Heavy Metal Music in Latin America: Perspectives from the Distorted South

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Heavy Metal Musicin Latin America
Heavy Metal Musicin Latin AmericaPerspectives fromthe Distorted South
Copyright
Dedication
Contents
Introduction
Section I: Understanding Metal Music in Latin America
	Chapter 1
	Conceptualizing the Distorted South
		The Context: Coloniality as Feedback
		The Transformation: “It sounds like it came through a Latin American being”
		The Purpose: Extreme Decolonial Dialogues
		Bound by Boundlessness: The Latin American Experience as Seen through the Eyes of Metal
		Metal Scholarship in Latin America
		Latin American as a Window into the Global South
		Notes
		References
Section II: A Soundtrack for a Violent Context
	Chapter 2
	Decomposición Cerebral
		A History and Culture of Violence—The Salvadoran Civil War
		The Postwar, the Mara Salvatrucha, and the Legacy of Violence
		Death Metal as a Response to Real Violence
		The Perpetuation of Salvadoran Brutal Death Metal
		Notes
		References
	Chapter 3
	Dictatorship and Metal in Chile
		The 1970s and the Dictatorship in Chile
		The 1980s in Chile
		Censorship and Artistic Resistance during the 1980s
		Emergence of Chilean Thrash Metal during the Dictatorship
		Dictatorship and Metal in Chile
		Notes
		References
	Chapter 4
	The Role of Death Metal in the Colombian Armed Conflict
		Methodology
		Conceptual Framework
		Medellín: Bullets are Made of Metal as Well
		The CAC in Death Metal: The Case of Masacre
		Masacre: Death Metal Resisting Death
		Conclusions
		Notes
		References
	Chapter 5
	Sounds of Exclusion and Seclusion
		I Am Also a Client: The Peripheral Headbanger/Scholar and the Formation of Peruvian Metal Studies
		No Te Amo, Perú: Hegemonical Nativism, Cultural Depression, and Anti-national Identity during the 1980s
		The [Un]Formation of a Peruvian Metal Flock: A Cultural Re-evaluation of an Alien Heritage
		Looking South: The Modern Peruvian Headbangers of the 1980s in Their Identity Labyrinth
		Final Comments and Conclusive Thoughts
		Notes
		References
Section III: Decolonizing Local Histories through Music
	Chapter 6
	The Metal Scene in Havana, Cuba
		Gaging Metal’s Development in Havana: Meaning, Recognition, and Cultural Participation
		Entering the Metal Scene in Havana
		The Cultural Development of the Havana Scene in the Times of the ACR
		Metal in Havana: An Indisputable Creative Process—Some Final Considerations
		Notes
		References
	Chapter 7
	In the Shadow of the Dictatorship
		A Brief History of the Dictatorship in Uruguay
		Break Everything: Rock before the Dictatorship
		Ácido: An Acquired Taste
		A Hard Metal Alloy: The First Heavy Metal Groups in Uruguay
		Bleeding a Little: Heavy Metal after the Dictatorship
		Cuchilla Grande: Metal Can Also Have a Creole Identity
		This Is Just the Beginning
		Notes
		References
	Chapter 8
	Metal and Politics in Argentina
		Iorio and Nationalist Identities
		For and Against Iorio
		Saving Metal through the Apolitical
		Metal and Politics in the Argentinean Scene
		Notes
		References
	Chapter 9
	America, Avenge Yourself
		Second Movement—A Guidebook to Destroy and Kill
		Third Movement—Pato Larralde, Los Antiguos, and Sauron: Forging the Path of Argentinean Metal
		Notes
		References
Section IV: Marginality and Cultures of Resistance
	Chapter 10
	The Transfiguration of the Deity Maximón as a Practice of Resistance in Metal from San Pedro Sacatepéquez, San Marcos, Guatemala
		Guatemala: Between Colonization and Liberal/Neoliberal Spoliation
		Who Is Maximón?
		The Maximiones: Metal in Resistance
		“Váyanse o Mueran,” Maximón Is With Us!: The Sounds and Voices of Resistance
		“Váyanse o Mueran” in Two Concrete Reflections
		Maximón and The Maximones Resisting
		Notes
		References
	Chapter 11
	La Periferia
		The Social and Geographic Context of the Periphery
		Introduction to the Urban Rock of “the Periphery”
		Musical Iconography for the Study of Rock and Metal of the Periphery
		Urban and Metal Rock Posters: Other Markers of La Periferia
		Final Thoughts
		Note
		References
	Chapter 12
	Differences in the Sociopolitical Perspectives of Brazilian and European Völkisch Metal
		Heavy Metal, Gothic Romance, Romanticism, and Völkisch Aesthetics
		Völkisch Metal in Europe and Brazil: A Case Study of the Bands Arandu Arakuaa, Armahda, and Miasthenia
		Conclusion: Tradition, Transgression, and Anthropophagy in National Völkisch Metal
		Notes
		References
Section V: Liberation through Metal Music
	Chapter 13
	“A Scream that Makes Us Visible”
		A Brief Introduction to Liberation Psychology
		A Fight against Oppression
		Then: Recovery of Historical Memory
		Now: De-ideologization of Reality
		Next: Conscientization of the Collective
		“ . . . y comprendió al pensar”2: A Different Psychological Approach for HM Music in Latin America
		NoteS
		References
	Chapter 14
	Metal Migration
		The Song of Exile
		Leave No Stone Unturned
		The Nagual
		The Adobo
		Voluntary Hybridity
		Metal Defined: Complexities of Signification
		Cum Munus
		A Landless Homeland: Establishing Roots in Metal
		From Non-lieu to Lieu (Unique?10)
		Notes
		References
Index
About the Contributors