The materials on this page are drawn from an interdisciplinary research program on metal music studies jointly led by SOMEONE Canada researchers Vivek Venkatesh, Jeffrey Podoshen , Jason Wallin and Tieja Thomas, along with a host of collaborators committed to building theoretical and practical intersections between the humanities and social sciences in better understanding the production, diffusion and consumption of hate speech in extreme metal music scenes. The content has been produced in partnership with Grimposium (http://grimposium.com) – an international touring festival and conference series squarely focused on issues of social, political and economic import in global extreme metal music scenes.
The materials are intended to engage our audiences in discussions – they are meant to generate fodder for debates in educational contexts, as well as provide the broader public with an opportunity to engage with materials produced directly from our field research. The multimedia provided below includes recordings of lectures, panel discussions, interviews as well as an improvisational reading performance. These materials will constantly be updated as more public engagement events are held under the SOMEONE and Grimposium banners.
These questions are intended to complement the interviews and panel sessions we conducted with scene members and might help guide potential debates and discussions for viewers of the materials on this page.
- What kinds of hate speech do the interviewees make reference to during their conversations with the researchers? Are these representative of the kinds of hate speech you have witnessed?
- Are there certain kinds of hate speech or hateful utterances that have become accepted within the extreme metal scene? What kinds of strategies do the interviewees propose to combat these systematic and accepted forms of hate? What kinds of strategies do you propose to help sensitize scene members about the ill effects of these types of such statements?
- Does freedom of expression or artistic liberty restrict a musician’s, visual artist’s or lyricist’s ability to create their artform? Is there a limit to artistic expression? How are some of the interviewees grappling with balancing their artistic freedom with being provocative and asking scene members to reflect on broad socio-political issues of discrimination?