Popular Culture Review 30.1
Mario Venturella�reflects the initial findings of a larger study focused on the appropriation and adaptation of the Scandinavian black metal narrative in Italy . Although the field of Italian black metal is strikingly diverse , with at least five distinct branches�first wave ( using both its grammar and symbolic / colloquial apparatus ), NSBM , elitism inspired by the writings of Julius Evola , regionalism , and those drawing fully from Italian national culture ) �they share similarities inherited from the Scandinavian model , including heritage and anti-establishment themes , pre-Christian origins , and conflict with the country ’ s Catholicism and bourgeois morality ( 44 ). All of the branches appropriate various elements of Italian history and culture “ congruent with the aspects they intent to promote : feelings of misanthropy , nationalism , elitism , and rejection of modern bourgeois society [ ... ]” ( 45 ). The authors highlight the importance of understanding the function of adopting aspects of culture and heritage to form distinct identities through symbols , costumes , and historical memory�these comprise the foundational approaches to understanding imagined communities established by Benedict Anderson in the early 1980s .
Gianluca Chelini ’ s chapter , “ Javanese Black Metal : Towards a Definition of Post-Heritage Music ,” highlights the rapid growth of black metal-influenced local music in Java . A unique fusion of local musical traditions , literary influence , and cultural traditions ( including philosophical concepts from Hindu and Kedjawan ) highlight the process of what Chelini terms “ heritagisation ” in the Javanese metal scene ( 98 ). The radical changes in the social and political scene in Indonesia over the last two decades is reflected in the local metal scene , most notably in its hybrid nature , incorporating lively national debate on the values and significance of local traditions ( 97 ). Chelini discusses two distinct strands
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