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      Are Online Spaces Safe for Queer People in India?

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      Indian queer cyberspace has evolved drastically over the years. The internet arrived in India in 1995, and high-speed broadband technologies started only in 2004. Before that, queer mobilizing mostly took place through informal and clandestine channels. It was only in 1991 that the first Indian queer organization was formed in London, the Naz Project, which eventually established a presence in Delhi through its sister group, the Naz Foundation, in 1996.

      India’s COVID-19 Vaccination Drive Is Failing the Transgender Community

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      The late 1990s were a time when offline contact between Indian queers for non-sexual purposes was largely unimaginable, possibly because homosexuality itself was still a crime back then. Moreover, public attitudes toward homosexuals were fiercely negative, even among liberals. “When I was active in the women’s movement in Delhi from 1978 to 1990 as founding co-editor of Manushi, India’s first feminist journal, homosexuality was rarely if ever discussed in left-wing, civil rights, or women’s movements, or at Delhi University, where I taught,” recounts historian Ruth Vanita.

      Globalization of Gay Rights

      With time, things began to change. The policies of globalization, liberalization and privatization of the late 1990s opened up sections of the Indian economy to the world market in novel ways. These policies, which were a part of India’s overall structural adjustment program, marked a tectonic shift from old dirigiste ways of working and heralded a new era of sweeping economic reforms.

      A chief consequence of these changes was the information technology boom of the 1990s. Starting in the 1970s, it eventually led the way for the proliferation of new technologies on the Indian market throughout the late 1990s and early 2000s. These included Nokia smartphones, desktop computers like the famed HEC-2M, black-and-white television sets and so on. Over the years, not only did these technologies evolve, but so did their ownership patterns. In 2012, Neilsen reported that the number of smartphone users in urban India was approximately 27 million. That number shot up to 76 million in 2013 for urban and rural India, and has been rising steadily ever since. By 2025, India is projected to have approximately 974 million smartphone users.

      These economic changes, however, weren’t merely restricted to urban areas. A 2019 report by the Internet & Mobile Association of India and Nielsen found that with 227 million active internet users, rural India had already surpassed urban India’s 205 million users. With 504 million active internet users over five years of age in 2019, India was the second-largest internet-user market in the world, just behind China with its 850 million users. The United States, by comparison, has 280-300 million users.

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      What did the changing contours of the digital landscape in India mean for queer people? The late 1990s were a time when the Indian government finally allowed certain sectors of the economy like IT and telecommunications to engage private investment. As the strangleholds of the erstwhile permit-license raj began to loosen, queer activism also witnessed a genesis of sorts. In 1994, AIDS Bhedbhav Virodhi Andolan (ABVA) filed the first-ever petition in the country’s history against Section 377 of the Indian Penal Code, an infamous British-era law that criminalized homosexuality in postcolonial India.

      Various lesbian support groups also emerged during this time in response to widespread protests by Hindu right-wing groups that displayed violent disdain over the screening of Deepa Mehta’s lesbian romance film, “Fire.”

      These changes were intimately related to the economic transformations of the time resulting from the transnational circulation of capital, ideas, people and funding that helped give the queer movement the impetus it needed to thrive and survive. The advent of gay rights mobilization in India, for instance, arose as a consequence of international funding for HIV/AIDS prevention in the late 1980s and early 1990s.

      The easing of certain regulations in the Indian economy and the greater flow of capital and people from abroad also paved the way, directly and indirectly, for the eventual scrapping of Section 377. As one scholar succinctly put it, “queer politics in India has come to be embroiled in the politics of globalization, and many believe that this history of queer politics is inseparable from the rise of neoliberal agendas in the Indian sub continent.”

      Queering Cyberspace

      A lot has changed over the years. Most notably, in 2014, India’s Supreme Court recognized the third gender in its landmark NALSA judgment. In 2018, the same court decriminalized homosexuality. By constitutionally recognizing these hitherto delegitimized subjects, the very shape and form of queer politics had radically transformed. Today, queer identification in urban pockets is more common than ever before. Corporations have also joined the queer bandwagon by placating homocapitalist sentiments under the problematic guise of LGBTQ+ inclusivity.

      With the COVID-19 pandemic having haltered in-person queer events around the world, much of queer organizing, dating, socializing and networking has now shifted online. This is a space that continues to boom.

      On the one hand, online spaces can be liberating for those who can access them. These spaces promise queer people the possibility of digitally connecting with others with a mere click of a button. This is why the IT boom was so significant: It paved the way for greater internet access and made it possible for marginalized and discreet queer people to explore their identities in ways their geographic locations wouldn’t otherwise allow.

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      While no official government data on queer populations exist (for obvious reasons), and despite the police and the state actively harassing queer people over the years — even after decriminalization, they continue to do so — technology has ushered in what some are calling a “sexual revolution in India.” The technological boom has ignited and kindled a new generation of young Indians’ desires for sex, romance, intimacy, and even sex work in unimaginable ways.

      These desires and aspirations are being facilitated through chat rooms, instant messaging applications like WhatsApp and social media platforms like Facebook, Twitter, Instagram and Snapchat. Indeed, these changes have “teased the imagination of a young India, expanding her horizons and aspirations with the click of the button.”

