Este trabajo forma parte del primer estudio sistemático de la cultura del HM en Puerto Rico. En este trabajo, proponemos documentar los significados asociados a la práctica del mosh en la escena metalera de Puerto Rico. Dentro de los estudios sobre el HM, el mosh ha sido identificado como una práctica esencial de la experiencia de un concierto de Metal (Riches, 2012). Más aún, los estudios sobre el HM han sido realizados desde la interdisciplinareidad, comenzando desde los campos de estudios culturales (Riches, 2011) hasta la física (Silverberg, Bierbaum, Sethna, & Cohen, 2013). It is there, between that order and chaos, where we find a communal experience that challenges, defies and problematizes the inherent aspects of the human condition.Įl avance del estudio de la música Heavy Metal (HM) desde diversos campos académicos se ha documentado en disertaciones, conferencias, libros dedicados en su totalidad al tema y artículos en revistas científicas. We conclude that the mosh is a space that fosters trust, friendship and camaraderie, while allowing an acceptable level of violence and risk. Using ethnography and in-depth interviews with members of the local metal scene, we found three emergent themes on the meaning of mosh: 1) the existence of a non -written code shared by the community when engaging in moshing 2) the conceptualization of the mosh as a liminoid space and 3) its therapeutic role. This work is part of the first systematic study of HM culture in Puerto Rico. In this work, we documented the meanings associated with the practice of moshing in Puerto Rico’s metal scene. Within Heavy Metal Studies (HMS) the mosh has been identified as an essential practice of a HM concert experience (Riches, 2012). Furthermore, studies focused on HM have been conducted from interdisciplinarity, from cultural studies (Riches, 2011) to physics (Silverberg, Bierbaum, Sethna, & Cohen, 2013). The advancement in the study of Heavy Metal (HM) music from different academic fields has been documented in dissertations, conferences, books and articles in scientific journals. Part of them demonstrated their self-confidence by dressing up in a very feminine – even hyperfeminine – way, and part of them dressed more modestly, seeing their femininity internally, not externally. They were quite independent and became more confident in their femininity as they grew older. Very feminine female fans consumed a lot of live music and described metal as beautiful, emotional and empowering. Based on the results, considering metal a masculine musical genre is not justifiable if the context is female metal fans, not female metal musicians. Our aim was to study very feminine metal fans, trying to find out how they perceived their position among metal fans and how they demonstrated their femininity, especially in metal festivals. This has led to conclusions that female fans are acting in a ‘masculine’ manner to avoid sexual harassment, and to get approval and respect for their fandom from male fans. However, studies on female metal fandom emphasize that female fans are in the minority among the male-dominant metal fan community. Metal music has an exceptional position in Finnish society where the genre is not marginal and the proportion of female fans is considerable.
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