We use the concepts of transgressive and mundane sub-cultural capital to frame our analysis. This paper explores issues of values, ethics, and sub-cultural capital within the death-metal scenes of Bandung and Yogyakarta. Despite this, the Indonesian provincial city of Bandung in West Java is home to the largest death-metal scene in Asia with an estimated 128 active bands, and the Central Javanese city of Yogyakarta has a smaller but diverse scene. While much of the western world views current-day Indonesia as a confusing admixture of economic growth and ongoing poverty, democratization, and Islamic fundamentalism, very few outside academic and artistic circles have given much recognition to its rich and diverse musical life. Metal music consumed by youth people who offer diverse Nevertheless, today this scenes tries to reproduce they own history and expansively penetrates local and global metal markets. This kind of music is not consumed by common people, and always had a stigma from many people, for that reason the fans limited. At the beginning of his birth, Bandung metal scenes tend to different from dominant culture.
Creatively they "construct" space for their own group of youths as big as their own ideas, tastes and styles without relying on capital or global industries. For three decades, they succeeded to developed, owning their own media, recording their own music, or self-produced magazines outside the cultural industry or known as "do-it-yourself" ethics (DIY). The Bandung Underground as part of an underground subculture is relatively same as the underground subculture around the world they do contradictory attitudes and styles with the dominant culture. Furthermore, Moore (ibid) argues that underground music musicians respond to postmodernity conditions. Artistic appearances are explicitly seen in their art and performance and political responses emerge from their own ideology that rejects the culture industry as a cultural hegemonic machine. In this case, The underground subculture in Bandung emerged as a result of a structural transformation that created many possibilities for artistic and political responses among youth. According to Moore (Muljadi, 2016: 19) underground subcultures are constructed by two different cultural practices and relate them to the socioeconomic conditions of postmodernity.
The underground subculture in Bandung is a choice for urban youth to show themselves. Most of the audience are youth people who well-educated, historians, social sciences, and art. Dynamics of The Bandung Underground Scene Bandung is one of the largest cities in Indonesia, with the largest underground community and music enthusiasts in Indonesia. More than just hybrid music, this death metal also becomes represent a music used as tools for digging and rediscovering values amidst rapid changes of global culture. The results show that the Sundanese death metal performers attempt to revitalize the ancestral values into the cultural spirit of the metal community by combining the language, clothing and Sundanese traditional performances with the metal music. Data are collected using participant observations and in-depth interviews to the underground musicians. This is performed by examining how this process implicates and connects with all actors involved in this sub-cultural practice. By employing a qualitative approach, this research seeks to expose the cultural processes of the movement which include the production, dissemination, externalization, responses and interpretation of Sundanese death metal as a part of popular music. This can be viewed as a political movement to counter the hegemonic culture by using the main values of the Sundanese, such as silih asah, silih asih, silih asuh (which mean teaching, loving and caring to each other) as a foundation of their movements. Here, I argue that the social movement of Sundanese death-metal in Bandung is part of sub-cultural practices to keep their identity. This concept is a response to an increasingly blurred identity that caused by hegemonic factors like globalization. The genre is called Sundanese death metal. Some of them constructed their own expressions, which differ from the country of origin. The Indonesian provincial city of Bandung in West Java is a home to the largest death-metal scene in Asia with an estimated 128 active bands (James & Walsh 2015).
Abstract This paper describes movements of current metal music in Bandung, Indonesia.
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