Abstract: << This article, based on ethnographic research, discusses the creation of an album that belongs to the musical
subcategory of medieval black metal. The creator of the album, Christos G., re-imagines, recreates, and presents medieval peasant traditions of resistance and revolt in his Mystras project, but through the perspective of the rebels and not through the official descriptions of the events as written by medieval authorities who belonged to the victorious sides. To achieve this, the artist referred to folklore and traditional song; he wanted to illustrate that, if these two are used within an accurate historical context, they highlight a completely different picture of medieval times than the one usually depicted in black metal, where a white, homogeneous, and noble medieval Europe is constantly portrayed as part of ethnocentric ideologies and reactionary agendas. Folklore and traditional song become ideological “weapons” in Mystras that symbolise that just as the peasants of medieval times revolted against injustice and oppression, so should the artists and audience exclude and eliminate far-right ideologies from black metal. >>
[Source: Open-access PDF of article]

Abstract: Two centuries-old mask traditions native to Austria and Bavaria enjoy ongoing popularity due to a creative mingling of old and new elements (heavy metal music and fireworks alongside hand-carved wooden masks and birch rod switches). The Krampus is the menacing companion of St. Nikolaus, who visits children on December 5 and 6, although nowadays groups of Krampusse may appear alone. The Perchten, who are associated with the magical female folk-figure Perchta, appear on January 5 and the week before. While the Perchten and Krampusse represent distinct traditions, their history has intersected at various points, and their contemporary manifestations share many elements, including a movement towards a “modern” aesthetic and the employment of such resources as tourist publicity and the internet to promote their appearances, educate the public, and network with each other. While the house visit was formerly the primary setting for these masked figures (or mummers), today it is the public parade.
These parades, while rooted in and resembling conventional display-custom performances marked by a static division between performer and spectator, actually consist of a kind of fluid, interactive ritual theater in which the partially improvised, partially scripted performances of masked figures and the responses of spectators shape one another. Contemporary manifestations of Perchten and Krampus traditions will be explored in light of the ongoing cultural dialogue between performers and non-performers who seek to define and interpret the tradition, and the interplay of academic and popular discourses surrounding invented tradition, Folklorismus (folklorism) and Rücklauf (feedback), and the nature of authenticity. Questions of cultural heritage “ownership” surface in the debates over form and meaning, while in the hands of the Perchten and Krampusse themselves, tradition emerges as an active process and collaborative artwork rather than a fixed commodity with boundaries which can be defined and navigated by outside observers.