Navigating Ideologies in "In-Between" Cultures: Signifying Practices in Nor-tec Music

Abstract

When a friend invited me on 25 March 2000 to attend a concert of techno music at Mexico City's Zócalo, I was a little puzzled and did not know what to expect. A rave organized by the government of Mexico City and presented in the heart of the city's political life seemed bizarre. As it turned out, and in accordance with the history of the location, I was about to witness a true political act; not political in terms of overt "policy," but rather, in a broader Foucouldian sense, as an act that ratified the difficult power relations between Mexico City and the northern border of Mexico, an act that exposed and performed the complex interaction between center and periphery. The concert was the last event of the Tecnogeist 2000 Festival, and presented deejays from Germany—Dr. Motte, DJ Hell, Acid Maria, and Yannick—and Mexico—Linga, DJUnknown, and Borderline from Alcachofa Sound, and Fussible and Bostich from the Nor-tec collective—before an audience of 50,000 youngsters ready to dance, jump, and roll all night long.

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