The basis for the original “Raver Manifesto” is that of PLUR, which is an acronym for Peace, Love, Unity and Respect. Many who are immersed in the Dance Music scene (including myself in the past) have derided this mindset, mostly due to the fact that although a lot of people in the scene may preach PLUR, very few are actually capable of following it. Sadly, politics have always been the norm in almost every facet of the music industry, with Dance Music it usually goes something like – “Promoter X said something about Promoter Y, who then slagged off Promoter Z’s d.j. lineup for their upcoming party, and now none of them are talking to each other and refuse to attend each others’ events”. Whether there is any truth to this sort of chain of rumour is often a different story altogether. While this sort of behavior may be suitable for recess-time at public school, it’s hardly conducive to maintaining a healthy Dance Music scene. Every so often, we need to remind ourselves why we’re in this in the first place – love of the music, love of a good time, and for most of us, the want to avoid the drudgery of sitting in an office for eight to twelve hours a day, five to six days a week. If the scene here is to rise from its current standing, it’s time for everyone to be big enough to drop the shields and start working together. This means recognition and acceptance of each other’s music (regardless of whether you think it’s good or not, it’s still going to exist), strengths and talent. Some of the most memorable parties I’ve played at have showcased the rosters of several promoters - House and Techno in one room, Trance or Drum and Bass in another and an Ambient/Dub chill-out space – those in attendance who already knew what they liked partied in their respective rooms and often roamed to the others to see what was going on, those who didn’t had ample opportunity to explore. It’s even better for the special few who find they like it all – when this happens, the promoters can truly congratulate themselves for a job well-done.
Next up – drugs. The presence of drugs in the Dance Music scene is an especially touchy issue, one that many would prefer to avoid altogether. Promoters obviously have legal issues to deal with when it comes to drug consumption by those who attend their events, and many simply refuse to recognize the fact that it even occurs. But in the end, it is more than well known that drugs and music have gone together since we first learned to stop dragging our hairy knuckles on the ground and started using hollow logs and sticks instead of banging rocks together. It is also true that people are going to put whatever they want into their bodies, regardless of whether someone else tells them it’s good for them or not. “Say No” is never as effective as “Say Know” – promoters that truly care about the people on the dancefloor will take steps to educate in regard to both the good and the bad aspects of taking drugs, and will do their best to encourage responsible behaviour from those who do choose to consume. Of course on the other hand, irresponsible behaviour that puts others in danger or threatens the sanctity of the party is never acceptable – it’s a fine line, but one that still needs to be addressed, and not ignored. (for more information, check out websites such as
http://www.dancesafe.org, which provide objective information about various party drugs, and is probably responsible for saving more than a few lives and braincells)
A thriving Dance Music scene is so much more than just parties and club nights – it is a multi-faceted industry that has the potential to employ thousands, from busboys and flyer distributors, to graphic artists, fashion designers and writers, to the records store owners, producers, d.j.s, PAs and promoters. One of the complaints I often hear is that the people attending various events these days simply don’t care about what’s going on – if so, it’s only because they don’t have any real vested interest in what’s being offered to them, and its often because the individuals offering it to them have done little to show that they care back. If the party people of The Philippines are offered a vision, if they can see the potential that lies far beyond the next rave or club night, then who knows how far things can go? Detroit (a long-dead city, by most people’s standards) has its roots seated firmly in the underground, with renegade parties and shadowy d.j.s and producers that stretch back through the past three decades. In the summer of 2000 they all got together, along with over one million people over three days attending the hugely successful Detroit Electronic Music Festival. Of course, the city itself backed the festival wholeheartedly, as they fully realized the potential boost to the economy that such an endeavour could bring. Think about it – it could all happen here.
So, back to the original question – what’s the solution? Well, part of it has been outlined in this article. Smaller, more meaningful parties without the obtrusive presence of corporate sponsors who only care about banners, units and dollars. The pooling of resources in order to provide people with quality and choice. A return to grassroots, with the emphasis being placed on fun for both the organizers and the party massif. Education, acceptance, tolerance, honesty and responsibility. And of course, the remembrance of what it’s like to be young. Many have lamented to me recently that the Dance Music scene in The Philippines is at an all-time low, and have a hard time envisioning things getting better. I prefer to look at its current condition as a fresh, blank slate. There exists the opportunity to create something substantial, with the promise of longevity, but it has to be done right, with motivations that are pure and unwavering. These strategies take a great deal of patience and effort to implement – it may not happen overnight, but it is possible. In Toronto (my first d.j. home), the scene was started by a select few individuals whose hearts were in the right places. Through dedication and perseverance, by learning from both their successes and mistakes, they created something that eventually became the talk of the town – the town of course, being the world. Mind you, there were times when things got incredibly rocky – infighting, ignorant politicians trying to infringe on people’s right to have a good time, snobbery and deceit – the negative aspects can never be completely eradicated and exist in every corner of the planet. But those who stayed true to the cause, combined with fresh faces that thought along the same lines, managed to keep things afloat during even the most trying periods. And they’re still at it…
I fell in love with the Dance Music scene in The Philippines when I first arrived here in 1999, and almost two years later, that love remains. I’m not an authority on what goes on here, in fact relatively speaking, I’m still a beginner. But I’ve been made to feel welcome and have decided that I’m in it for the long run - I’m here to contribute and assist, and I’ve brought with me some ideas that I’m hoping a few people will agree with, maybe even adding some of their own. Concluding with some more wise words…
Share what you know, learn what you don’t.
Love like you’ve never been hurt and dance like no one’s watching.
…see you on the dancefloor.
(Ian Elliott is a rabid Techno d.j. and producer, aspiring writer and designer, and all-round sensible hedonist. He hopes to open a d.j./record/clothing store in The Philippines, and would also like to start a low-budget Music and Culture magazine that will serve the party and nightclub community. He is actively seeking investors who care about youth, music and success on all levels, and may be reached at
Bluntworks@Eudoramail.com)