      However, such spaces also feature as sites of discrimination, bullying and violence. Take, for instance, Rohit Dasgupta’s assertion in his 2017 book, “Digital Queer Cultures in India,” that “The concept of being ‘too transgressive’ is a growing issue within queer representations in India.” Thus, only certain queer bodies and identities are typically seen as normative in queer spaces; for example, gay men who pass as straight. Those who transgress cis-normative and heteronormative ideals — like effeminate gay men — are typically shunned by queer people (mostly gay men).

      Caste Supremacy

      It has been argued that even though the 1991 reforms had a positive impact on India’s economic performance, their uneven implementation exacerbated existing socio-cultural inequalities. We see these inequalities manifest in queer cyberspace today, where certain privileged queer voices (mostly dominant caste, urbanized and Westernized gay men) dominate, while others (mostly queer women, and queer people from marginalized castes and classes) are systematically silenced by those in power.

      On the issue of caste, for example, there is a deafening silence among queer activists in India to even acknowledge the presence of caste inequalities within the movement. This should come as no surprise because most queer activists in India (including the author of this article) belong to oppressor castes. Because of this, the issues, concerns and traumas of queer people from marginalized castes such as those from Dalit, Bahujan and Adivasi communities are sidelined.

      While most of this marginalization is implicit, some of it also happens explicitly. Take, for example, writer-director Aroh Akunth’s account of how caste intimately shapes desires on gay dating platforms. Thus, “attractiveness,” skin color and a “good background” become ideas projected onto a caste, while politics of “respectability” becomes a politics of caste supremacy.

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      Another pressing issue in queer cyberspace is the growing popularity of right-wing homo-Hindu nationalist aspirations. It should be noted that this problem plagued the queer movement long before the pandemic pushed everyone online. It’s just that these groups, like many others, have adapted to the new normal by moving online. They fashion themselves as advocates for queer rights while simultaneously peddling jingoism, Islamophobia anti-Black Lives Matter/Dalit Lives Matter propaganda as well as casteism.

      Take for instance, “hindu_lgbt,” an Instagram handle that affiliates itself with the right-wing Hindu nationalist group, the Rashtriya Swayamsevak Sangh (RSS), which supports the decriminalization of homosexuality in India but not the legalization of same-sex marriage. As an ideology, Hindu nationalism is premised on the political and cultural construction of citizen-state relationships and subjectivities that are homogenized and in synch with orthodox notions of the Hindu faith, sometimes referred to as Hindutva philosophy.

      It should be noted that there are many social formations in India that support this ideology. The protests against Deepa Mehta’s film “Fire,” for instance, were spearheaded by the Mahila Aghadi of Shiv Sena, Bajrang Dal and others, while resistance to decriminalize homosexuality in India came, in part, from Bharatiya Janata Party (BJP) and RSS ideologues.

      However, RSS views of gay rights have drastically changed over the years — perhaps more so than the views of orthodox Christian and Muslim organizations — partly due to the ruling BJP Hindu nationalist government’s relative silence on the issue, and partly because the RSS is itself trying to grapple with the ongoing social changes in India. In order to brand itself as an upholder of “inclusive” traditional family values, the RSS approach seems, on the one hand, to respect the Supreme Court’s judgment on Section 377 while, on the other hand, refuse to support any further legislation, such as the legalization of same-sex marriage, that might radically challenge existing family structures in India.

      Web Citizenship

      With the third COVID-19 wave expected to hit India in the coming months, online spaces will, in all likelihood, continue to facilitate queer networking for the foreseeable future. But with greater smartphone access and the increased democratization of content creation — what some scholars have called the rise of “web citizenship” — queer advocacy in contemporary India faces newer challenges.

      The first is an issue of privacy. In its 2017 Puttaswamy judgment, the Supreme Court of India recognized sexual orientation as an intrinsic part of privacy but was silent about its applicability in the online realm, where catfishing and identity theft are rampant. The second is an issue of legality. Digital spaces transcend the boundaries of nation-states, thereby calling into question the juridical purview of national privacy and security laws. How do queer people facing harassment, bullying and extortion from international actors report such crimes to the police in India?

      A contemporary example of this was the infamous gay marriage scam, as detailed in a UK-based investigation by VICE. This expose sent shockwaves through sections of the queer circles both in India and abroad, bringing to the fore the inadequacy of Indian laws, which, unlike those in the UK, neither recognize gay marriage nor extortion that specifically targets queer populations.

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      The queer movement in India is currently at a crossroads. On the one hand, it has to tackle the increasing popularity of right-wing Hindu nationalist sentiments; on the other, manage the tensions and contradictions associated with Indian law.

      Indeed, the challenges are many and the means to address them are few. One way of effecting change is by pursuing the law and lobbying lawmakers like Dr. Shashi Tharoor of the Indian National Congress, Supriya Sule of the Nationalist Congress Party and Tejasvi Surya of the ruling BJP, all of whom have expressed support for queer rights in India. While some scholars are skeptical of using the law as a vehicle for bringing about social change in India, others, like Arvind Narrain, are less skeptical. To date, this dispute remains unsettled — as does the inclusion of the BJP into this discussion.

