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This paper examines and reconceptualises transgression in the Leeds extreme metal music subculture through theories of performance, embodiment and spectacle. The spectacle, for Debord (1967), is a social relation that is alienating and mediated by images and technology. At a live extreme metal concert fans subvert social norms, challenge gendered expectations, and disregard hegemonic norms of etiquette and decency. Moshing is the most visible and sensuous example of transgression within the extreme metal scene. It is an aggressive, physically demanding performance which embodies resistance to the impersonal and disillusioning world of the spectacle (Halnon 2004). The pit is a transgressive space that is itself transgressed by women who participate in this masculine, chaotic space, disrupting the homosocial bonds of male solidarity (Gruzelier 2007). This paper offers an ethnographic account of a female metal fan participating in the transgressive practice of moshing within the Leeds metal music scene---a moshography.

Female, Mosher, Transgressor: A 'Moshography' of Transgressive Practices within the Leeds Extreme Metal Scene