Tag Archives: myth

Why Study Nightlife? An Answer in Conversation with Nietzsche on Music and Myth

At times, it feels arbitrary to study nightlife, or to even want to study nightlife. The primary function of nightlife often appears to be simple: to entertainment. However, At other times, it feels like I take the elements of nightlife, of the organised party, for granted. What could those elements be? Can studying the phenomenon of nightlife reveal humanity in a fresh perspective? I like to think so. With this in mind, it seems worth it to explore the question “why study nightlife?”

My automatic answer is that leisurely congregation is an important form of community brainstorming where prevelant qualities of a group become visible in personal contexts. It is the site where human desire, and desire’s associated behaviours, rise to the surface of our collective broth. Desire is a flexible, flowing phenomenon by which the whims and fears of a group are revealed. The club is a location that facilitates an exploration of these qualities, thus it is an important modern institution for any individual.

Philosophers have proposed theories that consult my question more articulately (albeit indirectly.) For Friedrich Nietzche, in The Birth of Tragedy, it is essential for music to be accompanied by tragic myth. According to him, these two elements identically simulate transcending individuality. They are both born from “the playful construction and demolition of the world of individuality as an outpouring of primal pleasure and delight” (the Dionysiac) as in the case of a child who builds a castle from rock and sand only to knock it down with the tide (783).

To facilitate this process are structures that form beauty (The Apolonian), for there is no sand castle without a basic idea of architecture and there is no rhythm without musical consistency.

When Nietzsche talks about music and tragedy, I imagine he pictured the orchestra and the theatre company. The Birth of Tragedy pivots on the theatrical legends of ancient Greece where the elements of tragedy are explicit.

Considering that theatre is nearly absent in the contemporary club, Nietzsche might find club culture to be particularly flimsy. He claims that the relationship between music and myth is so intimate “that the atrophy of the one would be connected to the degeneration and deprivation of the other” (783).

In search for a reason to study nightlife, I reject this deduction. As the image of nightlife has shifted from the theatre and the seated club and centred on our modern evolution of the saloon, humans have also shifted their mythological value. In the dance hall of today, these myths are rarely expressed intentionally and are open to speculation.

Myth is, after all, simply a narrative that one tells one’s self to inform behaviour, or as they say at Modern Mythology, myth “allows us to establish a place within history for ourselves.”

Many secular myths are prevalent in the club. Some that come to mind are myths of gender (and its degradation,) of masculinity and femininity, myths of sexuality, myths of authenticity, robust economic myths, myths of democracy and etc.

It is these myths that fascinate me and drive me towards nightlife. I don’t feel equipped to judge society’s Dionysiac capacity, but I believe that Nietzsche’s connection between music and myth is a useful perspective of nightlife. Myths like the ones suggested above add substance and social cues to late night socialisation and dance. Critiquing that substance enables us to discern whether it functions to improve social health or to damage it, thereby allowing us to adjust our patterns of socialisation. Studying the club presents intimate planes for growth.

Work Cited
Nietzsche, Friedrich. The Norton Anthology of Theory and Criticism. “The Birth of Tragedy.” ed. Vincent Leitch. 2nd ed. Norton. 2010. Print.