      The other way of effecting change is by radically reimagining queer spaces as zones where people of all identities can be made to feel safer. This exercise is perhaps harder to carry out because it has no prescriptions and is contingent on the ability of privileged queers to self-reflect. Thus, would dominant-caste queer men be willing to cede space to marginalized-caste queer women and transgender people? We should hope so. All in all, queer cyberspace in India is both a stuffy and an expansive zone. Its contradictions and contestations make it an exciting site for further scholarship into queer mobilization in India.

      The views expressed in this article are the author’s own and do not necessarily reflect Fair Observer’s editorial policy. More

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      Our Own Worst Enemy review: a caustic diagnosis of America after Trump

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      BooksOur Own Worst Enemy review: a caustic diagnosis of America after TrumpTom Nichols quotes Abraham Lincoln – on how American democracy can only be brought down from within Lloyd GreenSun 22 Aug 2021 02.00 EDTLast modified on Sun 22 Aug 2021 02.01 EDTLiberal democracy is under attack from within. Institutional trust erodes. Fewer than one in six Americans believe democracy is working well, nearly half think democracy isn’t functioning properly, and 38% say democracy is simply doing meh. Atomization, bowling alone and nihilism have converged at the ballot box.The Reckoning by Mary L Trump review – how to heal America’s traumaRead moreRepublicans are hellbent on shoving the events of 6 January, when supporters of Donald Trump attacked the US Capitol, down a deep memory hole. GOP governors in Florida, Mississippi and Texas remain sanguine as Covid-19 dispatches children to intensive care. Seven months into his presidency, Joe Biden looks to some like Jimmy Carter redux, competence and judgment seriously doubted, allies strained and divided. FDR, he’s definitely not.Into this morass parachutes Tom Nichols, with a meditation on the state of American democracy. Nichols grew up in a working-class home in Massachusetts and is now a professor at the US Naval War College and the Harvard Extension School. He is also a Never Trump conservative.In his eighth book, Nichols is pessimistic. “Decades of constant complaint,” he writes, “regularly aired in the midst of continual improvements in living standards, have finally taken their toll.”The enemy, Nichols asserts, is “us”. Citizens of democracies, he writes, “must now live with the undeniable knowledge that they are capable of embracing illiberal movements and attacking their own liberties”.As if to prove his point, Chuck Grassley, the ranking Republican on the Senate judiciary committee, recently made light of Trump’s attempts to have the Department of Justice subvert the election result. Even with Trump out of office, Senator Lindsay Graham continues to play first golf buddy, Renfield to Trump’s Count Dracula. A majority of congressional Republicans voted against certifying the 2020 election.In 2016, Nichols urged conservatives to vote for Hillary Clinton because Trump was “too mentally unstable” – far from the “very stable genius” he would later claim to be.In Our Own Worst Enemy, Nichols quotes Abraham Lincoln on how threats to American democracy always come from within: “If destruction be our lot, we must ourselves be its author and finisher.” Nichols sees the internet and the “revolution in communications” as the means by which we reached this dark point.Public life has become ever more about dopamine hits, instant reaction and heightened animus. Our fellow citizens double as our enemies. Electronic proximity breeds contempt, not introspection. Social media and cable television provide a community for those who lack a three-dimensional version.Nichols looks to ancient Greece for a reminder that nothing lasts forever. Admiringly, he quotes Pericles, the Athenian general and orator – but observes that Pericles was not around when his city state collapsed. He died two years earlier, behind “the besieged walls of Athens – from a plague”.History can repeat itself.In September 2016, writing in the Claremont Journal of Books under the pseudonym Publius Decius Mus, Michael Anton declared the contest between Trump and Clinton the “Flight 93 Election”: a reference to the plane that came down in Pennsylvania on 9/11 when passengers attacked their hijackers. Clinton, he argued, simply had to be stopped. First principles of conservatism could therefore be jettisoned.“Charge the cockpit or you die,” Anton thundered. “You may die anyway … There are no guarantees.”What, he asked, must be done “against a tidal wave of dysfunction, immorality and corruption?” To Anton, for the right, respect for “democratic and constitutional niceties” was ultimately a sucker’s game. Culture was stacked against them.After a stint as a Rudy Giuliani speechwriter, and other stops along the way, Anton joined Trump’s national security council.Later this year the Claremont Institute will honor Ron DeSantis. At a press conference earlier this month, the Florida governor asked: “Would I rather have 5,000 [Covid-19] cases among 20-year-olds or 500 cases among seniors? I would rather have the younger.”A few weeks later, the Sunshine State is getting the worst of both worlds.Simple decency, it seems, is for losers. Amid the last presidential campaign, comparisons between the US and the Weimar Republic were rife. The January insurrection was seen as our “Reichstag fire”. The attackers came from the right.Nichols absorbs and abhors it all. Not surprisingly, he takes particular aim at the populist right, which he says has been the “main threat” to liberal democracy over the past two decades. That is subject to debate, which Nichols acknowledges. Regardless, he writes that the populist right “is a movement rooted in nostalgia and social revenge”.As if to make Nichols’ point, Lauren Boebert, the hard-right, QAnon-adjacent Republican congresswoman from Colorado, recently trashed Biden for having left America’s friends in Afghanistan in the lurch – after voting last month against granting 8,000 immigration visas to Afghans who assisted the US military.‘We dodged a mortar round’: George Packer on America in crisisRead moreOther GOP diehards who opposed the legislation include Marjorie Taylor Greene, Mo Brooks and Paul Gosar. Greene and Gosar were charter members of the de facto white nationalist America First caucus. After a bomb threat on the Capitol this week, Brooks tweeted: “I understand citizenry anger directed at dictatorial socialism and its threat to liberty, freedom and the very fabric of American society.”Considering what ails America, Nichols offers limited prescriptions. He supports bridging the gap between civilian and military life. The progeny of the coastal elites opt for Ivy League colleges over the service academies, reinstatement of the draft isn’t likely and notions of national service all too frequently amount to “little more” than a paid internship, he writes.Concurrently, rightwing “Spartanism” breeds the unsustainable notion that “‘citizens’ and ‘soldiers’ are not the same people”.Nichols urges America’s youth to spend a summer in uniform, exposed to military life and skills. Most won’t join the army, he thinks, but will come away with a better knowledge of the soldier’s life. Right now, he laments, “there is no longer any common experience related to national defense”.Indeed. America has become one nation separated by a common language.
      Our Own Worst Enemy is published in the US by Oxford University Press
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      Ted Cruz’s campaign may have spent $150,000 on copies of his book

