Defiant Sounds: Heavy Metal Music in the Global South brings together authors working from and/or with the Global South to reflect on the roles of metal music throughout their respective regions. The essays position metal music at the epicenter of region-specific experiences of oppression marked by colonialism, ethnic extermination, political persecution, and war. More importantly, the authors stress how metal music is used throughout the Global South to face these oppressive experiences, foster hope, and promote an agenda that seeks to build a better world.
Nelson Varas-Díaz is professor of social-community psychology at Florida International University’s Department of Global and Sociocultural Studies.
Jeremy Wallach is professor of popular culture in the School of Cultural and Critical Studies at Bowling Green State University.
Esther Clinton taught in the Department of Popular Culture at Bowling Green State University (BGSU) for sixteen years on topics ranging from traditional narrative to popular novels to advanced cultural theory. Esther’s tragic, untimely death at age 50 cut short her exploration of these topics, but her many students carry on her legacy.
Daniel Nevárez Araújo is assistant professor in the Department of English at the University of Puerto Rico - Río Piedras.
Introduction: Of “Metal” and Metal: A Global South Approach to Metal Studies
Daniel Nevárez Araújo, Nelson Varas-Díaz, Jeremy Wallach, and Esther Clinton
Section 1: Conceptualizing the Distorted South
Chapter 1. Metal Music in the Distorted South: A Call for Defiance and Reflection
Nelson Varas-Díaz, Daniel Nevárez Araújo, Jeremy Wallach, and Esther Clinton
Section 2: Hope
Chapter 2. An Exegesis of Excess: Reverberations and Connotations of Feminisms Cartographed via Metal Music in the Global South
Chapter 3. Reclaiming Aotearoa: Stories of Experimentation, Education, and Reflection in Aotearoa Indigenous Metal Music
Chapter 4. “A Whole New Type of Isolation”: Resilience and Hope in the Navajo Nation Metal Scene during the COVID-19 Pandemic in 2020–2021
Anthony J. Thibodeau and Sage Bond
Section 3: Social Change
Chapter 5. “We Play Heavy Metal because Our Lives Are Heavy Metal”: A Generation of Metal in the Middle East and North Africa
Chapter 6. Youth Activism and Decolonial Metal: Voice of Baceprot and Alien Weaponry as Case Studies
Chapter 7. Coloniality and Gender in the Argentinian Metal Scene: A Study Through Four Cases
Manuela Belén Calvo
Section 4: Dialogues
Chapter 8. An Interview on Contar/Cantar Memórias da Resistência
Susane Hécate (Miasthenia) and Daniel Nevárez Araújo
Chapter 9. Misusing Things in Metal Music: A Dialogue
Manuel Gagneux (Zeal & Ardor) and Daniel Nevárez Araújo
Chapter 10. The Alternative Side of the Frame: A Dialogue on Southern Inspirations
Kobi Farhi (Orphaned Land) and Nelson Varas-Díaz
Chapter 11. A Dialogue on Metal Festivals and Social Justice
Tshomarelo “Vulture” Mosaka (Overthrust) and Edward Banchs
Section 5: Diaspora
Chapter 12. The Ultra-Violence: Death Angel and Asian American Presence/Absence in Heavy Metal
Chapter 13. “Somewhere They Belong”: Metal, Ethnicity, and Scenic Solidarities in Malaysia’s Underground Scenes (1990s to 2000s)
Azmyl Yusof and Adil Johan
Section 6. Transgression
Chapter 14. Ancient, Evil, and African: Heavy Metal and Conflict in East Africa
Chapter 15. The Influence of Different Satanic Panics on the Transgressive Practices of Metal Music in Egypt, Iran, and Syria
Section 7: Resistance and Community
Chapter 16. Decolonizing the Mind’s Eye: Images of Resistance in Caribbean Metal Music
Nelson Varas-Díaz and Daniel Nevárez Araújo
Chapter 17. Nongkrong, Value of Community, and Everyday Resistance in the Indonesian Metal Scene
Oki Rahadianto Sutopo and Agustinus Aryo Lukisworo
Chapter 18. Satan Wasn’t There: The Perseverance of the Moroccan Metal Scene
Amine Hamma and Brian Trott
Epilogue: Metal Unbound
Esther Clinton, Jeremy Wallach, Nelson Varas-Díaz, and Daniel Nevárez Araújo
About the Contributors
"Defiant Sounds: Heavy Metal Music in the Global South is an important book, both for metal scholarship (which is a large and expanding global community) and equally for understanding Latin America, Africa, the Middle East, Asia, Oceania, and Indigenous Nations in the current world. Metal was ahead of the curve in grasping the political and cultural changes in the region. The editors are esteemed scholars of metal and globalization."
"This is an important book. It is not just about metal music; it gives voice to those often ignored by a Western myopic parochialism. It opens a greater transformative perspective on cultures and politics receiving the attention that is much deserved from a rising Global South. Much praise is due to this collection of essays for continuing to expand decolonial dialogue in transdisciplinary research."
"Defiant Sounds constitutes a paradigmatic shift in metal music studies and is a vital model for future studies of globalized cultures. It is a must-read for activists and students of heavy metal, and for researchers in popular culture studies, anthropology, sociology, and ethnomusicology."