In a recently published study in Industry and Innovation, with Elco van Burg, Brian Tjemkes, and Omar Solinger, I explored how the techno experience – as a creative output – is both consistent and innovative. By interviewing nearly 50 people – from DJs to police, from illegal rave organizers to large festivals – and observing interactions, we see that power is the explanation for this. And not just power as something that is sometimes seen as dirty; “You must do this.” But power in the neutral sense, such as “I can do this” and “We’ve always done it this way.”
So, how is power used to keep the creative output consistent yet innovative?
Creators, supporters, visitors, and other relevant people are divided into three groups: an illegal underground, a facilitating middleground, and a commercial upperground. Each group produces its own creative output; where one creates a deviant subculture, while the other creates a commercial product. Together, they create a techno experience of which both the commercial aspect and the deviant subculture are a part. In this way, someone who enjoys clubs also enjoys the DJs who flew in from the illegal rave culture or the development of high-quality productions at festivals.
To keep the group’s unique creative output consistent, the groups use distinctive power actions that highlight the differences between the layers. For example, the underground condemns the commercial approach of the upper ground. A rave organizer describes it this way: “It [techno music] is now driven by money, power, and popularity. An artist no longer becomes an artist due to their immense passion for music. They become an artist because they can give their friends VIP tickets, score chicks, and dance the shuffle. I say it rather bluntly now. And that is the same for the people who organize the parties. So, we wanted to go back to the core. We wanted to set up an event because of [a passion for] the music and not because we wanted to earn money.”
It [techno music] is now driven by money, power, and popularity. An artist no longer becomes an artist due to their immense passion for music. They become an artist because they can give their friends VIP tickets, score chicks, and dance the shuffle.
At the same time, the different groups need exchange and connection between them. For instance, the counterflow from the underground inspires innovation for the upperground, but the commercial upperground provides the possibility for a sustainable career for new creators from the DIY underground. To achieve this exchange, they exercise power to strengthen the similarities between the groups. For example, the upperground formalizes the deviant subculture of the underground. Festivals play an important role in giving (and taking) opportunities for DJs to grow their careers from DIY underground to a broader audience in the upper ground. A festival says, “I can see how many people there are in different areas during the event. So, I can observe if one area suddenly empties out and another suddenly becomes a lot busier. With this, I can measure how busy or popular an artist is during the event itself.” Using this data, the festival decides whether to book the artist more often or, for example, places them at a club where they have friends to see how the artist is received.
Because power is simultaneously exercised by various people and organizations that strengthen both the differences and the similarities, there is room for innovation within a consistent techno experience. So, as a visitor, you experience differences between various events and DJs, and how it was a month or a year ago. Yet, you still know you’re going to a techno event, and you can form a certain image of how it will be.
Because power is simultaneously exercised by various people and organizations that strengthen both the differences and the similarities, there is room for innovation within a consistent techno experience.
But what does this mean for other ecosystems beyond techno music?
In creating creative output – and this doesn’t have to be limited to the creative sector – innovation and continuity are contradictory but crucial. When the creative output is made together with many others, groups can form with different values and norms. One group that forms will set a certain norm. Another group forms where deviation from the norm is central. This group formation can help with the constant yet innovative production of the creative output. Power provides a place for different creative outputs made from different values and beliefs. These strengthen each other if there is a balance between the power that strengthens differences and the power that strengthens similarities. If this balance is not present, it may cause the ecosystem to fall apart by becoming too different, or it can become too uniform, thereby losing innovation or continuity.
You need to make sure the groups can genuinely differ, but that they really need each other.
My tip would be to stimulate the formation of a group that follows the norm and a group that truly embraces deviant values, deviating from the norm. While doing so, you need to make sure the groups can genuinely differ, but that they really need each other. Would I recommend starting an illegal underground within formal organizations? Maybe! Or at least, a group that deviates, driven by their core values. And don’t forget: it doesn’t always have to be within your organization. It can also work well to have this deviant group outside your organization, but only if there is true interdependence.
Picture by @through.ravenseyes
*consent was obtained by the subject in this picture and the subject was not part of the study.