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      BooksTed Cruz’s campaign may have spent $150,000 on copies of his bookFollowing One Vote Away’s publication, the Republican senator’s campaign spent large sums of money at US chain Books-A-Million Alison FloodWed 18 Aug 2021 10.17 EDTLast modified on Wed 18 Aug 2021 10.25 EDTTed Cruz’s campaign spent more than $150,000 at US book chain Books-A-Million in the months after the Texas senator’s book was published, Forbes has reported.Cruz, who was prominent among the Republicans trying to block the certification of Joe Biden’s election, published One Vote Away: How a Single Supreme Court Seat Can Change History in September. A financial disclosure he filed on Monday, reported on by Forbes, shows he received almost $320,000 as an advance in 2020 from the book’s publisher Regnery Publishing.Ted Cruz threatens to burn John Boehner’s book over criticismsRead more“With a simple majority on the Supreme Court, the left will have the power to curtail or even abolish the freedoms that have made our country a beacon to the world. We are one vote away from losing the Republic that the Founders handed down to us. Our most precious constitutional rights hang by a thread,” says Regnery of the title. “In One Vote Away, you will discover how often the high court decisions that affect your life have been decided by just one vote.”The end-of-year report from Cruz’s committee, filed with the Federal Election Commission, reveals that two weeks after One Vote Away was published, his campaign spent $40,000 at Books-A-Million. Shortly afterwards, it spent a further $1,500, and in December, another $111,900. All of the purchases are described by the campaign as “books”, and Forbes speculated that they may have been used to boost his book sales, quoting Brett Kappel, a lawyer specialising in campaign finance, who said that “the FEC has issued a long series of advisory opinions allowing members to use campaign funds to buy copies of their own books at a discount from the publisher, provided that the royalties they would normally receive on those sales are given to charity”.Forbes previously reported what three other US senators had made from book deals in 2020: Elizabeth Warren earned $278,000, Tom Cotton $202,000, and Tammy Duckworth $382,000. All three used campaign funds to buy books, but Forbes said that their purchases were all under $20,000.A spokesperson for Cruz’s campaign told the magazine that the senator “has not received one cent of royalties in connection with any One Vote Away book sales”, but declined to reveal which books the campaign had spent more than $150,000 on.When Donald Trump Jr published Triggered in 2019, it made the New York Times bestseller list, but the newspaper’s charts included a dagger beside the book to indicate that “some retailers report receiving bulk orders”. The Republican National Committee denied making bulk orders at the time, and Trump Jr was angered by the suggestion that his sales had been artificially boosted, retweeting Republican strategist Andrew Surabian’s claim that “Don did multiple book signings where he sold 1,000+ books apiece. BookScan data will show he sold more books than the #2 and #3 books combined. Media/Dems want to pretend otherwise, but he was #1 on merit.”TopicsBooksUS politicsTed CruzTexasPublishingnewsReuse this content More

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      The Reckoning by Mary L Trump review – how to heal America’s trauma

