An Exploratory Study on the Commodification of Female Filipino Rock Musicians in the Philippine Rock Music Industry
Dela Paz, M. I. (2012). An Exploratory Study On The Commodification Of Female Filipino Musicians In The Philippine Rock Music Industry, Unpublished Undergraduate Thesis, University of the Philippines Diliman College of Mass Communication.
This study narrates and analyzes the interrelation of various events and situations which are connected to the commodification of women in the Philippine rock music industry. It uses Vincent Mosco’s Political Economy of Communication as its framework to examine the social and cultural aspects of the Philippine rock music industry. It focuses primarily on the commodification of Filipino female rock musicians from the 1970s to 2015.
This research examines the history of women in the Philippine rock music industry from the introduction of rock music as a western influence to Filipino culture, up until the present. Archives and interviews are used to present the information on the gender issues apparent in the Philippine rock music industry such as the naturalized gender order, gender stereotyping, sex segregation, male gaze and desire. It also examines the commodification of female musicians through the analysis of gender roles of female rock artists at present, and a qualitative analysis of female musicians’ exposure in media.
The researcher found that while songs are the main products of the Philippine rock music industry, the process of commodification leads to underlying social relations within the process of the production of songs. Filipino female rock musicians are subject to gender stereotyping because of the idea the rock music is for men. This naturalized gender order in rock music led to the mystification of female performers, and subsequently, the industry banking on these women’s sex appeal. These reflect on the opportunities, difference in treatment, and media exposure given to the female rock musicians in the Philippines.
This thesis is a general overview of the commodification of the female rock musicians in the Philippine rock music industry. Given this, the researcher recommends further studies that will focus on specific aspects in the process of commodification, including, but not limited to, the representation of women in popular Filipino rock music videos, and the power relations of gender in the Philippine rock concert scene.
Key Concepts: Philippine rock music industry, Female rock musicians, Commodified female rock musicians, political economy of communication