Tag Archives: Chile

Representing Chilean ecosystems through Black Metal: an interview with Ecologist

In recent years, the world has witnessed the alarming consequences of climate change. From rising sea levels and extreme weather events to the loss of biodiversity, no corner of the globe has been spared. One country that has been particularly affected is Chile, a land of breathtaking landscapes, diverse ecosystems, and vibrant culture.

Chile’s unique geography spans across a vast range of ecosystems, including the Atacama Desert, the Andes Mountains, and the temperate rainforests of Patagonia. However, these natural wonders are under severe threat due to climate change. The rising temperatures and changing weather patterns have led to prolonged droughts in the central and northern regions of the country, including the Atacama Desert, one of the driest places on Earth. This has had a catastrophic impact on local flora and fauna, pushing many species to the brink of extinction.

Additionally, the melting glaciers in the Andes Mountains pose a significant challenge for Chile. These glaciers are not only a source of freshwater but also play a crucial role in regulating the country’s water supply. As they continue to shrink, Chile faces a severe water scarcity crisis, particularly in its agricultural heartland. Farmers are struggling to grow crops, and the lack of water has led to a decline in agricultural productivity, thus threatening food security for the Chilean people.

Black metal music is perhaps not the first thing that comes to people’s minds when you say environmental protest music, but in recent years, the musical genre has become more and more socially and environmentally conscious as bands around the world are using their music to raise awareness about rising fascism, animal rights or harm to the environment. The often very atmospheric music is a perfect fit for songs about the earth, its wonders and its pain.

One of these artists is a black metal project from Chile, called Ecologist, and the man behind it, simply called V, states that each song on the album represents a different ecosystem in his home country. I spoke with V about the new album and about the consequences him and his people are facing in Chile as a result of rising temperatures and sea levels.

You can follow Ecologist on Facebook and Instagram for updates about the music!

Halldór Kristínarson: Thank you for taking the time to answer a few questions. For those not familiar with your work, who is V and how did the Ecologist project come about? What is your musical background?

Ecologist: Thanks for the space for the interview Halldór. V. stands for the first initial of my name and I am the only member behind the environmentalist black metal project Ecologist.

The project came under the idea to explore ecology and environment with the music and writing of the possible demise of humanity under the circumstances of global warming, climate change and biodiversity loss.

My musical background is very diverse, but I‘m mostly into alternative rock and black metal, so some of the juxtapositions of the music are in between those main styles, sometimes managing to insert shoegaze in black metal, sometimes making „rock influenced“ passages, and other similar stuff.

Further compositions vary in style a lot though.

HK: What made you want to create an album represting the nature and ecological systems of Chile?

E: Nature contemplation is one of my main drivers to compose music. It might be most prevalent source of inspiration of atmospheric black metal bands, but I believe that my vision is of the [concern] of the risks and impacts that climate change can cause on it.

The idea of representing the Chilean Eco-regions was given by my love. I was wondering how I could represent different ecosystems through each compositions and the use of Chilean Eco-regions to exemplify them was her idea while discussing it. I chose some examples of places I knew and visited and made an investigation to elaborate the lyrics.

HK: Has your music always been in the form of protest or always included a socially or ecologically conscious message?

E: I believe it is more like a call to conscientize [about] the risks of nature and biodiversity loss. In Ecologist the main drive was to imagine a future where we could no longer exist because the climate conditions don‘t allow life as we know it.

HK: Why do you think music can be such an effective form of protest or activism?

E: Maybe because of the same reason in which black metal evocates nature and landscapes. Recognizing the beauty in nature, and understanding that the risk of loss is prevalent, might be the first step to try to address it.

“I believe that changing the mindset of other people and communicating might be the most powerful act that one can do.”

HK: What do you hope to achieve with your music?

E: Express my worry and disgust of the system we live in.

HK: What are some of your favorite places in Chilean nature that you‘d like to recommend to people?

E: There are many national parks that I love, but maybe one of the most beautiful places I‘ve ever been is the Torres del Paine. Most of Patagonia is simply astonishing.

The album cover for ‘reinos y ecoregiones’ (translated: kingdoms and ecoregions) by Ecologist out now on tape by Fiadh Productions. Cover photo was taken by V himself in Torres del Paine National Park in Chile.

HK: What projects do you have on the horizon?

E: Many, but I‘m having bit lack of time to execute them. For the nearest possible release, there might be an EP in 2024 and possibly I‘ll have the second album finished.

HK: Anything else you‘d like to shout from the rooftops?

E: It’s hard to take action in environmental issues world wide. We‘ve seen many efforts in diplomacy to establish effective measures to mitigate climate change, but still they are very mild. Each country faces different risks under climate change and Chile will face some of the worst due to its vulnerability to other existing risks. In Chile we‘re seeing deforestation, fires everywhere, over exploitation of resources, drought and many other impacts that will be even more enhanced by the rise of temperatures and sea level.