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      BooksThe Reckoning by Mary L Trump review – how to heal America’s traumaA revealing blend of family lore, history, policy and anger casts light on the background and legacy of Donald Trump Lloyd GreenSun 15 Aug 2021 01.00 EDTLast year, Mary Trump delivered a salacious and venomous takedown of her uncle, Donald J Trump. Too Much and Never Enough doubled as awesome beach reading and opposition research dump, before the party conventions. Timing was everything.Trump was ‘in pain and afraid’ during post-Covid display of bravado, niece’s book saysRead moreGoosed by the Trump family’s attempt to stop publication and by simple proximity to election day, the book sold more than 1.35m copies in in its first week. Mary Trump then launched a lawsuit of her own against her uncle and his siblings, alleging they swindled her out of millions. The action remains pending, in court in Manhattan.Too Much and Never Enough had a subtitle: How My Family Created the World’s Most Dangerous Man. A year later, it seems a flashing red light. On 6 January, when Donald Trump’s supporters attacked the US Capitol, literary hyperbole acquired prescience.Now the Trump who doesn’t need a ghostwriter – and who is also a trained psychologist – is back with a second book, The Reckoning. It is a less lurid read but a darker one too. Under a slightly less alarming subtitle, Our Nation’s Trauma and Finding a Way to Heal, she delivers a bleak prognosis.The book is a mixture of family lore, history, policy and anger. As expected, Mary Trump’s disdain for her uncle is once again made clear. At her grandparents’ home, the N-word was bandied about. Her uncle, she says, grew up racist and antisemitic. If you’re wondering how such a man might have come to conquer a political party and win the White House, think on this: Steve Bannon, Trump’s campaign chairman in 2016, has discounted antisemitism in his boss – but declined to deny Trump’s race-baiting.Then there is the bravado Trump showed last October, after contracting Covid-19. “Doing his best Mussolini imitation, he took off his mask in a macho display of invulnerability,” Mary Trump writes, of the moment the then president returned to the White House from hospital, supposedly indestructible. “He clenched his teeth and jutted out his jaw, just as my grandmother did when she was biting back anger or clamping down on her pain. In Donald, I saw the latter.”Mary Trump is happy to wade into policy fights. Her diagnoses of America’s ills and policy prescriptions to tackle them place her squarely on the left. It is “almost impossible to grow up white in America”, she writes, “and not be racist”. Perhaps she is too pessimistic. Yes, many of the founders owned enslaved people. Yes, it took one century to end slavery and another to end official segregation. Yes, the effects linger. Inequality is baked in. Like a ghost, the past will always hover.But the US has undeniably progressed from where it stood 75 years ago, let alone 100 further back. Barack Obama won two terms as president. Kamala Harris is vice-president. Even in the Republican party, South Carolina, for so long a hotbed of sedition and segregation, racism and repression, is represented in the Senate by an African American, Tim Scott.Wading into stormy intellectual waters, Mary Trump embraces the 1619 Project, a proposal to center racism in American history, published by the New York Times. She does admit one of the project’s original claims, that the revolutionary war was fought to preserve slavery, was “a factual inaccuracy”. In doing so she joins leading historians including Sean Wilentz and James McPherson of Princeton as critics of the project.Mary Trump is also in favor of financial reparations to Black Americans in compensation for centuries of oppression, and a vocal opponent of “broken windows” policing. Under that theory, minor disorder is cracked down upon harshly, supposedly as a way of stopping more serious crime at source but disproportionately affecting minority communities.Looking at the impact of the policy on her own city, New York, Mary Trump goes full bore at Rudy Giuliani, once mayor, and Bill Bratton, Giuliani’s first police commissioner. She contends that the impact of “broken windows” policing was minimal at best, and that a reduction in crime in the 1990s was merely part of a larger “national trend”. Loathe Giuliani all you want but he deserves credit. His New York drove that trend.She continues: “In our cities and our schools, we all would have been better off if they’d just fixed the fucking windows.” Unfortunately, Bill de Blasio, the current mayor, can’t even be bothered with that. Parts of Fun City are not terribly fun.Mary Trump puts her positions passionately but perhaps she could pause to consider how such agendas play with voters. Even under the horrors of Covid, Joe Biden was the only Democrat who could have beaten her uncle. James Clyburn, dean of the Congressional Black Caucus, has acknowledged that one slogan popular on the left, Defund the Police, nearly cost control of the House.Ohio Democratic primary election: Shontel Brown defeats progressive Nina TurnerRead moreMore recently, in Ohio, Shontel Brown won a House primary against Nina Turner – a harsh critic of Biden. Alexandria Ocasio-Cortez and Bernie Sanders, leading national progressive voices, were in Turner’s corner. Clyburn had Brown’s back. At the ballot box, moderation matters. So do coalitions.According to Mary Trump, “we are heading toward an even darker period in our nation’s history”. This week, Chuck Grassley, the ranking Republican on the Senate judiciary committee, made light of her uncle’s attempts to have the Department of Justice subvert the election result. There is reason for more than just concern. The past five years, the age of Donald Trump, have cast a harsh spotlight on America.Each of us will see what we will see. Our cold civil war continues. With her second book, Mary Trump offers food for thought – and grist for the mill.
      The Reckoning is published in the US by St Martin’s Press ($28.99) and in the UK by Atlantic (£18.99). To support The Guardian and Observer, order your copy at guardianbookshop.com. Delivery charges may apply.
      TopicsBooksBiography booksDonald TrumpPolitics booksUS politicsRepublicansDemocratsreviewsReuse this content More

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      From Opera to MMA: Nationalist Symbolism and the German Far Right

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      The German far right is awash with allusion. Like elsewhere, coded communication is the rule among far-right German organizations and activists. References to old Norse myths abound, and many readers, whether from familiarity with mythology, white nationalism or Norse-inspired superhero movies, would recognize Thor’s hammer or a smattering of runic symbols like the Sigrune, the Odalrune and the Wolfsangel, all subject to specific bans in Germany. However, a less familiar but persistent presence in German far-right codes is the Nibelungenlied, a medieval epic poem long co-opted by nationalists.

