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Aguilar Miranda, J. N. (2023). Identidad y estética punk en Cochabamba. Perspectivas y Resistencias Musicales, 1(1), 169–198.
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al-Soukkary, W. (2024). Egypt’s folk devils? Metal music as a pious alternative for Egyptian metal fans. Metal Music Studies, 10(3), 183–200.
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Alarcón Ruiz, J. C. (2017). CULTURA JUVENIL E IDENTIDAD: ORIGEN Y DESARROLLO DE LA CULTURA DEL METAL EN LA CIUDAD DE LIMA ENTRE LOS AÑOS 1980 Y 2017. Bachelor's thesis, Federico Villarreal National University, Lima, República del Perú. Retrieved April 22, 2025, from http://repositorio.unfv.edu.pe/bitstream/handle/UNFV/3804/UNFV_Alarc%C3%B3n%20Ruiz_Juan%20Carlos_T%C3%ADtulo%20Profesional_Antropolog%C3%ADa_2019.pdf?sequence=1&isAllowed=y
Abstract: This research deals with the origin and development of the culture of Metal music in the city of Lima, and how adolescents of that time began the construction of a musical scene and the construction of an identity as individuals and as a community. The initial development of this urban culture took place during the 1980s, a period that was disastrous for Peru, where there was a chaotic context at the political, social level; economic; terror, suffering and above all uncertainty about the future. Between the bombs, death and destruction – facts generated by armed movements – the culture of Metal began to take shape, having as protagonists this group of adolescents; largely as rebellion and rejection about what they had to live. It was a society they did not want to be in. Based on different cultural manifestations (bands, fanzines, concerts, organizations) they began to build their own world, culture and identity. This identity is revaluated and becomes more powerful today when compared with the new generations of metalheads; who, based on the use of technology and a generally more favorable context, also try to participate in this urban culture.
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Alkatiri, Z., Aviandy, M., Nugraha, F. M., & Setiawan, H., Putri, Melisa Indriana. (2023). A pseudo-rebellion: Ujung Berung metalheads in the contestation of identity space in Bandung, 2010–22. Metal Music Studies, 9(2), 233–255.
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Armao, F. (2021). The Contemporary Myth of the Celts in Ireland: from (Mainstream) Enya to (Underground) Cruachan. Revue française de civilisation britannique, 26(3), s.p.
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Avelar, I. (2011). Otherwise national: locality and power in the art of Sepultura. In J. Wallach, H. M. Berger, & P. D. Greene (Eds.), Metal rules the globe: heavy metal music around the world (pp. 135–160). Durham: Duke University Press.
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Bahy, C., dos Passos, C., Khalia, L. M. G., & Barchi, R. (Eds.). (2021). Música Extrema. Ruídos, imagens e sentidos. São Paulo: Pimenta Cultural.
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Banchs, E. (2016). Swahili-tongued devils: Kenya’s heavy metal at the crossroads of identity. Metal Music Studies, 2(3), 311–324.
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Barajas, J. E. (2021). Historia del power metal colombiano: un documental para la creación de un panorama histórico e identitario del power metal.. Bogotá: Corporación Universitaria Minuto de Dios.
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Barone, S. (2015). Metal Identities In Tunisia: Locality, Islam, Revolution. In T. - M. Karjalainen, & K. Kärki (Eds.), Modern Heavy Metal: Markets, Practices and Cultures (pp. 185–194). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
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