No abstract

This article investigates how heavy metal music promotes the development of multiethnic community interactions by focusing on Penang Island, Malaysia as a case study, where individuals of different ethnic backgrounds have intermingled in the heavy metal music scene as a consequence of the dearth of spaces dedicated to the practice and performance of such music. Through the use of ethnographic participant observation over the course of two years (2011–2013), I demonstrate how the heavy metal music scene in early 2010s Penang had outgrown the country’s ethnic structure in which heavy metal music was used to build a community where musicians of different ethnic backgrounds interact in settings where ethnicity is of reduced salience. Fostered by the forced cohabitation of the scarce spaces dedicated to extreme music practices in the country, I argue that the case of Penang’s heavy metal music scene outlines how the localization of imported forms of western popular music in a fast developing South East Asian society have challenged and reconfigured ethnic boundaries that are frequently reified in and through public and political discourses.

Among the globalized metal scenes of South East Asia, Malaysian Borneo’s black metal (BM) demonstrates a great deal of referencing to the satanic themes and sonic rawness of the first wave of western BM bands such as Venom and Bathory. However, the ways in which Malaysian Borneo black metallers perform what they perceive to be ‘authentic’ BM identity clash with the reality of their everyday lives. In fact, their social backgrounds seem incompatible with the features of BM authenticity they strive to perform. What remains unclear is how and why Malaysian Borneo BM fans and musicians manifested their authentic belonging to this subculture by adopting the genre’s dominant anti-Christian imagery, when in most instances Christianity is not their religion of choice. Qualitative data were collected by ten weeks of ethnographic fieldwork and semi-structured interviews with eight members of Malaysian Borneo’s BM scene in the states of Sarawak and Sabah. Findings were supported by content analysis of local BM recordings, lyrics and interviews published in independently produced metal fanzines. BM ‘authenticity’ in Malaysian Borneo emerged as a theatrical pursuit of the most shocking global examples of primeval BM, which allows for a troubled, precarious coexistence between perceived ‘authentic’ BM aspirations and everyday social life in the respondents’ lives.

Malaysia is far from a multi-ethnic paradise, as its musicians will tell you. Will anything change with the new governmnent, asks Marco Ferrarese 47(02): 23/25 |