✨TECHNO | XENO | GENDER✨

»Nicht erst seitdem ein Leben und Tanzen im 
›Techno-Metaversum‹ von queeren Elfenwesen und 
alienesken Cybernymphen in einer Art Techno-Cos-
Play zelebriert wird, gilt der Rave als Ort, um die 
Fesseln heteronormativer und binärer Genderkonzepte 
abzustreifen. Mit ihren Wurzeln im Afrofuturismus, 
ihrem Kampf gegen Verdrängung und Vereinnahmung und
ihrer Faszination für Technologie ebenso wie für 
Transzendenz;  mit ihrer ausgesprochenen Sehnsucht 
nach einer neuen, sicheren, emanzipatorischen und 
antikolonialen Heimat ›outa space‹ oder ›under 
water‹ verkörpern House, Trance und die Techno-
kultur das Potential einer diversen und fluiden 
Sphäre für grenzenlose Identitätskonstruktionen.«

So der Ankündigungstext von TECHNO | XENO | GENDER – dem Beitrag der Ausstellung TECHNO WORLDS zur Museumsnacht am 8.6.2024 in der wundervollen Dresdener robotron-Kantine.

Das Set-up der Veranstaltung:

    • DJ-Set GOLDIE (Resident objekt klein a, Dresden)
    • LECTURE Prof. Dr. Anna Schürmer (HfMT Köln)
    • PANEL TALK mit Ulla Heinrich (Missy Magazin), Amina Adamu aka Goldie (Dj /Booker) und Melissa Kolukisagil (İÇ İÇE Festival).
    • Konzert CHICKS ON SPEED

Und hier das Set-up meiner Lecture:

    • #0       INTRO: Set-up
    • #1       HETEROTOPIEN: Verwirklichte Utopien
    • #2       DE|HUMAN: Zurück in die Zukunft(smusik)
    • #3       QUEERDENKEN: Binaritäten dekonstruieren
    • #4       BLACK TO QUEER FUTURES: Diverse Zukunftsmusik
    • #5       OUTRO: Futuring Queertopia 

A new sample; a new loop. Intensity. The music wraps 
itself around you, takes you, and constantly brings 
you to the edge, a reminder of our capacity for 
feeling, […] of the erotic […]; the climax or musical 
›money shot‹ comes when this limit is reached or 
crossed. […] But techno is much kinkier than that. 
This is a music of endurance, of going and going and 
going. […] Edging […] Sonic edge play: dance music 
that takes you to a peak, puts you on the edge, and 
holds you captive in the pleasure over and over for 
extended periods of time. The final release occurs 
when the night ends. […] Techno suggests a kind of 
sonic brutalism, a music to riot with […], the high-
octane Black frequencies of techno becoming an 
immersion in insurrection – frequencies that inflict 
an insurrectionary voltage. […] Outside: noise, 
disorder. Inside: sweat, erotic release, other 
beginnings. Refusal. For queer-of-color life, these 
practices of refusal work as a fire alarm system that 
signals the state of emergency […], a sonic resistance 
to life as contents under pressure. […] Techno, the 
sound of queer insurrection, this dramaturgy of 
discontent, needs to be loud to make sense because it 
is music that happens to you, mediated by speaker 
towers and subwoofers. But techno is perhaps less 
about puncture or discomfort and more about immediacy
— the immediacy of sweating, feeling, vibrating, 
touching, dancing. […] Rave is the temporary autonomous 
zone where we create spaces of release—not utopia, not 
freedom, not safety. Release. The soundtrack of this 
insurrectionist refusal highlights the discontent, or 
disgust, with the here and now, using sound to usher in 
a demand for something, anything that is not the holding 
pattern of a devastated present. […] [T]echno as queer 
insurrectionist sonic, made Black again by Black, 
queer, trans, and femme DJs and party crews, is the 
soundtrack to our emergency demand for something else.

madison moore:»A (Queer) Techno Manifesto«

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