Which action is effective? Well, I still really don‘t know and I believe that changing the system is so hard that I feel a bit demoralized that we won‘t be even able to adapt and mitigate the risks. Everything you can do is a pro to mitigate and adapt, but I believe that changing the mindset of other people and communicating might be the most powerful act that one can do.

Goodbye General! A London event commemorates 50 years since the military coup in Chile.

For many, still, the coup in Chile in 1973 is in fresh memory and for others the trauma has lived on in the children and grandchildren of those who suffered.

Naomi Larsson Piñeda, a musician and journalist, told me via Twitter messaging about how Chilean families still have a hard time talking about the events in 1973 and the years that followed.

Read also: “Justice Finally Served For 1973 Murder Of Chilean Musician Victor Jara”

Naomi’s mother moved from Chile in 1980 to the United Kingdom and although having traveled to Chile in her youth, it was not until in her adult life that Naomi started reconnecting with her homeland: “I work as a journalist so have spent a lot of time reporting from Chile and learning about its history – as a child, the dictatorship was something that was never really discussed, like in so many Chilean families.”

Read also: “The Violator Is You: Women In Chile Perform A Protest Chant”

This coming Wednesday, October 18, Naomi has organised a night of music, titled ¡Adios General!, in cooperation with Movimientos, to commemorate the decades that have passed since the coup.

Featured bands are Naomi in Blue, Malena Zavala, and Patiño. ¡Adiós General! will celebrate Nuevo Pop Chileno and the songs of Los Prisioneros, Aparato Raro, Los Pinochet Boys and more – the Chilean rock bands who drove the sounds of a new counterculture.”

“The 18 October is also a particularly important day – it was the start of the social uprising in 2019 where millions of Chileans took to the streets to protest the economic and social hangovers of the dictatorship.”
– Naomi Larsson Piñeda

Profits from the event will go to Ecomemoria, a collective planting a forest in the south of Chile with each tree memorialising a victim of the dictatorship.

When: 18 October 2023
Where: the Jago, Dalston (UK)
Tickets: here

Their anti-rape performance went viral globally. What next for LASTESIS?

LASTESIS was part of a progressive movement in Chile. Then voters rejected the country’s new constitution. So now what?

Sibila Sotomayor, Dafne Valdés and Paula Cometa, members of LASTESIS, in Valparaiso, Chile | Courtesy of Maca Jo

This article was written by Naomi Larsson Piñeda and published under a Creative Commons Attribution-NonCommercial 4.0 International licence.


Back in November 2019, a group of women took over the streets of Valparaiso, Chile. Moving their bodies in unison, they chanted words that would go on to resonate with hundreds of thousands of people across the world.

This performance by the collective LASTESIS (The Thesis) became a global feminist anthem within days. Blindfolded and wearing the green scarves of the Latin American abortion rights movement, they called out patriarchal and state violence against women. “It’s not my fault, not where I was, not what I wore… the rapist is you. It’s the police, it’s the judges,” they cried.

These words are “absolutely global”, LASTESIS tell openDemocracy over a blurry WhatsApp call. “When people asked us why we think this performance went viral, we say we don’t know, but probably because patriarchal violence, and specifically the sexual violence that we denounce in this performance, is everywhere.”

‘Un violador en tu camino’ (‘A Rapist in Your Path’) spread across Latin America and very soon the rest of the world. Performances took place in Poland, Kenya, to the UK, even outside the trial of convicted sex offender Harvey Weinstein. It’s believed that it was performed in about 200 cities globally, with the countries translating LASTESIS’ words into their own languages.

They add: “It’s incredible for us to see, despite our cultural and linguistic differences, that we can always connect.

“The way of approaching the subject may be different, or how we relate, but the problem is the same. On the one hand it makes you feel part of a much broader, transcultural, cross-border, underground community, but on the other hand it is very depressing to see that the work needs to be done everywhere.”

‘Un violador en tu camino’ performed in Valparaíso in November 2019 | Courtesy of Camila R. Hidalgo

In the wake of ‘Un violador en tu camino’, and while shut inside their homes as the pandemic closed the world down, LASTESIS wrote their first manifesto, ‘Quemar el miedo’ (‘Set Fear on Fire’). It is a fierce, raw testimony of what drives them as a collective, but also an angry account of the violence and struggles they face as Chilean women, as Latin American women: they are daughters of political refugees, they have had illegal abortions, they have raised children alone, they have been abused, they have been persecuted for speaking their minds. But like their viral performance, the manifesto speaks to an intersectional, cross-border struggle.

