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Decolonial Metal Music in Latin America.
Nelson Varas-Díaz engages in ethnographic work throughout Latin America to explore how heavy metal music is used to challenge the region's colonial past and present. Through extensive research in nine countries, his work documents how this musical genre allows listeners and musicians to engage...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Bristol :
Intellect Books Ltd,
2021.
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| Colección: | ISSN.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Front Cover
- Half Title
- Series
- Decolonial Metal Music in Latin America
- Copyright Page
- Dedication
- Table of contents
- Illustrations
- Preface
- 1 Metal Music's Decolonial Role in Latin America
- Coloniality and the Latin American experience
- Extreme decolonial dialogues: How is metal music decolonial in Latin America?
- Decolonial metal defined
- Decolonial metal is concerned with a historically anchored reflection on oppression
- Decolonial metal is regional in its sounds, imagery, and language
- Decolonial metal is an intervention in its context
- Decolonial metal is influenced by other Latin American music: An extreme Nueva Canción
- Decolonial metal is strategically communal and celebratory
- Decolonial metal is in constant tension with its context
- Decolonizing metal: Tensions with the Global North
- Decolonial metal music in Latin America
- moving forward
- Notes
- References
- 2 Colonialism Is Still Here/Metal Is Still Here
- Puerto Rico
- The shadow of Puerto Rican colonial history
- Puya's role in Puerto Rico's heavy metal scene
- Integration of local instrumentation and musical genres into metal music
- Addressing the direct effects of coloniality via music
- Establishing linkages to metal scenes throughout Latin America and the Caribbean
- Discussing race and ethnicity in musical content and embodied practices
- "La Tierra de los Míos Nadie la Violará"8: Dantesco's examinations of the colonial past and the constant battle against histori
- Notes
- References
- 3 The Experience and Sound of Ethnic Extermination
- Perú
- Terrorism, racism, and metal music
- Expanding metal's sound and content within the Peruvian context
- Metal as memory and warning in the Peruvian experience
- Note
- Decolonizing spaces
- El Patio de María as a point of origin
- The Cuban Rock Agency and the Maxim Theater
- Race and ethnicity in Cuban metal
- Notes
- References
- 7 Navigating Racism, Classism, and Complex Airwaves
- Dominican Republic
- "Chopo Metal" and racial tensions
- Social class and Dominican metal music
- Mediatic persecution in the Dominican Republic
- The metal counternarrative hits the airwaves
- A new and different metal scene
- Notes
- References
- 8 Restoring Memory/Surviving Violence
- Colombia
- No one left untouched