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      The Nibelungenlied story centers on Siegfried, a hero in the mold of Beowulf: a strong, nearly invincible warrior who has won riches through his exploits, a powerful sword and a cloak of invisibility. Siegfried is very much the belle of the medieval bro-ball. The poem begins with Siegfried traveling to the German town of Worms to propose marriage to Kriemhild, the Burgundian princess. Her brother, King Gunther, consents to the match, but only if Siegfried helps him win the hand of Brunhild, the warrior queen of Isenland. It’s to be a double wedding.

      Following the nuptials (and a disturbing episode involving the marital rape of Brunhild), a feud emerges between Kriemhild and Brunhild. The conflict culminates in one of Gunther’s kinsmen murdering Siegfried, thrusting a spear into the vulnerable spot in his back. The remainder of the poem (the whole second half, that is) revolves around Kriemhild’s revenge, which results in the violent death of pretty much all the main characters, including Kriemhild herself. Taken together, the Nibelungenlied is an illuminating portrayal of ancient Germanic heroism and courtly drama.

      Rediscovered in the mid-18th century, the popularity of the poem swelled with the rising tide of German nationalism in the 19th century. Most famously, the composer Richard Wagner, a German nationalist and virulent anti-Semite, reimagined the story in an epic four-part opera consisting of “The Rhinegold,” “The Valkyrie,” “Siegfried” and “Twilight of the Gods,” collectively known as “The Ring of the Nibelung” or the Ring cycle, for short. Of course, several of the operas’ leitmotifs are instantly recognizable, not least the “Ride of the Valkyries.” Wagner’s Ring cycle became a landmark of German art and is still performed today, occasionally in back-to-back-to-back-to-back marathon productions.

      Embed from Getty Images

      The Nazi regime was preternaturally keen to memorialize German lore, especially the Nibelungenlied, given its association with Wagner. An enthused Hitler was an honored guest in Bayreuth, home to Wagner’s own theater. Several symbols from both the original and Wagner’s version appealed to the Nazis, perhaps most notably the murder of Siegfried. It reflected the “stabbed in the back” (Dolchstoß) conspiracy theory that the Nazis propagated, namely that the German army was betrayed during the First World War by treasonous Jews and leftists.

      The regime supported several projects stamped with the label of the Nibelungs. Chief among them was the cavernous Nibelungenhalle in Passau, the putative home of the original composer of the Nibelungenlied, which was used for mass indoor rallies. In the postwar era, far-right parties like the German People’s Union and the National Democratic Party of Germany organized assemblies with the specific intention of using the nationalist cachet of the Nibelungs — until Passau’s authorities demolished the building in 2004.

      Still, appropriation of the Nibelungs legend endures among Germany’s far right. Beginning in 2013, right-wing extremists organized the “Kampf der Nibelungen” (KdN, the “Battle of the Nibelungs”), a mixed martial arts competition catering to far-right fighters and fans from around Europe. The event attracted 850 spectators in 2018 and was one of the biggest MMA competitions in Europe. It was banned in 2019, and organizers were prevented from live-streaming KdN fights in 2020, but it may yet resurface in 2021.

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      Symbols and allusions to the Nibelungenlied sadly will persist amid Germany’s far-right scene. This symbolism has a long history of co-option by extremists. Even though the chords of Wagner’s operas are not anti-Semitic, their endorsement by the Nazi regime touched Nibelung lore with an association that inescapably appeals to the far right. Yet references to the Nibelungenlied are more than far-right supporters’ fetishization of a twisted version of German cultural history. They form a part of the vast book of codes used by far-right actors to communicate. Cracking these is often the key to decoding how the far right organizes, mobilizes and ultimately understands the world in which it operates.

      *[Fair Observer is a media partner of the Centre for Analysis of the Radical Right.]

      The views expressed in this article are the author’s own and do not necessarily reflect Fair Observer’s editorial policy. More

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      The Musical Is Political: Black Metal and the Extreme Right

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      There has been an association between the occult, paganism and the extreme right ever since the evolution of the National Socialist German Workers’ Party from the Thule Society. In the last few years, however, commentators are noting the return to prominence of racist occultism and heathenry among the far right and have called for some of these groupuscles, such as the Order of Nine Angles, to be banned. The majority of mainstream liberal heathen groups are similarly concerned about the manner in which their contemporary religion is being appropriated by the extreme right and are organizing to resist.

      The Far Right’s Alternative History

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      What is particularly disturbing is the recognition that many recent violent crimes perpetrated by the extreme right seem to be connected or influenced by such worldviews. Anders Breivik, responsible for bombings and the shooting of 77 people in Norway in 2011, identifies as an Odinist. James Alex Field, arrested for the murder of Heather Heyer in Charlottesville, Virginia, in 2017, marched alongside a flag depicting the black sun, a Nazi symbol drawing directly on Germanic heathen Ariosophic imagery, which in turn had inspired the formation of the Thule Society.

