Barbara Ehrenreich on the Importance of Collective Joy

Barbara Ehrenreich's latest book, Dancing in the Streets, is surprisingly optimistic. A "history of collective joy," it explores the origins of communal celebration in human biology and culture -- and explains why modern Americans have grown so resistant to ... well ... having fun together.

Ehrenreich links the epidemic of depression to our growing lack of group bonding rituals (think church, feasts and carnivals). She also explores how, throughout the ages, group celebrations have brought people together in a spirit of solidarity, joy and union, helping to fight both oppression and depression. From the ancient Greeks' worship of Dionysus to the medieval practice of Christianity as a "danced religion," Dancing in the Streets traces the roots of the very human need to dance, sing and revel together -- and how these sorts of festivities can be vehicles for social change.

AlterNet spoke with Ehrenreich via telephone.

Tell me how the idea for this book came to you, and why you wanted to pursue it.

I started working on this book 9 years ago. It wasn't like right after Bait and Switch I decided I wanted to do this. It required a huge amount of research. The [original idea] came from some questions I had about humans, and my species.

After writing another macro-historical book about war (Blood Rites), I was interested in the bright side of human bonding. Not the bonding of humans in opposition, but how bonding holds a community, and even strangers, together.

We are a very social species. I was reading about it for months and months, but came across this universal pattern of ecstatic rituals -- it's hard to think of any society that doesn't have them. They all seem to feature these ingredients of costuming, dancing, masking, face/body painting, feasting ... techniques that people in widely different cultures have used to generate joy. Why have we got so few [ecstatic rituals] today?

In a nutshell, generalizing over many cultures and times, these sorts of activities have been suppressed by elites -- according to class, race, gender -- because the [rituals] came to be seen as disruptive, subversive and even dangerous. They were seen as antithetical to the social discipline that came to be expected by mass society.

Class and issues of power are a huge part of this. In the Caribbean in the 19th century, carnival would be a huge part of slaves' revolts.

Why did you think the time was right to publish it now?

This isn't timed to anything specific, but I think it's very important for people involved in social movements to think about [this stuff]. I'm struck by the ways that, in the last 67 years, there has been a carnivalizion of protest. Especially in the anti-globalization movement -- there's been an increased amount of music, face painting, and costuming at demonstrations.

People want to experience collective joy and solidarity in artistic and fun ways. The other thing that's larger, in a way, is that if we are going to have an ecologically sustainable world, it can't be about giving up things we have now -- cars, plastic. We need to think about positive gains we can have. How can we find joy in ways that don't just involve trashing the environment? [In this book], here it is.

In modern America, where do we stand on the collective joy scale?

Well, it's interesting to me how sports fans have managed to carnivalize sports events -- consider rhythmic activities like the wave -- turning sports from something where you just sit and watch athletes, into something where you're a participant in a great big collective event. We had an outbreak of this in the rock rebellion of the 1950s and '60s, where a new kind of music invited people not to sit still anymore ... to turn an event into a participatory event where you can get up and dance with other people.