Scriptiebank overzicht

This thesis investigates how Iran’s underground Heavy Metal1 scene operates as a form of cultural and political resistance within the constraints of an authoritarian state. Drawing on qualitative methods, including semi-structured interviews, document analysis of lyrics and artwork, and digital ethnography of online communities, the study examines how musicians and fans negotiate political identity despite censorship and moral policing. The analysis is anchored in theoretical contributions from sound studies, subcultural theory, and resistance scholarship, particularly the works of Jacques Attali and Steve Goodman. Four interrelated analytical lenses are proposed: Sonic Resistance Identity (the formation of political subjectivity through sound), Repetitive Resistance (Camus’s Sisyphean logic applied to enduring subcultural defiance), Digital Vernacular Resistance (locally adapted strategies for
navigating surveillance), and Subcultural Infiltration (the slow diffusion of Metal aesthetics into mainstream youth culture due to infrastructural fatigue). Findings show that participation in metal, despite often not overtly political, is inherently oppositional in Iran, with distinct challenges for women, whose engagement constitutes “double dissidence.” The study concludes that resistance in this context is less about overt revolution and more about the sustained creation of alternative cultural spaces, where sound becomes both a medium and a metaphor for autonomy.