Titlebook: Spectacle, Fashion and the Dancing Experience in Britain, 1960-1990; Jon Stratton Book 2022 The Editor(s) (if applicable) and The Author(s

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Introduction: Those Dancing Years,e 1980s. The key theoretical terms used elsewhere in the book are introduced, most importantly Guy Debord’s conceptualisation of the society of the spectacle and Hakim Bey’s idea of the temporary autonomous zone. The chapter emphasises the historicity of the evolution of the society of the spectacle

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Glam Rock and the Society of the Spectacle, a visual image lay in the transformation of British society into one founded in consumerism. Here it is that we find Britain evolving into a society of the spectacle with Glam Rock artists like David Bowie and Marc Bolan producing themselves as spectacles to be gazed upon. The chapter examines the

特征

Glam Rock: Sexuality, Performance and Spectacle,embers of a youth culture. In the term popularised by Andy Bennett they could be understood as a neo-tribe. They dressed as their idol in the hope of becoming a part of the experience purveyed by that idol. Bowie, Bolan and the members of Roxy Music all exhibited androgynous qualities. The chapter a

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The New Romantics: Dancing in the Society of the Spectacle,the spectacle, punk was regressive, an attempt to recapture an authenticity that had been dispersed in the new emphasis on image, consumption and artifice. New Romanticism was not a youth culture, nor was it really a neo-tribe. It was a culture based in clubs combining dancing and fashion. The New R

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Learning to Rave: The Construction of Rave in the UK in the 1980s, establishment of the British society of the spectacle clubs became a space of escape. In this context they can be understood as temporary autonomous zones. The London rave clubs evolved out of the New Romantics’ clubs, often with DJs who had either frequented the New Romantic clubs or worked there

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Book 2022ballroom dancing, to ecstatic rave dancing. In terms of music, it answers how we moved from the beat groups to electronic dance music. In terms of youth, it answers how we moved from youth culture to club culture. 

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Dancing to Records in the 1960s, discussed, along with an acknowledgement of his depraved personal behaviour. The chapter also discusses the evolution of uncoupled dancing in Britain from the importation of the shimmy during the 1920s to the more general impact of the Twist in the early 1960s.

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