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The New Metal Men: Exploring Model of Alternative Masculinity in the Bandung Metal Scene

机译：新的金属男性：探索万通金属场景中的替代阳刚气体模型

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摘要

The global metal scene has long provided narratives and methods for solving issues of masculinities since in their particular environment in the music industry, and they are generally considered masculine. This article explores the stereotypical construction of masculinities in the Bandung metal music scene. This analysis is based on in-depth interviews with Bandung professional metal male musicians who are aged 39-44 years old and are married. This investigation examines how these metal musicians negotiate alternative masculinities in various contexts, taking into account the predominantly Muslim culture in Indonesia. Using an ethnographic approach and borrowing from Millett's concepts of temperament, role, and status, this paper argues that metal music performers, who are generally considered hypermasculine, do not display the same construction when performing their functions in the family. Through their roles as breadwinner, musicians maintain normative Indonesian masculinity, as well as fulfilling their responsibility to their family. However, they negotiate equity in the private space, which regards household labor division, childcare, and sharing of income. This paper argues that to some extent, musicians in the metal music scene in Bandung provide a role model of masculinity that is more gender-sensitive and egalitarian.
机译：全球金属现场长期以来一直提供叙述和解决自从音乐行业特定环境中的阳话问题的方法，它们通常被认为是男性化的。本文探讨了万通金属音乐景观中的阳像性的陈规定型结构。该分析基于与万年复龄39-44岁历史的万隆专业金属男性音乐家进行的深入访谈。这项调查审查了这些金属音乐家如何在各种情况下谈判替代阳话，同时考虑到印度尼西亚的主要穆斯林文化。使用民族志方法和借用Millett的气质，角色和地位的概念，本文认为，通常被认为是Hypermasculine的金属音乐表演者在进行家庭中的功能时，不显示相同的结构。通过他们的角色作为养家糊口，音乐家维持规范印度尼西亚阳刚之气，以及履行他们家庭的责任。但是，他们在私人空间中谈判股权，这对家庭劳动部门，儿童保育和收入分担。本文认为，在某种程度上，Bandung的金属音乐场景中的音乐家提供了更为性别敏感和平等的男性气质的榜样。

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