Hostname: page-component-cd9895bd7-lnqnp Total loading time: 0 Render date: 2024-12-25T08:10:04.107Z Has data issue: false hasContentIssue false
  • English
  • Français

C'mon to my house: Underground-House Dancing

Published online by Cambridge University Press:  22 July 2014

Sally R. Sommer
Rights & Permissions [Opens in a new window]

Extract

Core share and HTML view are not available for this content. However, as you have access to this content, a full PDF is available via the ‘Save PDF’ action button.

The media attention surrounding Raves in the last couple of years has brought the subject of nightlife and dancing to the foreground of American consciousness. Yet even as dancing and nightlife were enjoying renewed popularity, a national crackdown on clubs was taking place. Almost concurrently, and partly in response to the crackdown, a nostalgia movement arose among the new generation of clubbers for the Utopian ethos of the 1970s and 1980s “Underground-House” scene. These new “Househeads” yearned for the carefully cultivated constructs of the “family,” the “vibe,” and the distinctive styles of House music and dancing—all of which they were attempting to recreate in their parties in 2001. Since the September 11 terrorist attack and its devastating aftershocks, the longing for a safer, golden past has intensified. As eloquently demonstrated by the tremendous popularity during the Depression of escapist movies, in hard times people seek good times and the reassurance of nonviolent congregations.

Type
Articles
Information
Dance Research Journal , Volume 33 , Issue 2 , Winter 2001 , pp. 72 - 86
Copyright
Copyright © Congress on Research in Dance 2001

References

Works Cited

Cooper, Carolyn. 1995. Noises in the Blood: Orality, Gender, and the “Vulgar” Body of Jamaican Popular Culture. Durham, NC: Duke University Press, 1995.Google Scholar
Fikentscher, Kai. 2000. “You Better Work!” Underground Dance Music in New York City. Hanover, NH: University Press of New England/Wesley an University Press.CrossRefGoogle Scholar
Owen, Frank. 1997. “Crackdown in Clubland,” Village Voice, February 18: 38–39.Google Scholar
Owen, Frank. 2001. “Private Pandemonium: As Clubs Flounder, Clandestine House Parties Flourish,” Village Voice, July 17: 37, 38.Google Scholar
Person, Ethel Spector, Fonagy, Peter, Figueira, Servulo Augusto, eds. 1995. On Freud's “Creative Writers and Day-dreaming.” New Haven and London: Yale University Press.Google Scholar
Reynolds, Simon. 2001. “Disco Double Take: New York Parties Like It's 1975,” Village Voice, July 17: 43–44.Google Scholar
Rietveld, Hillegonda. 1998. This is Our House: House Music, Cultural Spaces and Technologies. England and Vermont: Ashgate Publishing Company.Google Scholar
Romano, Tricia. 2001. “Rave Robbers,” Village Voice, July 17: 35, 39.Google Scholar
Sante, Lue. 1992. Low Life. New York: Vintage Books.Google Scholar
Thompson, Robert Farris. 1974. African Art In Motion: Icon and Act. Berkeley and Los Angeles: University of California Press.Google Scholar
Turner, Victor. 1982. From Ritual to Theatre: The Human Seriousness of Play. New York: Performing Arts Journal Publications.Google Scholar
Turner, Victor W. 1969. Ritual Process. Chicago: Aldine Publishing Company.Google Scholar
Burnett, Archie. 1993; 1996; 1997; 1998. Video interviews, New York City, July 31; August l;October; July 24; April 24.Google Scholar
Burnett, Archie. 2000. Informational-conversational telephone interview, New York City, July 14.Google Scholar
Burnett, Archie. 2001. Telephone conversation, New York City, December 31.Google Scholar
“Check Your Body at the Door: Underground Club Dancing in New York City.” 2001. Breaking Ground series, 92nd Street Y, New York City, December 20. Showing of the film Check Your Body at the Door, panel discussion, moderated by Deborah Jowitt, with Charles Atlas, Archie Burnett, Brahams La Fortune, and Sally Sommer; conversations by Sally Sommer with Archie Burnett, Chris Buxenbaum, Brahams La Fortune, and Lewis Vargas.Google Scholar
Green, Brian “Fast Footwork.” 1996. Video interviews, New York City, June, November 23.Google Scholar
Humphries, Tony. 1995. Video Interview, New York City, December 12.Google Scholar
La Fortune, Brahams, “Bravo.” 1993; 1995. Video interviews, New York City, July 31, August 1; December 27.Google Scholar
La Fortune, Brahams. 2000. Informational-conversational telephone interview, New York City, July 14.Google Scholar
Rochester, Conrad “SP.” 1994. Video interview, New York City, July 31, August 1.Google Scholar
Tucker, Barbara. 1996. Video Interview, New York City, November 23.Google Scholar
Wilson, Ejoe. 1994. Interview, New York City, August 1.Google Scholar
Desmond, Jane C. 2001. Dancing Desires: Choreographing Sexualities On and Off the Stage. Madison: The University of Wisconsin Press.Google Scholar
Lipsitz, George. 1990. Time Passages: Collective Memory and American Popular Culture. Minneapolis: University of Minnesota Press.Google Scholar
Morris, Gay, ed. 1996. Moving Words: Re-Writing Dance. London and New York: Routledge.Google Scholar
Thomas, Helen, ed. 1997. Dance in the City. New York: St. Martin's Press.Google Scholar
Werde, Bill. 2001. “No Love: KTU Jock Louie De Vito Outsold Paul Oakenfold, but Why Can't He Get Any Respect?” Village Voice, July 17.Google Scholar