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This chapter explores the theoretical foundations of Hazeen, a Muslim blackened death metal band formed in 2015 by the authors - Safdar Ahmed on guitar and vocals, and Can Yalcinkaya on the drums and darbuka. It provides insights into the musical and performative practices of our band that are informed by traditions of black and death metal, but which also re-interpret them through an engagement with anti-fascist, anti-Islamophobic politics as well as Sufi/batini elements. Hazeen responds to a rising tide of Islamophobia in Australia, using our lyrics and performances to attack racist stereotyping and the dehumanisation of Muslims. In our performances, we dress in black, Islamic attire and apply ‘corpse paint’ to become the much feared ‘other’ of the post-9/11 world - the monstrous, rabid, zombie-like Muslim that has haunted the right wing/conservative imagination in the West. Our lyrics address such issues as the inhumane treatment of refugees and asylum seekers in Australia, halal food conspiracies, orientalism and the so-called ‘clash of civilisations’. This chapter presents a critical exegesis of Hazeen’s output in the form of live gigs, art performances and studio recordings. It seeks to identify Hazeen’s place within the broader Australian metal scene, posing questions of authenticity and how metal enables us to question hegemonic notions of identity. Hazeen’s use of art spaces as venues of performance and involvement in the indie/zine community highlights an unconventional position within the local metal scene.

This chapter critically focuses on Islamophobic practices that are embedded in travel and tourism environments. Muslims, especially those journeying to other Western nations, are finding that their freedom of movement is restricted within environments perceived to be hostile, particularly in the context of post-September 11. The premise of this chapter is to illustrate the role of travel and tourism in continuing to reinforce Islamophobic attitudes of the West to Muslims worldwide. Importantly, the discussion critically highlights ways in which religious abhorrence, orientalist perspectives, ethnic detestation, and xenophobic intolerance significantly affect tourism experiences. These factors marginalize communities from appreciating the global attributes of tourism, especially elements that express the importance of cosmopolitan forms of citizenship.

This chapter is intended to elaborate on the existing academic literature addressing the migration of constitutional ideas. Through an examination of ongoing efforts to enshrine “defamation of religion” as a violation of international human rights, the author confirms that the phenomenon of migration is not restricted to positive constitutional norms, but rather also encompasses negative ideas that ultimately may serve to undermine international and domestic constitutionalism. More specifically, the case study demonstrates that the movement of anti-constitutional ideas is not restricted to the domain of “international security” law, and further, that the vertical axis linking international and domestic law is in fact a two-way channel that permits the transmission of domestic anti-constitutional ideas up to the international level.

In reaching the findings presented herein, the chapter also adds to the universalism–relativism debate by demonstrating that allowances for “plurality consciousness” on the international level may in certain instances undermine fundamental norms previously negotiated and accepted as authoritative by the international community. From this perspective, the movement in favor of prohibiting “defamation of religion” is not merely a case study that helps to expand our understanding of how anti-constitutional ideas migrate, but also indicative of a reenergized campaign to challenge the status, content, and stability of universal human rights norms.

The “war on terror” has nothing to do with protecting the U.S. and world's people from “terrorists”, and everything to do with securing the American empire abroad and muzzling democracy and human rights at home. The 9-11 attacks were the pretext which sold the myth of evil Muslim terrorists imminently threatening Americans. That tale allowed the Cheney-led members of the Project for the New American Century (PNAC) to implement their 1990 DPG plan for world control. The “war on terror” is modelled on Islamophobic stereotypes, policies, and political structures developed by the Israeli Likkud and Bush Sr. in 1979. It is designed to inspire popular support for U.S. wars of world conquest. To defeat this plan, we must overcome our Islamophobic fear of “terrorists” and stand in solidarity with Muslims.

More than 20 songs by Spanish and non-Spanish bands about the Castilian lord and epic hero Rodrigo Díaz de Vivar, El Cid, account for the topicality of the Hispanic Middle Ages in heavy metal. This chapter explores how diversely El Cid is addressed in 10 of these songs, in particular, from the perspectives of reception theory and both the cultural background of the band (Spanish or non-Spanish) and the language in which the lyrics are written (Spanish or English). Through detailed textual analysis and contextualisation, I will examine how, for Spanish (and Spanish-American) bands, El Cid serves the purpose of naturalising the stereotypical heavy-metal medieval knight, thereby functioning as a vindication of Hispanic cultural heritage within what is perceived to be an Anglo-American (and Germanic-Nordic) dominated musical scene. By contrast, non-Spanish bands resort primarily to El Cid to refresh the overused motif of the medieval knight, but sometimes in a more connoted manner as well, in which his iconic value as a Moor-slayer and a defender of the Western white Christian principles is highlighted. Moreover, I will discuss the appropriation and re-appropriation of El Cid by, respectively, non-Spanish and Spanish heavy metal bands, from the point of view of cultural appreciation and appropriation, and Islamophobia.