carnival understanding, which Bahtin analyzed in his Rebelais and His World, has many aspects similar to todays EDM festivals. Festivals can be considered as pre-modern carnivals as a performance space and counterculture which enables the audience to escape from social life. In this paper, some differences along with the situations in which carnivalesque behavior such as laughing and freedom gain visibility are discussed. The traces of the carnivals which are a medieval tradition, also seen formally in todays EDM festivals. Despite the political and economic effects, these festivals maintain a counterculture and an upside-down state of world.

 When we analyze the development of electronic dance music EDM, which comes from an underground culture, we can say that it has become mainstream in recent years owing to festivals. Despite its late recognition in Turkey, EDM has managed to constitute an active audience over time through Disc Jockeys and producers. It entered our country in the 1990s via radio broadcasts, and has grown and developed through the increasing number of parties and festivals in recent years. In this paper, in the fieldwork carried out in electronic dance music festivals, the explicandum and experiences of the audience and the data obtained on the phenomenon of festival and DJing will be explained within the framework of the concept of carnivalesque. Ethnographic data were obtained from EDM festivals held in İzmir and İstanbul through observation, participant observation and interview. Carnivals, from ancient times to the present day, go beyond being simple entertainment celebrations and symbolize a more collective situation. Medieval carnival understanding, which Bahtin analyzed in his Rebelais and His World, has many aspects similar to todays EDM festivals. Festivals can be considered as pre-modern carnivals as a performance space and counterculture which enables the audience to escape from social life. In this paper, some differences along with the situations in which carnivalesque behavior such as laughing and freedom gain visibility are discussed. The traces of the carnivals which are a medieval tradition, also seen formally in todays EDM festivals. Despite the political and economic effects, these festivals maintain a counterculture and an upside-down state of world.

 Underground yeraltı bir kültürden gelen elektronik dans müziğinin EDM gelişimini incelendiğimizde son yıllarda festivaller sayesinde ana akım haline geldiğini söyleyebiliriz. EDM, Türkiyede geç tanınmasına rağmen Disk Jokeyler ve prodüktörler aracılığıyla zaman içerisinde aktif bir izler kitle oluşturmayı başarmıştır. 1990larda radyolar sayesinde ülkemize girerek, son on yılda sayısı artan partiler ve festivaller yoluyla büyüyerek gelişmiştir. Bu makalede elektronik dans müziği festivallerinde gerçekleştirilen alan çalışmasında, izler kitlenin ifade biçimleri ve deneyimleri ile festival ve DJlik olgusuna yönelik elde edilen veriler karnavalesk kavramı çerçevesinde açıklanacaktır. Etnografik veriler gözlem, katılımcı gözlem ve görüşme yoluyla İzmir ve İstanbulda düzenlenen EDM festivallerinden sağlanmıştır. Karnavallar, antik çağdan itibaren günümüze kadar basit eğlence kutlamaları olmanın dışına çıkarak daha kolektif bir durumu simgelemektedir. Bahtinin Rebelais ve Dünyası eserinde incelediği Ortaçağ karnaval anlayışı günümüz EDM festivalleri ile birçok açıdan benzer özellikler taşımaktadır. Festivaller sosyal yaşamdan kaçışın sağlandığı performans alanı ve karşı kültür olarak modern dönem öncesi karnavallar gibi değerlendirilebilir. Gülme ve özgürlük gibi karnavalesk davranışın görünürlük kazandığı durumlarla birlikte bazı farklılıklar makalede ele alınmıştır. Ortaçağ geleneği olan karnavalların izleri günümüzdeki EDM festivallerinde de biçimsel olarak görülmektedir. Bu festivaller siyasal ve ekonomik etkilere rağmen bir karşı kültür ve tepetaklak dünya halini korumayı sürdürmektedir.

Makale detayları

Yazarlar: Kübra Arslan | Levent Ergun

Yayıncı: Ege University

Ana Başlıklar: Müzik

Dergi: Eurasian Journal of Music and Dance Issue 21, pp.106-124

Belge Tipi: Makale

Yayın Tarihi: 1/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001282662

pISSN: 2651-4818

Sayı

Yazarlar:

Kübra Arslan | Levent Ergun

Yayıncı:

Ege University

Ana Başlıklar:

Müzik

Dergi:

Eurasian Journal of Music and Dance Issue 21, pp.106-124

Belge Tipi:

Makale

Yayın Tarihi:

1/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001282662

pISSN:

2651-4818