“[We show] that there’s a feminist network with its own causes and its own fights, but also with common causes. We can communicate in different ways but we can work together to solve things together,” they say.

LASTESIS are speaking to me as they sit together in a corridor between panel talks at a New York University. Daffne Valdés Vargas, Paula Cometa Stange, Sibila Sotomayor van Rysseghem (a fourth member, Lea Cáceres, left the group a few years ago) are in the United States to celebrate the launch of ‘Set Fear on Fire’, the new translation that will bring their feminist writing to the English-speaking world. As a collective, Daffne, Paula and Sibila prefer to speak as one. In their book, they write as “we”, not as individuals, which backs up their call for a unified feminist struggle.

They’re all close friends, having met years ago while studying; but their relationship feels exactly as you would define ‘collective’. It is one of mutual respect and love, but they also have a level of understanding and ease between one another that feels deeper than many familiar relationships.

All artists and creatives, they formed LASTESIS in 2017 to engage feminist theory and activism through art and performance. Their work is based on feminist thinkers such as Silvia Federici, who critiqued the joint forces of capitalism and patriarchy that feed off oppression. ‘Un Violador en tu Camino’ builds on the work of Rita Segato and Virginie Despentes and their exposure of sexual violence as a political issue.

“We chose this way of expressing ourselves and working because we believe in art as a tool for social transformation,” they say, adding that the medium of performance “allows you to transmit ideas, transmit demands, but also pass them through the body. Not all people can relate to words in the same way, but the language of the body… is another form of communication.”

The performances (which can be most simply explained as the expression of themes and ideas through lyrics and movement) are clear and powerful, dissecting issues such as police brutality, to the complexities of abortion and fight for reproductive rights.

‘Set Fear on Fire’ includes the lyrics of past performances, and although every word written then is still relevant, so much has changed. The world of 2019 feels very distant – especially for many Chileans.

LASTESIS first performed ‘Un violador en tu camino’ within the context of a historic social uprising that saw people of all ages and identities across the country protest against inequality.

Read also: ‘The Violator Is You’ Women In Chile Perform A Protest Chant

For a time, millions were trying to erase the neoliberal and violent hangovers of its past dictatorship. There were glimmers of hope: the right-wing billionaire president Sebastián Piñera was replaced by leftist millennial Gabriel Boric. The protests demanded the rewriting of the country’s Pinochet-era constitution, and the proposed alternative was viewed as one of the most progressive in the world. But it was rejected by 62% of the citizens last year.

“We’re in a much more depressing time now, but the ideas in this book are still topical,” they say.

“There’s a whole chapter dedicated to the abortion rights that the new constitution was going to guarantee. But that was then rejected, and now we’re starting again at ground zero.”

This month, Chile launched a fresh attempt – less inclusive and with an expected more moderate outcome – to come up with a new constitution, with a group of experts appointed by the Congress to work on a preliminary draft of 12 constitutional bases within the next three months. This document will set the groundwork for a 50-member constitutional council to be elected by popular vote in May. The council should achieve a final text for a vote of approval or rejection in December.

Since the 2022 repeal of Roe v Wade, the ruling that had enshrined the right to abortion in the US, “we’ve seen more losses of rights than gains… As feminists we have to always be alert,” they add. “On the other hand, in Argentina, for example, abortion was legalised. So we’ve also had an important victory, but it derives from a very powerful level of organising they were doing for almost 15 years.”

The book’s English version acknowledges this international, shared struggle; the group’s calls for safe and legal access to abortion and their criticisms of the capitalist structures supporting patriarchal violence resonate beyond borders. But the movement of these ideas has another level of significance. As they write in the updated prologue: “Our bodies remain in the South, but our convictions and many of our uncertainties migrate to the North.”

“With all the criticisms we have of the English-speaking colonial linguistic hegemony, it’s equally a reality that this [book] will allow our ideas to migrate north… when most translations come from the North to the South,” they say. “So this movement also seems important for the feminist struggle in the South.”

The fact that they were invited to New York to celebrate the launch of ‘Set Fear on Fire’ feels especially significant, particularly as Latines. “Our ideas travel here but in the meantime there are many people who are physically emigrating and are not well received – they’re received with precisely all of this violence that we denounce in this book,” LASTESIS say. “So it is a bit of a statement knowing that this book was going to reach the north and reminding them of the policies of exclusion and violence that are happening at this very moment on its borders.”

LASTESIS want to leave open the “invitation for people to get a bit more angry”, as indifference sustains the status quo, they argue. “The lack of empathy allows everything to continue as it is, reproducing this violence and oppression that have simply been normalised. And thanks to rage we can mobilise ourselves, and also mobilise the world.”