      This same black sun emblem appeared on the front and last pages of the manifesto of the Christchurch mass murderer in March 2019. The manifesto ended with the clarion call: “see you in Valhalla.” In the UK, Thomas Mair, who murdered West Yorkshire MP Jo Cox, was reported as being influenced by racist Ariosophic literature too.

      Gospel of Hate

      The internet, the dark web, online gaming forums and encrypted messaging services are frequently accused of helping to spread this gospel of hate. Thus, some academics, such as Steven Woodbridge, have cautioned of the need to watch the uses of “historical themes, imagery and language” that are used in these forums to promote their particular brand of violent political discourse. One of these potential memes is black metal music and its offshoot, national socialist black metal (NSBM). Indeed, Nicholas Goodrick-Clarke, in “Black Sun: Aryan Cults, Esoteric Nazism, and the Politics of Identity,” states that black metal and its “fascination with the occult, evil, Nazism and Hitler” were a possible motivation behind the 1999 massacre, on Hitler’s birthday, of 12 students and a teacher at Columbine High School in Colorado.

      Black metal is also associated with a series of church burnings across Norway in the 1990s by Varg Vikernes, a racist heathen and black metal musician. More recently, it was reported that Holden Matthew, the 21-year-old charged with burning down three black churches in Louisiana, was also influenced by black metal and held racist heathen beliefs. Some of black metal’s aesthetics even appear to have influenced the violent imaginary of the neo-Nazi Atomwaffen Division. Plato may have been correct when he warned “about the interconnectivity of politics and music.”

      Black metal is an extreme genre of heavy metal that first emerged in the UK with the band Venom. The subgenre took its name from the title of Venom’s second album, “Black Metal,” released in 1982. It was intended as a rejection of the commercialization of heavy metal as well as a critique of modern secular society. A second wave of the movement, which was more ideological in orientation and often emphasized Satanism or paganism, became infamous for promoting a series of church burnings. It emerged primarily in Norway in the 1990s and is exemplified by such bands as Burzum.

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      This Norwegian second wave helped to popularize the genre even further and led to the creation of other black metal bands across Europe and the globe. So influential has this genre now become that one commentator said that “black metal has arguably become Norway’s greatest cultural export.”

      Karl Spracklin defines black metal as “a form of extreme metal typified by evil sounds and elitist ideologies,” with a number of bands drawing on “nationalist and fascist images and themes.” Its sound is generally characterized by shrieking and growling vocals, disjointed guitar riffs, a frenetic pace and an emphasis on atmosphere, often deliberately created through the implementation of a raw, lo-fi quality of the recording. Many black metal performers tend to adopt pseudonyms and dress in a kind of Kiss-inspired corpse paint. Upside-down crucifixes and medieval weaponry, alongside Satanic and pagan imagery, additionally appear with relative frequency on black metal websites, CD covers and tattoos.

      Other common musical and visual leitmotifs include war, death, fantasy, the apocalyptic and the mythological. Norwegian Satanic black metal band Gorgoroth, for example, took the inspiration for its name from a fictional setting in Tolkien’s land of Mordor. Although such motifs might be viewed as deliberately transgressive in order to attract devotees, some have suggested that black metal practitioners also intend the genre to function “as a springboard from which violent actions could logically emerge” with the specific intent of “reclaiming … a pagan heritage.”

      National Socialist Black Metal

      Defenders of the genre, however, argue that it “is not a unified, monolithic culture” and that accusations of violence are too frequently “fabricated by conservative groups seeking to impose their own moral agendas.” Indeed, bands such as the Rolling Stones and Eagles have been linked erroneously with a Satanic agenda as early as the late 1960s. Cronos of Venom also denies outright any religious affiliations, stating: “We are entertainers first and foremost — if I wanted to be a murderer or a Satanist, I’d do that full time instead of playing songs for a living.”

      The genre is notoriously difficult to define, with a litany of subgenre offshoots, including unblack/Christian, depressive suicidal and ambient black metal, to name but a few extreme variants. Black metal followers also argue, in their defense, that the music is primarily mystical, celebrating a romantic and idealized view of the past which is heavy on ritual and critical of secularism. Aron Weaver, of the US black metal and heathen-inspired band Wolves in the Throne Room, describes it “as an artistic movement that is critiquing modernity on a fundamental level, saying that the modern world view is missing something.”

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      Some contemporary UK black metal bands, such as Winterfylleth, while admitting that their “musical influence … unashamedly borrows from Burzum” and other black metal bands of an extremist predisposition, say that they do “not necessarily” believe the message behind those bands. A number of black metal followers would agree, as Spracklin points out, with many fans making “a distinction between the sound and the ideologies.” There are also heathen black metal bands, such as Norway’s Enslaved, that are avowedly anti-Satanic and anti-fascist.

      Some black metal musicians are openly Satanist but reject Nazism. King ov Hell, who played in Gorgoroth, states that “I am totally against every form of flock ideology. Nazism is an ideology of the flock.” There is even a countermovement against Nazism within the black metal music scene, evidenced by the US-based band Neckbeard Deathcamp and its 2018 album, “White Nationalism is for Basement Dwelling Losers.” The latter is a satirical critique the NSBM subgenre, which is avowedly pro-Nazi.

