Portal de Periódicos da CAPES

Bravehearts and Bonny Mountainsides: Nation and History in Scottish Folk/Black Metal

2016; Taylor & Francis; Volume: 4; Issue: 2 Linguagem: Inglês

10.1080/19401159.2016.1253297

1940-1167

Karl Spracklen,

Gender, Feminism, and Media

Music, art, culture, and leisure are elements or tools of political nationalism, of hegemonic control, and of counter-hegemonic resistance. In the Scottish independence referendum, pop and rock musicians came out on either side, lending their voice, their celebrity and their music to save the United Kingdom or to support a new nation. In this article, Scottish nationalism and Scottish identity are explored through two folk/black metal bands that have emerged on the extreme metal scene in Scotland: Saor and Cnoc An Tursa. I use an on-line semiotic analysis over a three-year period including the period of the referendum, along with an analysis of their lyrics and imagery, to show how each band has used Scottishness and responded to Scottish nationalism – and how fans have constructed Scottishness in their critical appreciation of the band’s songs and other identity work. I argue that some progressive ideology exists, but it is situated within wider ideologies in metal and wider assumptions about Scotland.