Hardcore punk as an effort to Indigenize the underground scene in La Paz during the neo-liberal era of resistance 1993‐2003

IF 0.5 Q3 CULTURAL STUDIES Metal Music Studies Pub Date : 2022-06-01 DOI:10.1386/mms_00072_1
Reynaldo Tapia, Boris Mendoza
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引用次数: 0

Abstract

In Bolivia, neo-liberalism did not only have social-economic and political effects, but it also created spaces that allowed for new discourses related to culture and national identity. This research focuses on the changes of the metal underground scene in La Paz that led to the formation of a hardcore punk scene that tried to incorporate Indigenous symbolism in their music and performances as a form of resistance against western-cultural hegemony but also to highlight the positive values of their ancestral cultural heritage. Scholars, journalists and activists have written extensively about the transformations in Bolivia during the age of neo-liberalism but there has not been much research that focused on youth movements specifically those that use music to inspire new forms of social dialogues concerning national identity. This research is self-ethnographic and it includes qualitative in-depth interviews of band members and media figures of that time. The La Paz hardcore punk scene grew as an effort from band members to Indigenize the metal underground scene based on their interpretation of what they believed was Indigenous since none of the band members themselves were considered Indigenous. The meaning of Indigenous symbolism in their music was a result of their daily experiences of the social-political contentious environment during the country’s neo-liberal era. Street protesters used Indigenous symbols to defy the western-led free-market economic policies of the Washington Consensus. Therefore, the need to distinguish themselves from a metal musical genre that was traditionally western gave rise to a hardcore punk scene that focused on Indigenous cultural pride intricately connected to a form of patriotism and national pride. This was fuelled by the emergence of a national collective consciousness to reclaim the Indigenous culture due to the failures of western economic policies and US interventions tied to the ‘War on Drugs’.
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硬核朋克是在1993 - 2003年的新自由主义抵抗时期将拉巴斯的地下场景本土化的一种努力
在玻利维亚,新自由主义不仅具有社会经济和政治影响,而且还创造了允许与文化和民族认同有关的新话语的空间。本研究关注的是拉巴斯地下金属场景的变化,这些变化导致了硬核朋克场景的形成,他们试图将土著象征主义融入他们的音乐和表演中,作为一种抵抗西方文化霸权的形式,同时也突出了他们祖先文化遗产的积极价值。学者、记者和社运人士撰写了大量关于新自由主义时代玻利维亚转型的文章,但针对青年运动的研究却寥寥无几,尤其是那些利用音乐来激发有关国家认同的新形式社会对话的运动。这项研究是自我民族志,它包括对当时乐队成员和媒体人物的定性深入访谈。拉巴斯的硬核朋克场景是乐队成员对地下金属场景本土化的一种努力,基于他们对自己认为是本土的东西的理解,因为乐队成员自己都不是本土的。他们音乐中的土著象征意义是他们在该国新自由主义时代的社会政治争议环境中日常经历的结果。街头抗议者用土著符号反抗西方主导的“华盛顿共识”(Washington Consensus)的自由市场经济政策。因此,为了将自己与传统的西方金属音乐类型区分开来,出现了一种专注于本土文化自豪感的硬核朋克场景,这种自豪感与一种爱国主义和民族自豪感紧密相连。由于西方经济政策的失败和美国与“毒品战争”相关的干预,一种民族集体意识的出现推动了这一趋势。
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来源期刊
Metal Music Studies
Metal Music Studies Arts and Humanities-Music
CiteScore
1.20
自引率
0.00%
发文量
19
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