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

by Nelson Varas-Díaz Florida International Uni (Editor), Daniel Nevárez Araújo (Editor), Eliut Rivera-Segarra (Editor), Daniel Nevárez Araújo (Contribution by), Manuela Belén Calvo (Contribution by)

Overview

In Heavy Metal Music in Latin America: Perspectives from the Distorted South, the editors bring together scholars engaged in the study of heavy metal music in Latin America to reflect on the heavy metal genre from a regional perspective. The contributors’ southern voices diversify metal scholarship in the global north. An extreme musical genre for an extreme region, the contributors explore how issues like colonialism, dictatorships, violence, ethnic extermination and political persecution have shaped heavy metal music in Latin America, and how music has helped shape Latin American culture and politics.

Product Details

ISBN-13:	9781793607515
Publisher:	Lexington Books
Publication date:	12/30/2020
Pages:	360
Product dimensions:	6.40(w) x 9.50(h) x 0.96(d)

About the Author

Nelson Varas-Díaz is professor of social-community psychology in the Department of Global and Sociocultural Studies at Florida International University.

Daniel Nevárez Araújo received his PhD from the University of Massachusetts-Amherst.

Eliut Rivera Segarra isclinical psychologist and assistant professor at the Ponce Health Sciences University in Puerto Rico.

Table of Contents

SECTION I: UNDERSTANDING METAL MUSIC IN LATIN AMERICA 5

Chapter 1 Conceptualizing the Distorted South: How to Understand Metal Music and Its Scholarship in Latin America

Nelson Varas-Díaz, Daniel Nevárez Araújo, and Eliut Rivera-Segarra

SECTION II: A SOUNDTRACK FOR A VIOLENT CONTEXT 37

Chapter 2 Decomposición Cerebral: The Salvadoran Civil War and the Birth of Salvadoran Brutal Death Metal

Christian M. Pack

Chapter 3 Dictatorship and Metal in Chile: A Causal Relationship?

Maximiliano Sánchez Mondaca

Chapter 4 The Role of Death Metal in the Colombian Armed Conflict: The Case of the Band Masacre

Pedro Manuel Lagos Chacón

Chapter 5 Sounds of Exclusion and Seclusion: Peruvian Metal as a Model for Cultural Self-Segregation

José Ignacio López Ramírez Gastón

SECTION III: DECOLONIZING LOCAL HISTORIES THROUGH MUSIC 131

Chapter 6 The Metal Scene in Havana, Cuba: An Assessment of Its Cultural Development from 2007 to 2017

Miriela Fernández Lozano

Chapter 7 In the Shadow of the Dictatorship: A Historical Approach to Uruguayan Heavy Metal

María Ximena Rodríguez Molinari

Chapter 8 Metal and Politics in Argentina: A Study into the Audienceship Surrounding Ricardo Iorio

Manuela Belén Calvo

Chapter 9 America, Avenge Yourself: The Emergence of Combative Discourse and Other Recent Directions in Contemporary Argentinian Metal (An Exploration in Three Movements)

Emiliano Scaricaciottoli

SECTION IV: MARGINALITY AND CULTURES OF RESISTANCE 217

Chapter 10 The Transfiguration of the Deity Maximón as a Practice of Resistance in Metal from San Pedro Sacatepéquez, San Marcos, Guatemala

Mario Efraín Castañeda Maldonado

Chapter 11 La Periferia: Marginal Contexts for Metal Music in the State of México

Alfredo Nieves Molina

Chapter 12 Differences in the Sociopolitical Perspectives of Brazilian and European Völkisch Metal

Guilherme Alfradique Klausner

SECTION V: LIBERATION THROUGH METAL MUSIC 285

Chapter 13 “A Scream that Makes Us Visible”: Latin American Heavy Metal Music and Liberation Psychology

Eliut Rivera-Segarra, Jeffrey W. Ramos, and Nelson Varas-Díaz

Chapter 14 Metal Migration: The Latin American Diasporic Experience in Heavy Metal

