Introduction
1. Background
This study will explain about women’s adaptation to masculinity in a rock subculture that operates under a patriarchal context. Patriarchy itself is a system positing that men are socially superior to women (Firestone, 1970; Glasberg & Shannon, 2010). Firestone (1970) further expounded that patriarchy is a sex-based oppression, which relies on female’s biological capacity to experience pregnancy and child birth. As such, patriarchy impedes women’s participation in all areas in societies institutionally, socially, economically, psychologically, and historically (Buckley, 1986).
This sex-based oppression is later on constructed as a social structure, named gender. Gender socialises masculinity to men and femininity …show more content…
Media practice approach in this research is done by elaborating about someone’s activities and its relations with the media (Couldry, 2012). Music, as the focus of this research, also includes various activities, for instance, participation inside concerts or musical shows (Kamien & James, 1988).
Couldry (2012) later argues that media practice approach is attached to the exercise of power that manifests through media representation. In this case, media practice is related to the roles of music for certain groups (Gay, Longhurst in Brown, et al., 2001). Specifically, music plays a significant role to women as a group. Therefore, women have a unique approach to their media practice by perceiving music as a tool to bridge their musical commitment with their personal political views (Bayton in Bennett, et al., 2005). This is visible through their reasons in accessing rock music that will be explained …show more content…
Yet, women inside rock subculture in Indonesia receive nearly zero attention. Meanwhile, according to the demography of audience of Kis FM radio—a radio station that plays 1990s rock songs—around 60% of their audience are women, while only 40% are men (Zoel, 2012). Even though this is the sole source of the number of women rock fans in Indonesia that is available for public (that infers the lack of studies done on this topic), the figure showcases women’s increasingly important and significant role in the development of rock as a genre and as a subculture. Departing from this fact, I attempt to put women fans under a microscope and shed some understanding on it, specifically about their adaptation towards masculine values inside Indonesian rock
1. Background
This study will explain about women’s adaptation to masculinity in a rock subculture that operates under a patriarchal context. Patriarchy itself is a system positing that men are socially superior to women (Firestone, 1970; Glasberg & Shannon, 2010). Firestone (1970) further expounded that patriarchy is a sex-based oppression, which relies on female’s biological capacity to experience pregnancy and child birth. As such, patriarchy impedes women’s participation in all areas in societies institutionally, socially, economically, psychologically, and historically (Buckley, 1986).
This sex-based oppression is later on constructed as a social structure, named gender. Gender socialises masculinity to men and femininity …show more content…
Media practice approach in this research is done by elaborating about someone’s activities and its relations with the media (Couldry, 2012). Music, as the focus of this research, also includes various activities, for instance, participation inside concerts or musical shows (Kamien & James, 1988).
Couldry (2012) later argues that media practice approach is attached to the exercise of power that manifests through media representation. In this case, media practice is related to the roles of music for certain groups (Gay, Longhurst in Brown, et al., 2001). Specifically, music plays a significant role to women as a group. Therefore, women have a unique approach to their media practice by perceiving music as a tool to bridge their musical commitment with their personal political views (Bayton in Bennett, et al., 2005). This is visible through their reasons in accessing rock music that will be explained …show more content…
Yet, women inside rock subculture in Indonesia receive nearly zero attention. Meanwhile, according to the demography of audience of Kis FM radio—a radio station that plays 1990s rock songs—around 60% of their audience are women, while only 40% are men (Zoel, 2012). Even though this is the sole source of the number of women rock fans in Indonesia that is available for public (that infers the lack of studies done on this topic), the figure showcases women’s increasingly important and significant role in the development of rock as a genre and as a subculture. Departing from this fact, I attempt to put women fans under a microscope and shed some understanding on it, specifically about their adaptation towards masculine values inside Indonesian rock