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Rez Metal captures the creative energy of Indigenous youth culture in the twenty-first century. Bridging communities from disparate corners of Indian Country and across generations, heavy metal has touched a collective nerve on the Navajo Reservation in Arizona in particular. Many cultural leaders—including former Navajo president Russell Begaye—have begun to recognize heavy metal’s ability to inspire Navajo communities facing chronic challenges such as poverty, depression, and addiction. Heavy metal music speaks to the frustrations, fears, trials, and hopes of living in Indian Country. Rez Metal highlights a seminal moment in Indigenous heavy metal: when Kyle Felter, lead singer of the Navajo heavy metal band I Dont Konform, sent a demo tape to Flemming Rasmussen, the Grammy Award–winning producer of several Metallica albums, including Master of Puppets. A few months later, Rasmussen, captivated by the music, flew from Denmark to Window Rock, Arizona, to meet the band. Through a series of vivid images and interviews focused on the venues, bands, and fans of the Navajo Nation metal scene, Rez Metal provides a window into this fascinating world.
Defiant Sounds: Heavy Metal Music in the Global South brings together authors working from and/or with the Global South to reflect on the roles of metal music throughout their respective regions. The essays position metal music at the epicenter of region-specific experiences of oppression marked by colonialism, ethnic extermination, political persecution, and war. More importantly, the authors stress how metal music is used throughout the Global South to face these oppressive experiences, foster hope, and promote an agenda that seeks to build a better world.
Rez Metal captures the creative energy of Indigenous youth culture in the twenty-first century. Bridging communities from disparate corners of Indian Country and across generations, heavy metal has touched a collective nerve on the Navajo Reservation in Arizona in particular. Many cultural leaders—including former Navajo president Russell Begaye—have begun to recognize heavy metal’s ability to inspire Navajo communities facing chronic challenges such as poverty, depression, and addiction. Heavy metal music speaks to the frustrations, fears, trials, and hopes of living in Indian Country. Rez Metal highlights a seminal moment in Indigenous heavy metal: when Kyle Felter, lead singer of the Navajo heavy metal band I Dont Konform, sent a demo tape to Flemming Rasmussen, the Grammy Award–winning producer of several Metallica albums, including Master of Puppets. A few months later, Rasmussen, captivated by the music, flew from Denmark to Window Rock, Arizona, to meet the band. Through a series of vivid images and interviews focused on the venues, bands, and fans of the Navajo Nation metal scene, Rez Metal provides a window into this fascinating world.
The third space can simultaneously be a safe haven for experimentation and creativity and a risky space in which there is likely to be contestation and uncertainty. Understanding the strategic role in examining and activating third spaces is necessary, which applies not only to organizations that seek to apply the contemporary concept of third space in either digital or face-to-face settings but also to individuals who exist as actors in third-space environments. These organizations and individuals often have to perform outside of the first space, a dominant social or settler colonial identity group. Third-Space Exploration in Education investigates the knowledge, relationships, legitimacies, and languages that problematize and accommodate the paradoxes, tensions, and possibilities at the heart of understanding education-related third-space environments. The book is useful in providing insights and support for readers concerned with the creation, management, negotiation, or reconceptualization of expertise, knowledge, information, and organizational development within culturally diverse third-space communities and environments. This reference work is ideal for audiences in various disciplines centering on education as well as interdisciplinary areas or areas that can relate to education such as ethnic studies, sociology, psychology, medicine, technology, and business.
Popular Music in East and Southeast Asia: Sonic (under)Currents and Currencies presents contemporary perspectives of the music discipline in East and Southeast Asia. It considers global influences, national industries, and regional genres with examples from Malaysia, Indonesia, Singapore, Taiwan, the Philippines, Hong Kong, Japan, South Korea, and the United States. This book contains local perspectives on the conceptualisation of music genres, scenes, and industries, offering a comprehensive inter-Asia matrix for popular music studies. This book is suitable for educators and music enthusiasts.
Music historian Craig Harris explores more than five hundred years of Indigenous history, religion, and cultural evolution in Rise Up! Indigenous Music in North America. More than powwow drums and wooden flutes, Indigenous music intersects with rock, blues, jazz, folk music, reggae, hip-hop, classical music, and more. Combining deep research with personal stories by nearly four dozen award-winning Indigenous musicians, Harris offers an eye-opening look at the growth of Indigenous music. Among a host of North America’s most vital Indigenous musicians, the biographical narratives include new and well-established figures such as Mildred Bailey, Louis W. Ballard, Cody Blackbird, Donna Coane (Spirit of Thunderheart), Theresa “Bear” Fox, Robbie Robertson, Buffy Sainte-Marie, Joanne Shenandoah, DJ Shub (Dan General), Maria Tallchief, John Trudell, and Fawn Wood.
