[Dancecult-l] Images for Technomad

[Graham St John]

Since Berghahn have agreed to reproduce 20 B&W photos in my 
forthcoming book with them (Technomad: Global Raving 
Countercultures), this is a call out for images. I'm looking for 
photos appropriate to the vast territory covered - see the 
description below. If you believe you may have a suitable selection 
or know someone who might, please get in touch with me or pass this 
message on to interested parties.

Photos reproduced in the book will need to be at least 300 dpi B&W 
tiffs (with owners supplying an emailed permission). I'm negotiating 
for image owners to get a free or discounted copy of the paperback.

Thanks

Graham


Technomad: Global Raving Countercultures.

A cultural history of global electronic dance music countercultures 
forthcoming with Berghahn (2008), Technomad offers a broad yet 
detailed exposition of the pleasurable and activist trajectories of 
post-rave. The book documents the emergence of a network of 
techno-tribes, investigating their pleasure principles and cultural 
politics. Attending to sound system culture, electro-humanitarianism, 
secret sonic societies, teknivals and other gatherings of the 
techno-tribes, intentional parties, revitalisation movements and 
counter-colonial interventions, Technomad explores how the dance 
party has been harnessed for transgressive and progressive ends, for 
manifold freedoms. Seeking freedom from moral prohibitions and 
standards, pleasure in rebellion, refuge from sexual and gender 
prejudice, exile from oppression, rupturing aesthetic boundaries, 
re-enchanting the world, minimising harm, reclaiming space, fighting 
for "the right to party", and responding to a host of critical 
concerns, electronic dance music cultures are multivalent sites of 
resistance.

Drawing on extensive ethnographic, netogaphic and documentary 
research, Technomad details the post-rave trajectory through various 
local sites and global scenes, with each chapter attending to 
important developments in the techno counterculture: e.g. Spiral 
Tribe, teknivals, psytrance, Burning Man, Reclaim the Streets. 
Significantly, the book offers a nuanced theory of resistance to 
assist understanding of these developments. Written in an accessible 
style, this cultural history of hitherto uncharted territory will be 
of interest to students of cultural, performance, music, media, and 
new social movement studies, along with enthusiasts of dance culture 
and popular politics.
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