Dancing in the Streets: A History of Collective Joy

It is a truism that everyone seeks happiness, but public manifestations of it have not always been free of recrimination. Colonial regimes have defined spectacles as an inherently ""primitive"" act and elders harrumph at youthful exultation. Social critic and bestselling author Ehrenreich (Nickel and Dimed ) teases out the many incarnations of sanctioned public revelry, starting with the protofeministoreibasia , or Dionysian winter dance, in antiquity, and from there covering trance, ancient mystery cults and carnival, right up to the rock and roll and sports-related mass celebrations of our own day. ""Why is so little left"" of such rituals, she asks, bemoaning the ""loss ofecstatic pleasure."" Ehrenreich necessarily delineates the repressive reactions to such ecstasy by the forces of so-called ""civilization,"" reasonably positing that rituals of joy are nearly as innate as the quest for food and shelter. Complicating Ehrenreich's schema is her own politicized judgment, dismissing what she sees as the debased celebrations of sporting events while writing approvingly of the 1960s ""happenings"" of her own youth and the inevitable street theater that accompanies any modern mass protest, yet all but ignoring the Burning Man festival in Nevada and tut-tutting ravers' reliance on artificial ecstasy. That aside, Ehrenreich writes with grace and clarity in a fascinating, wide-ranging and generous account.(Jan. 10)