ARGUILLO - Revision history

Ngarguillo at 16:41, 9 June 2017

2017-06-09T16:41:48Z

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	Arguillo, N.A.G. (2017). Uncovering the Cover Dancer On and Beyond the Stage: Specialized & Negotiated Consumption of Filipino K-Pop Fans, Unpublished Undergraduate Thesis, University of the Philippines College of Mass Communication.		Arguillo, N. A. G. (2017). Uncovering the Cover Dancer On and Beyond the Stage: Specialized & Negotiated Consumption of Filipino K-Pop Fans, Unpublished Undergraduate Thesis, University of the Philippines College of Mass Communication.

	'''Abstract'''		'''Abstract'''

Ngarguillo at 09:31, 9 June 2017

2017-06-09T09:31:18Z

← Older revision		Revision as of 17:31, 9 June 2017
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	Arguillo, N.G.A. (2017). Uncovering the Cover Dancer On and Beyond the Stage: Specialized & Negotiated Consumption of Filipino K-Pop Fans, Unpublished Undergraduate Thesis, University of the Philippines College of Mass Communication.		Arguillo, N.A.G. (2017). Uncovering the Cover Dancer On and Beyond the Stage: Specialized & Negotiated Consumption of Filipino K-Pop Fans, Unpublished Undergraduate Thesis, University of the Philippines College of Mass Communication.

	'''Abstract'''		'''Abstract'''

Ngarguillo at 09:30, 9 June 2017

2017-06-09T09:30:34Z

← Older revision		Revision as of 17:30, 9 June 2017
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	'''Abstract'''		'''Abstract'''

	This research was on the specialized and negotiated reception of Filipino K-pop fans whose admiration and ideals, inspired by their favorite K-pop songs accompanied with official choreography, are re-narrowcasted in the form of "cover dancing", the relatively faithful imitation of K-pop dances that may extend to the copying of the fashion, gestures, and makeup of the original artists with the option to perform in a live or online setting.		This research was on the specialized and negotiated reception of Filipino K-pop fans whose admiration and ideals, inspired by their favorite K-pop songs accompanied with official choreography, are re-narrowcasted in the form of "cover dancing", the relatively faithful imitation of K-pop dances that may extend to the copying of the fashion, gestures, and makeup of the original artists with the option to perform in a live or online setting.

	Firstly, it probed into the processes, conventions, practices, aesthetics, motivations, and behaviors among others while utilizing the concept of performativity in order to constitute the identity of the cover dancer as an individual and as a collective in the local K-pop fandom. However, this study asserted that the performance does not end after leaving the stage but is rather continuous. The balancing of multiple roles by the cover dancer given the circumstances encourage, at best, the autonomization of the K-pop idol manufacturing system in a self-adapted, diluted, and acculturated manner. Secondly, it contextualized as well as positioned the extent of power of each key player in the creation process of cover dancing following the principles of Produsage. Overall, the cover dancing reality is meant to be viewed as a performance in itself as it sits ambiguously in Richard Schechner's ritual-play spectrum.		Firstly, it probed into the processes, conventions, practices, aesthetics, motivations, and behaviors among others while utilizing the concept of performativity in order to constitute the identity of the cover dancer as an individual and as a collective in the local K-pop fandom. However, this study asserted that the performance does not end after leaving the stage but is rather continuous. The balancing of multiple roles by the cover dancer given the circumstances encourage, at best, the autonomization of the K-pop idol manufacturing system in a self-adapted, diluted, and acculturated manner. Secondly, it contextualized as well as positioned the extent of power of each key player in the creation process of cover dancing following the principles of Produsage. Overall, the cover dancing reality is meant to be viewed as a performance in itself as it sits ambiguously in Richard Schechner's ritual-play spectrum.

	'''Keywords''': K-pop, cover dancing, fan studies, produsage, cultural studies, performativity		'''Keywords''': K-pop, cover dancing, fan studies, produsage, cultural studies, performativity

Ngarguillo: Created page with "Arguillo, N.G.A. (2017). Uncovering the Cover Dancer On and Beyond the Stage: Specialized & Negotiated Consumption of Filipino K-Pop Fans, Unpublished Undergraduate Thesis, U..."

2017-06-09T09:24:12Z

Created page with "Arguillo, N.G.A. (2017). Uncovering the Cover Dancer On and Beyond the Stage: Specialized & Negotiated Consumption of Filipino K-Pop Fans, Unpublished Undergraduate Thesis, U..."

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Arguillo, N.G.A. (2017). Uncovering the Cover Dancer On and Beyond the Stage: Specialized & Negotiated Consumption of Filipino K-Pop Fans, Unpublished Undergraduate Thesis, University of the Philippines College of Mass Communication.

'''Abstract'''

This research was on the specialized and negotiated reception of Filipino K-pop fans whose admiration and ideals, inspired by their favorite K-pop songs accompanied with official choreography, are re-narrowcasted in the form of "cover dancing", the relatively faithful imitation of K-pop dances that may extend to the copying of the fashion, gestures, and makeup of the original artists with the option to perform in a live or online setting.

Firstly, it probed into the processes, conventions, practices, aesthetics, motivations, and behaviors among others while utilizing the concept of performativity in order to constitute the identity of the cover dancer as an individual and as a collective in the local K-pop fandom. However, this study asserted that the performance does not end after leaving the stage but is rather continuous. The balancing of multiple roles by the cover dancer given the circumstances encourage, at best, the autonomization of the K-pop idol manufacturing system in a self-adapted, diluted, and acculturated manner. Secondly, it contextualized as well as positioned the extent of power of each key player in the creation process of cover dancing following the principles of Produsage. Overall, the cover dancing reality is meant to be viewed as a performance in itself as it sits ambiguously in Richard Schechner's ritual-play spectrum.

'''Keywords''': K-pop, cover dancing, fan studies, produsage, cultural studies, performativity

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2013-59020-ARGUILLO View Thesis]

[[Category: < College of Mass Communication > Thesis]][[Category:< Department of Broadcast Communication>]]