Kristallen i Mellanrummet
(2018) SANK02 20172Social Anthropology
- Abstract
- In the fall of 2007 a collective of artists in southern Sweden made waves for themselves by attempting to construct a rather unique ‘club-format’ unlike any other in the [then] current Swedish underground club scene. Guided mainly by a self-proclaimed ‘notion of confusion’ as its foundational principle, the collective behind Klubb Kristallen branded itself as an aspiring anti-club by seeking to challenge the visitors’ expectations of a traditional club format – a move that would prove strategically successful; eventually gaining them awards and nation-wide praise and attention. With the use of psychedelic lighting, deceptive decor and cryptic secretive event descriptions; improvised live music seemingly emerging from anywhere but from an... (More)
- In the fall of 2007 a collective of artists in southern Sweden made waves for themselves by attempting to construct a rather unique ‘club-format’ unlike any other in the [then] current Swedish underground club scene. Guided mainly by a self-proclaimed ‘notion of confusion’ as its foundational principle, the collective behind Klubb Kristallen branded itself as an aspiring anti-club by seeking to challenge the visitors’ expectations of a traditional club format – a move that would prove strategically successful; eventually gaining them awards and nation-wide praise and attention. With the use of psychedelic lighting, deceptive decor and cryptic secretive event descriptions; improvised live music seemingly emerging from anywhere but from an actual stage as well as occasional lectures on deliberately obscure, (often) occult or spiritual matters, the club organizers sought to expose the visitor to the element of surprise and confusion as a form of entertainment and thereby seek to disclose the groups’ own abstract, utopic ideals. By identifying the physical construction of the ‘club-space’ as a deliberate attempt to reject or obscure certain imprinted structural divisions that frame the expectations of every-day urban night-life, it could be argued that Klubb Kristallens events (and collective identity) reflects a shared pursuit to embody a sense of liminality. The concept of liminality as a state in between existing categories or identities has long been considered an intriguing and useful concept in the field of anthropology and ritual studies as well as art- and performance theory. By applying Victor Turners concept of liminality as a model of ‘a static structure’ in ‘collision’ with opposing elements best identified as ‘anti-structural’, it could be argued that Klubb Kristallens’ unique self-presentation sought to employ a conscious sense of ‘’liminal resemblance’’ as a means to communicate a form of social and cultural critique in order to provide access to something new and yet unknown – a state of creative action beyond the perceived limitations of existent structures. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/8968608
- author
- Mannberg, Markus LU
- supervisor
-
- Nina Gren LU
- organization
- course
- SANK02 20172
- year
- 2018
- type
- M2 - Bachelor Degree
- subject
- keywords
- Social anthropology, Klubb Kristallen, The Space Between, liminality, limen, anti-structure, anti-club, anti-art, club culture, Sweden, Swedish, Malmo
- language
- Swedish
- id
- 8968608
- date added to LUP
- 2019-01-29 12:15:47
- date last changed
- 2019-01-29 12:15:47
@misc{8968608,
abstract = {{In the fall of 2007 a collective of artists in southern Sweden made waves for themselves by attempting to construct a rather unique ‘club-format’ unlike any other in the [then] current Swedish underground club scene. Guided mainly by a self-proclaimed ‘notion of confusion’ as its foundational principle, the collective behind Klubb Kristallen branded itself as an aspiring anti-club by seeking to challenge the visitors’ expectations of a traditional club format – a move that would prove strategically successful; eventually gaining them awards and nation-wide praise and attention. With the use of psychedelic lighting, deceptive decor and cryptic secretive event descriptions; improvised live music seemingly emerging from anywhere but from an actual stage as well as occasional lectures on deliberately obscure, (often) occult or spiritual matters, the club organizers sought to expose the visitor to the element of surprise and confusion as a form of entertainment and thereby seek to disclose the groups’ own abstract, utopic ideals. By identifying the physical construction of the ‘club-space’ as a deliberate attempt to reject or obscure certain imprinted structural divisions that frame the expectations of every-day urban night-life, it could be argued that Klubb Kristallens events (and collective identity) reflects a shared pursuit to embody a sense of liminality. The concept of liminality as a state in between existing categories or identities has long been considered an intriguing and useful concept in the field of anthropology and ritual studies as well as art- and performance theory. By applying Victor Turners concept of liminality as a model of ‘a static structure’ in ‘collision’ with opposing elements best identified as ‘anti-structural’, it could be argued that Klubb Kristallens’ unique self-presentation sought to employ a conscious sense of ‘’liminal resemblance’’ as a means to communicate a form of social and cultural critique in order to provide access to something new and yet unknown – a state of creative action beyond the perceived limitations of existent structures.}},
author = {{Mannberg, Markus}},
language = {{swe}},
note = {{Student Paper}},
title = {{Kristallen i Mellanrummet}},
year = {{2018}},
}