      Black Metal Against Racism

      While it is important to point out that national socialist black metal remains a minority element within black metal, signs of far-right extremism similarly contaminate related musical genres such as goth, industrial and neofolk. The latter incorporates elements of traditional European folk and reconstructed medieval instruments, exemplified by such bands as Fire, Sol Invictus and Death in June. The latter take their name from the Night of the Long Knives, when Hitler arranged the murder of his rivals in the Sturmabteilung critical of his policies. Nazi imagery, including the death head worn by the SS, is a consistent theme on their album covers, as are such Germanic runes like Algiz and Odal that were appropriated by neo-Nazis into their blood-and-soil ideology.

      According to one Death in June fan on Nordic Elite in a post now removed, “European Civilisation … is going down the drain with the jewish/American mulicultural invasion.” But in the neofolk scene, too, there are recently established bands that are explicitly anti-racist and who reach a much larger, liberal audience. The band Heilung, for instance, recently issued a statement on the alleged harassment of a black woman at a performance in New York: “Apparently some people attended our ritual with the idea that Heilung is only for white people … This is not the case. Heilung is for ALL people, regardless of the color of the skin. And we are sorry that this happened at our show. We do not tolerate hate speech and racism.”

      The neofolk band Wardruna, the authors of the soundtrack to the History Channel series “Vikings,” has made prominent anti-racist statements. In a blog promoting “antifascist neofolk bands from around the world,” the band’s lead singer, Einar Selvik, states: “It is a very positive effect, that increased interest does not allow the subculture on the extreme right wing to use our history in peace. We have somehow taken our own story back.”

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      Whilst outright extremism in the neofolk, black metal and related music scenes is not the norm, it is important to address this problem as well as to draw attention to instances in which such prejudice is less explicit. The Manchester-based Winterfylleth may denounce Nazism by labeling it “the first attempt at some kind of tyrannical EU,” but their critique of extremist politics is reserved. Note that they were “not necessarily” believers in national socialism — this is far from outright rejection.

      Winterfylleth are overtly nationalistic and “unashamedly Anglo-Saxon in their approach” to their music, expressing a particular concern about a loss of national English identity. Hence their recent turn from black metal to a more lyrical folk black metal style, evidenced by their 2018 song “The Hallowing of Heirdom” with its melancholic refrain, “So who are we now?” Fandom comments on the latter signify an ambiguous range of responses to their politics and new musical direction, from the negative (“its like countryfile meets the druids”), to the more enthusiastic (“Celebrate that you are English… hail Woden”).

      Another English pagan metal or folk metal band, Forefather, like Winterfylleth also celebrates its Anglo-Saxon roots. Intriguingly, with these UK bands, a broadly Germanic influence has become explicitly rooted more in specific English heathen blood-and-soil themes, exemplified in songs such as “When Our England Died.” Fan comments tend to praise the greatness of Anglo-Saxon culture and critique other foreign elements.

      Beyond the Footnote

      Given that not all black metal fans are fascists or Satanists, that many are simply intrigued by the genre’s ability to shock and entertain, and that some are genuinely attracted to the genre for its interest in ancient heathen religion, an even more specific blood-and-soil subgenre emerged from within black metal, the NSBM. National socialist black metal aimed to specifically distinguish its politics and religiosity much more clearly than black metal. It mixes extreme-right racism with paganism, is explicit in its rejection of Judaism, Christianity and Islam, and was very much influenced in its development by the actions of Varg Vikernes. It is also violent, exemplified by the German NSBM band Absurd and their killing of a 15-year-old boy, which they also then referenced on the cover of their 1995 album, “Thuringian Pagan Madness.”

      According to Benjamin Hedge Olson, NSBM “reskins the classical fascist ideological elements and combines them with racist and ethnic Paganism.” Critics state that NSMB is deliberately being utilized “as a vehicle to spread hate and radicalize nominally apolitical metal fans.” While many of these NSBM bands appear to be primarily Ukrainian and Scandinavian, the subgenre has become global. According to Celan Brill-Voelkle, “When the keywords ‘national socialism’ are searched in ‘the metal archives’, there are an astounding 774 results of active bands worldwide.”

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      Ian Stuart Donaldson, former lead singer of the English Nazi rock band Skrewdriver, once stated that “A pamphlet is read only once, but a song is learnt by heart and repeated a thousand times.” Given their global reach and violent messaging, NSBM and other extremist elements within black metal can be seen to promote “paganism and Nordic folk myths … far more effectively than any number of meetings and marches could.” While others have commented on the way in which Christian nationalists are trying to infiltrate and influence mainstream Christian groups “in order to pull Christians to the far right,” there is an urgent need to monitor more closely a similar development within heathenry.

      The black metal genre, alongside the existence of extremist racist heathen groups such as the O9A, is interesting for another theoretical reason too. It reinforces the conclusion made by Graham Macklin more than 15 years ago that if scholars of the far right in the UK look beyond a traditional narrow political lens, they will see that a study of fascism in Britain, given its wide cultural influence, deserves more than a mere epilogue or footnote in the history books.

      *[Fair Observer is a media partner of the Centre for Analysis of the Radical Right.]

      The views expressed in this article are the author’s own and do not necessarily reflect Fair Observer’s editorial policy. More