Techno Genesis in Poland: Collective Rhythms

It is no news that entertainment comes in all shapes and sizes. It transforms with time and under given circumstances, following the trends.

The era of digital media has turned out to be a test for several sectors - why spend money on cinema when there is Netflix at home? Yet, some cultural experiences cannot have a middle-man and- surprisingly - grow progressively more popular despite the current outpouring of digital leisure possibilities.

An example of that can be observed in Poland when looking at the rise of techno music and rave culture in the last decade. 

Techno music is said to have its official beginnings in the mid-1980s, originating from Germany and the US. In Detroit, techno appeared around the time white people were moving to the suburbs. The empty buildings left behind were then used as techno clubs, grouping black people together in an artistic setting.

In Chicago, on the other hand, it was most popular with the gay community. In many ways, techno was seen as a response to the racial and economic injustice. At the same time, it was an underground movement that brought together radical communities and rapidly transformed into a subculture. 

IN MANY WAYS, TECHNO WAS SEEN AS A RESPONSE TO THE RACIAL AND ECONOMIC INJUSTICE. AT THE SAME TIME, IT WAS AN UNDERGROUND MOVEMENT THAT BROUGHT TOGETHER RADICAL COMMUNITIES AND RAPIDLY TRANSFORMED INTO A SUBCULTURE

Europe quickly grew fond of the repetitive beat. The lack of strict laws regarding copyright compared to the US facilitated the spread of techno and quickly a variety of sub genres emerged. According to IMS Business Report 2022, tech-house has overtaken as the most popular genre of dance music.

The example of the Polish techno scene shows the growth of the industry. The socialist Poland got to know the early sounds of techno through the radio, namely Polish Radio Station 2 and Polish Radio Station 4. Cracow techno clubs were focused on jungle and garage techno, Warsaw preferred techno and house. People in Łódź would wait for raves held by Amnesia Core, with more dark-sounding tracks and British hardcore techno.

Back then, acid house music was also on the rise, but the attention in the Polish music industry was definitely focused on rock, not EDM - unless we count Pet Shop Boys. However, techno enthusiasts are not easily discouraged. It cannot be said that techno experienced its renaissance, because it never truly died.

There is, however, a noticeable increase in interest amongst the young people, especially amongst the audience of typically mainstream media. Despite that, or because of the fear of becoming mainstream, the European techno scene is about to experience a major shift: Printworks is closing in 2023 for a number of years for renovation reasons, and Berghain is rumoured to close by the end of 2022 (but could be saved last-minute, as once or twice before). 

It is not just that the youth enjoys attending raves - some want to be the creators behind the DJ set-up. And there are initiatives that give such opportunities, for example Wixapolonia. It has its origins in Wixapol: a national techno phenomenon that assumes a very modern and youthful approach to raves and techno in general. Wixapolonia is an initiative meant for girls who create their own pieces and wish to play them in a professional setting and to a bigger audience.

Their events bring together beginner DJs from all over Poland, thanks to big social media attention and undeniable interest. 

Another example of actions meant to encourage youngsters to dive into techno are DJ workshops.

In Białystok, the techno scene is mostly related to the Up To Date Festival, an annual music event focused on alternative culture, but becoming progressively more mainstream. Up To Date became a sort of a brand that holds a variety of events, one of them being said workshops. They are focused on providing beginners with first-hand experience and expert opinion - both of which would be difficult to reach on one’s own. 

A new DJ movement from Białystok called the New Hope Project recently announced their manifesto.

It states their disagreement with the decrease of interest in independent culture, hence it presents a promise of creating an open and friendly space where artists will be able to develop their passion and grow. In the last few years, Poland faced a handful of problems regarding independent culture, in particular regarding media outlets inconsistent with the current notion of the government. A massive rupture in the Polish radio and radio journalism scene spurred the creation of multiple independent radio stations and podcasts. The other sectors took notes: socially- and privately-funded initiatives are gaining popularity because of the limitations imposed on the state-owned cultural institutions. One of the goals is hence to provide a cultural outlet for the youth to discover the alternative scene. 

Raves are also becoming more popular because techno is not just about the music: it is about the experience. Nowadays, entertainment needs to be easily consumable or, on the contrary, particularly engaging to interest an audience. Raves are highly stimulating events, organised in a scenery that is meant to enhance the effect of the music. Yet, the strobe lights are sometimes not enough.

It is commonly known that raves or any techno events in general are often places of substance abuse, as it only amplifies the sensations caused by the music. This often sparks debate on whether raves are becoming solely an excuse to get high rather than dance to techno, and if so, whether attracting a young audience is a good idea. Events organised by Wixapol are very youth-oriented, mainly because of the music sets and fast pace, and are sadly always associated with drug abuse. A question comes to mind: is techno to blame for the popularisation of party drugs?

The answer is: possibly. Party drugs have been around since the 1970s, at the beginning associated with the early disco and EDM. It can be said that the sound of EDM is simply compatible with the effect of party drugs (especially stimulants): they make the user feel more energetic, aroused, but also relaxed. They also affect the perception of the rave scenery, e.g. strobe lights and heavy basslines. In the end, though, the use of party drugs is a decision of the user themself, not a prerequisite to attend a rave. 

The evolution of techno creates many chances and risks. The collectivity of cultural societies allows the youth to be both participants or creators, providing the opportunity of a quasi-professional experience, often at no cost. The direction of techno is undecided - there are too many genres and too many factors at play.

It could be argued that the current fusion of cultural influences is slowly blurring the line between techno, electronic music and party music in general. Variety of genres, although good on paper, divides the audience and hinders a clearer definition of techno.

Art is never fully explicit, but excessive ambiguity can distort the image - an important element of alternative culture. One thing is certain: the youth is enthusiastic and hungry for more.