There’s “western,” and then there’s “Western”—and where history becomes myth is an evocative question, one of several questions posed by Josh Garrett-Davis in What Is a Western? Region, Genre, Imagination. Part cultural criticism, part history, and wholly entertaining, this series of essays on specific films, books, music, and other cultural texts brings a fresh perspective to long-studied topics. Under Garrett-Davis’s careful observation, cultural objects such as films and literature, art and artifacts, and icons and oddities occupy the terrain of where the West as region meets the Western genre. One crucial through line in the collection is the relationship of regional “western” works to genre “Western” works, and the ways those two categories cannot be cleanly distinguished—most work about the West is tinted by the Western genre, and Westerns depend on the region for their status and power. Garrett-Davis also seeks to answer the question “What is a Western now?” To do so, he brings the Western into dialogue with other frameworks of the “imagined West” such as Indigenous perspectives, the borderlands, and environmental thinking. The book’s mosaic of subject matter includes new perspectives on the classic musical film Oklahoma!, a consideration of Native activism at Standing Rock, and surprises like Pee-wee’s Big Adventure and Dr. Seuss’s The Lorax. The book is influenced by the borderlands theory of Gloria Anzaldúa and the work of the indie rock band Calexico, as well as the author’s own discipline of western cultural history. Richly illustrated, primarily from the collection of the Autry Museum of the American West, Josh Garrett-Davis’s work is as visually interesting as it is enlightening, asking readers to consider the American West in new ways.
This anthology adds to the burgeoning field of settler colonial studies by examining settler colonial narratives in the under analyzed medium of film. Cinematic Settlers discusses different cinematic genres, national traditions, and specific movies in order to expose related threads, shared circulations of knowledge, and paralleled representations. Organized into thematic groupings—conquest, settlers, natives, and space—the contributors explore the question of how film compares to written genres and other visual media in representing and effecting settler colonialism on a global scale. Striving for inclusiveness, the volume covers different eras and settler colonial situations in Australia, New Zealand, Taiwan, Hawaii, the American West, Canada, Latin America, Russia, France, Algeria, German Africa, South Africa, and even the next frontier: outer space. By showing how films offer layered, contested, and dynamic settler colonial narratives that advance and challenge settler hegemonic readings, the essays enable students to better analyze and understand the complex history of diversity and colonialism in film. This book is important reading for undergraduate classes on the history of empire, colonialism, and film.
Newman's lucid and engaging introduction guides the reader through the world of videogaming. It traces the history of the videogame, from its origins in the computer lab, to its contemporary status as a global entertainment industry, where characters such as Lara Croft and Sonic the Hedgehog are familiar even to those who've never been near a games console.Topics covered include:* What is a videogame?* Why study videogames?* a brief history of videogames, from Pac-Man to Pokémon* the videogame industry* who plays videogames?* are videogames bad for you?* the narrative structure of videogames* the future of videogames.
Earthly Engagements: Reading Sartre after the Holocene brings together scholars from the Sartre studies community to think through the planetary ecological crisis. Edited by Matthew C. Ally and Damon Boria, the collection explores ways in which Sartre’s existential thought can be read socio-ecologically, illuminating the tightly imbricated earthly and worldly crises of our post-Holocene epoch. Contributors variously discuss phenomenology, ethics, politics, ontology, and metaphysics. Earthly locations include the Icelandic coast, the Minnesota woods, the Indiana Dunes, the Chinese Great Plain, the Venetian Lagoon, and more; worldly situations include that of the artist, the activist, the consumer, the tourist, and more. Through their diversity of methods and substantive concerns, the chapters reveal a wealth of critical and heuristic resources within Sartre’s thought for thinking through and engaging the planetary ecological crisis and its direct ties to global social, economic, and political crises. In full recognition of Sartre’s personal distaste for agrarian settings and wilderness, and some ostensibly anti-environmental philosophical and literary moments, the contributors take the proper Sartrean line that how we view nature and our relationship to nature is neither closed nor predetermined. Like life itself, our worldly relationship to earthly nature is rooted in the sufficiency and open-endedness of freedom.