Daniel Nevárez Araújo

Editorial Reviews

Without a doubt, a milestone in the field and history of Latin American metal music historiography. This varied collection of essays about metal music, originally conceived in Spanish and Portuguese, represents the first publication of its kind in the English language entirely devoted to the topic of metal in Latin America. Metal music has spawned one of the most relevant liberation and resistance cultures to be found in the continent. Showcasing 10 countries in the region, the book provides a historical and analytical survey of the different local scenes, in the process demystifying many of the ideas that have surrounded and served to stereotype the juncture between metal music and Latin American society for decades. The book brings to the fore the issues, roles, and dynamics that originate within the cultural practices of the various metal communities within the socio-historical context of the continent. The historically silenced voices, the marginalized communities, the theories and practices developed by the musicians and their audiences, the genre’s relationship to politics, the influence of language, the move to decolonize local histories, and even the experiences of the Latin-American diaspora are but a few of the imperative narrative explorations enacted by the authors.

Liliana González Moreno

Finally! With this pathbreaking volume, the vitality and iconoclastic spirit of Latin American metal studies scholarship becomes accessible to English readers. Heavy metal now belongs to the whole of humanity, but its intense, community-affirming roar has special significance in the Latin American region as a rallying cry for anti-colonial resistance and self-assertion in the context of oppression, injustice, and war. This collection of insightful essays on metal culture in Argentina, Brazil, Chile, Cuba, El Salvador, Guatemala, Mexico, Peru, Uruguay, and the Latin American diaspora deserves mandatory reading status for metal scholars, Latin America specialists, and cultural theorists of all persuasions.

Jeremy Wallach

With this truly novel intervention into the study of music, society, and politics, Varas-Díaz, Nevárez Araújo, and Rivera Segarra have compiled a fabulous assortment of perspectives on metal all across the Latin American and Caribbean regions. Adopting “distortion” as a lens, and demonstrating how Latin American metal has never been simply a derivative product from the North, their global south perspective places the region’s multiple different metal traditions in a complex series of dialogues, past and present. They tread through complex terrain, paying attention to how Latin American metal creatively responds and actively shapes social problems that define the region, the long durée of coloniality, the immediate history of military regimes and armed conflict, contemporary activisms around inequality and decolonial dreams, repertoires of sonic mestizaje and more....a wonderful read.

Shane Greene

Varas-Díaz, Nevárez Araújo and Rivera-Seguerra have accomplished a significant feat with this book: as a work based on translations from Spanish and Portuguese, it is a generous gift to the admittedly embarrassingly restricted English-speaking field of metal scholarship. Representing 10 Latin American countries, metal music and culture enduring under a politics of violence, political oppression and marginalization make it strange that scholarship this loud has rarely been read before outside its context. Having broken free from its origins in the Global North, Latin American metal has become a decolonizing force best understood by paying attention to the context from which it has emerged. Creative, malleable and respectful to the diversity of its sources, rather than gazing at it, these scholars defiantly stand alongside what is studied. This book is a shining example on how metal studies is to be done.

Niall W.R. Scott

Without a doubt, a milestone in the field and history of Latin American metal music historiography. This varied collection of essays about metal music, originally conceived in Spanish and Portuguese, represents the first publication of its kind in the English language entirely devoted to the topic of metal in Latin America. Metal music has spawned one of the most relevant liberation and resistance cultures to be found in the continent. Showcasing 10 countries in the region, the book provides a historical and analytical survey of the different local scenes, in the process demystifying many of the ideas that have surrounded and served to stereotype the juncture between metal music and Latin American society for decades. The book brings to the fore the issues, roles, and dynamics that originate within the cultural practices of the various metal communities within the socio-historical context of the continent. The historically silenced voices, the marginalized communities, the theories and practices developed by the musicians and their audiences, the genre’s relationship to politics, the influence of language, the move to decolonize local histories, and even the experiences of the Latin-American diaspora are but a few of the imperative narrative explorations enacted by the authors.

Liliana González Moreno