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Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss

Product Details
28 Jan 2021
Emerald Publishing Limited
308 pages - 152 x 229mm
Emerald Studies in Metal Music and Culture
Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss weaves together trauma, black metal performance and disability into a story of both pain and freedom. Drawing on her years as a black metal guitarist, Jasmine Hazel Shadrack uses autoethnography to explore her own experiences of gender-based violence, misogyny, and the healing power of performance.

This profoundly personal book offers a detailed explanation of autoethnography, followed by a careful exposition of the relationship between metal and gender, considering - among other things - how women are engaged with by metal music culture. After examining the various waves of black metal and how this has impacted black metal theory, the book moves on to consider female performers and performance as catharsis, including a discussion of the author's work as guitarist and vocalist with the black metal band Denigrata and her alter-ego, the 'antlered priestess' Denigrata Herself. The book concludes with some thoughts on acquired disability, freedom and peace.

The book includes a foreword from eminent gender researcher Rosemary Lucy Hill, a guest section from metal scholar Amanda DiGioia, an epilogue from Rebecca Lamont-Jiggens (a legal pracademic specialising in disability), suggestions of sources of help for those in abusive relationships and further reading for those wishing to learn more about black metal theory.
Chapter 1. Interpretive Performance Autoethnography 
Chapter 2. “Women! Stop Ruining Metal!” Mapping Extreme Metal 
Chapter 3. Black Metal’s Historical Analysis: The Story of Male Metal 
Chapter 4. The Feminine Absent 
Chapter 5. Of Wolves and Witches
Chapter 6. Denigrata as Performance 
Chapter 7. Conclusion. Liber Sum: Restorative Visibility and the Feminine Present 
Epilogue from Rebecca Lamont-Jiggens
Peroration: Dying Words as Abominable Lifeblood
Jasmine Hazel Shadrack is a trauma researcher, musicologist, and autoethnographer. She has played guitar in metal bands for the last twenty years and conducted a choir for five. She now devotes her time to researching and composing.
'Shadrack's brave usage of autoethnography to explore how black metal is a movement beyond music presents a new and refreshing paradigm through the exploration of an often-misunderstood subculture. Her skill in intertwining methodology with her own subjective reflexivity is an important and much-needed addition to gender, music, and performance studies.' - Laina Dawes, Author of What Are You Doing Here?: A Black Woman’s Life and Liberation in Heavy Metal (2013)

'Seldom do we as scholars get to interact with a professional musician who sees their work as autoethnographic; even more seldom do we see that valuable and difficult work coming from women in genres such as heavy metal. With an eye on both critical theory and musical performance, Dr Shadrack creates an interwoven story of personal experience, gender studies and women’s studies, sexual oppression and sexual violence, and brings forth deep discussions of religion, iconography, existentialism, women’s voices in and out of metal, and the many ways in which women are symbolized, represented and delimited. It is a ground-breaking work, one that continues a line of work in gender and heavy metal that represents some of the best work on gender in publication right now. The image of Denigrata Herself, the horned goddess screaming into the patriarchy, is an icon for our times.' - Amber R. Clifford-Napoleone, Professor of Anthropology and Director, McClure Archives and University Museum University of Central Missouri, USA

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