Scream for Me, Africa!: Heavy Metal Identities in Post-Colonial Africa

Banchs, Edward

doi:10.1386/9781789385212

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2023

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“…As explained by Clinton and Wallach (2015) in academic research, this imagery of racial homogeneity in metal consolidated by British and US researchers (Walser, 1993;Weinstein, 1991) has been updated by the mapping of musical productions outside the Global North. We can mention research already conducted in Indonesia, Malaysia and Singapore (Wallach, 2011), Israel (Kahn-Harris, 2011, Botswana (Nilsson, 2016) and other African countries (Banchs, 2016;Nilsson, 2016;Silva, 2022), Puerto Rico (Varas-Díaz et al, 2014), and Brazil (Queiroz, 2021).…”

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confidence: 99%

Negotiating Blackness, and Culture in Brazilian Metal Scene

Silva

Queiroz

2023

Journal of Black Studies

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This paper aims at discussing the presence of black individuals in the Brazilian metal music scene. To do so, we move away from a homogenizing and historically constructed cultural position that privileges certain forms of art in the building of black subjects’ authenticity to the detriment of others. We seek to highlight how racial representation works as a form of oppression. We ask: What are the ways and means that black people, as musicians and audiences, can find to re-inscribe themselves in the midst of an environment still predominantly occupied by whiteness in metal and, consequently, how can we locate those interstices to re-emerge and re-exist?

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