Danse électro originated in France at the beginning of the 2000s. Inspired by other European dance movements, danse électro went on to become a global phenomenon.
Tecktonik, registered as a trademark in France in 2002, played an important role in the spread of the movement. The Tecktonik trademark branded nightclubs, compilation albums, and various tie-in products, including clothes (above) and alcoholic and energy drinks.
While danse électro was one of several movements involving dancing to electronic music, it maintained its identity through brand placement, the involvement of pre-teenagers, and information technologies, particularly Web 2.0 applications.
This according to “Tecktonik and danses électro: Subculture, media processes, and Web 2.0” by Anne Petiau, an essay included in Made in France: Studies in popular music (New York: Routledge, 2018, pp. 203–15).
Below, Alive by Mondotek, a danse électro hit from 2007.
Detroit is known internationally as Techno City, named after the dance music genre pioneered by DJ/producers like Juan Atkins, Derrick May, and Kevin Saunderson.
In the 1980s local DJs melded Detroit funk, European synth-pop, and avant-garde composition into a unique futuristic sound. Techno, however, went largely unappreciated in the American marketplace. Mirroring the career trajectory of American jazz musicians in the 1960s, the creators of techno made their living by touring Europe extensively, and became superstars on that continent.
This according to “A tale of two cities” by Mike Rubin (Spin XIV/10 [October 1998] pp. 104–109). Below, Atkins’s Techno city from 1984.
To understand how a menagerie of Western misfits, searchers, junkies, and fugitives ended up dancing to a mutant strain of proto-techno on a beach on the Arabian sea, you have to go back to the all-night psychedelic rock jams played over massive beachside sound systems during the 1970s.
By the late 1980s electronic music and DJs had taken over the Goa dance scene. With the dust and heat of the coastal setting, vinyl was not a viable option for deejaying. Instead, DJs used cassette tapes played on professional Walkmans, which allowed for pitch manipulation and precise edits (vocals were often cut out of songs and hypnotic trance-like sections extended).
The key player in the early Goa trance scene was DJ Laurent. Playing to a crowd tripping on LSD and charas, he was a master at weaving eclectic musical sources into an organic progression that could last from dusk until dawn; from ominous twilight grooves to blissed-out, sun-kissed climaxes.
This according to “Unveiling the secret: The roots of trance” by Dave Mothersole (Dancecult: Journal of electronic dance music culture IV/1 ). Above and below, DJ Laurent in action.
The Centre for Cultural Studies Research at the University of East London launched Dancecult: Journal of electronic dance music culture (ISSN 1947-5403), a peer-reviewed, open-access e-journal, in 2009. The journal is a platform for interdisciplinary scholarship on the shifting terrain of electronic dance music cultures worldwide, including studies of emergent forms of electronic music production, performance, distribution, and reception.
The inaugural issue featured articles about rave, neotrance, psychedelia, DJ culture, and the concept of IDM (intelligent dance music). The journal is published biannually.