Community of difference: The liminal spaces of the Bingodisiac Orchestra

Abstract

Abstract The Bingodisiac Orchestra, a nomadic improvised community music project without fixed membership, is explored in this article as a case study examining the ‘open participatory’ aspects of Do-it-Yourself (DiY) sound culture. Established by the researcher in 2002, the ‘orchestra’ is an audio-visual event that attempts to break down barriers between diverse musical forms while also engaging in various strategies to maximize the interaction between audience and performer. In doing so, Stephen Duncombe’s idea of the ‘community of difference’ is employed, whereby the orchestra becomes a practice that embodies a de-centralized approach to both social organization and the organization of sound. Other concepts discussed in this article include the ‘fairground effect’, a strategy of the Bingodisiac Orchestra to de-centralize the production of sound through the use of liminal spaces traditionally ignored in music performance: creating a more participatory space for the performance, which allows different styles of music to be simultaneously and spontaneously incorporated into the performance. In this way, liminal space and the ‘community of difference’ are identified as being a part of the process of creating musical communities that encourage improvised music that is ‘free’ of any particular style: altering the focus of musicians from the need to find a common ground as a basis for their sound improvisations, while also enabling the temporary construction of a community sound experience.