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JOSS :

Journal of Social Science

ASIAN WOMEN AND THE HARDCORE SCENE

Indra Sukma Wijaya

, Muhammad Andra Setia Putra

, Khaerudin Imawan

, Dedet

Erawati

Universitas Swadaya Gunung Jati, Indonesia

E-mail: Indraswya@gmail.com

, Andraamuhammad1@gmail.com

, khaerudin[email protected].id

dedet.erawati@ugj.ac.id

KEYWORDS

gender bias, media

framing, hardcore

punk

ABSTRACT

This research aims to find out how media framing and the impact obtained

from media framing on the representation of women in the hardcore punk

scene. This research reveals how media framing affects people's

perceptions and understanding of women's representation in the hardcore

punk scene and the impact of media framing on women's representation.

The many roles of women in the hardcore scene, with the presence of

female musicians and fans who actively contribute and bring new

perspectives that enrich this music scene. This study uses a qualitative

method to describe how media framing represents women in the hardcore

punk scene through the website and social media use your voice using

Robert N. Entman's framing analysis theory. As for the results of this study,

women in the hardcore punk scene are faced with various obstacles and

discrimination that must be addressed immediately through concrete

actions to improve representation and gender equality in the hardcore punk

scene.

INTRODUCTION

Music is the result of art created through the arrangement of sounds to convey meaning

and beauty. In the journal, music can be a song or other musical composition, Jamalus

(Aminatul Azizah & Andriana Kurnia Putri, 2023). There are various types of music worldwide,

including classical, blues, pop, jazz, and rock. Music continues to evolve with new subgenres

influenced by changing times, whether social, cultural, political, or technological. For example,

the rock genre produced the Hardcore punk subgenre, known for its fast tempo, aggressive

rhythms, screaming vocalists, and critical lyrics, (Dicky Indra Sukmana et al., 2022).

According to (Michael Azerrad, 2001), in his book Our Band Could Be Your Life: Scenes

from the American Underground 1981-1991, Hardcore punk was born from punk rock and

hardcore, with critical lyrics and fast music. Bands like Black Flag led the movement, spreading

across the United States and Europe in the early 1980s, creating many stylistic variations.

Hardcore punk also began to enter Indonesia in the late 1980s. The genre was brought by the

pre-existing punk community in Indonesia.

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Picture 1

(Source; Screnshoot of @burgerkillofficial Instagram account)

The first hardcore punk bands in Indonesia included Burgerkill, (Muhammad Alghifary

Hardyali & Septiawan Santana K, 2023). Hardcore punk continues to evolve with subgenres

such as emo, metalcore, and deathcore and is an important part of global punk rock culture. The

music is fast, loud, and aggressive, with lyrics that often raise social, political, and personal

issues, expressing anger and rejection of social status, (Kartika Novita Rohmah et al., 2023). In

the book “American Hardcore: A Tribal History” by (Steven Blush, 2001), Hardcore music

expresses anger and frustration, stirs emotions, encourages critical thinking, and pushes for

change. Dare to speak your mind, even if it is controversial.

We use the Das Sollen theory approach by Immanuel Kant to describe the current

condition of hardcore punk music and scene. according to Das Sollen Theory proposed by

(Immanuel Kant, 1788) in Kritik der praktischen Vernunft (Critique of Practical Reason). In

this work, Kant divided reality into das sein (the actual state) and das sollen (the state that

should be). Music, in the concept of das sollen, is seen as a universal form of language that can

be enjoyed by all individuals, without being affected by cultural or linguistic differences,

(Burhanudin Ata Gusman et al., 2022). Music is not always accepted by everyone due to

differences in musical tastes society's difficulty in accepting cultural differences, and people's

difficulty in accepting cultural differences, (Erna Nurhayati et al., 2022).

In reality, not everyone likes or understands music, especially hard genres like hardcore

punk. However, hardcore punk's values, such as freedom and equality, encourage women's

involvement in the scene, (Verdhyawan, 2021). Even so, the role of women in this genre is still

minimal, on the website and social media Useyourvoice shows that they can be involved and

contribute.

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Figure 2

Figure 3

Useyourvoice's website and social media discuss the development of hardcore music in

Indonesia, but the role of women is still minimal. This research aims to uncover how the media

often portrays women in the hardcore scene as negative, in relation to gender bias. Faqih (Agus

Afandi, 2019) states that gender-biased behavior is often influenced by gender injustice in the

social system that harms men and women. The concept of gender according to feminists is the

result of social construction that results in injustices such as marginalization, subordination,

stereotypes, violence, and double workload, (Siti Rayhana Maysuri A et al., 2022).

The portrayal of women in the media as weak and vulnerable reflects stereotypes that can

influence the perception of society as a whole, reduce understanding of women's potential, and

strengthen gender inequality. According to Warni (Sulistyowati, 2021), gender equality is a

principle that demands equal rights, opportunities, and treatment between men and women.

However, there is a positive emphasis in the media, especially viewing women as musicians

who play a significant role in the hardcore scene. The hardcore band Dental Surf Combat from

Jakarta has a female member named Anida who actively voices issues about gender equality.

Anida (Isdy, 2020) argues that women can play an active role in the hardcore scene regardless

of their gender. Positive framing in the media can improve society's perception of women in

the hardcore scene, considering them equal to men.

Described by experts, the function of the media in society according to (Denis McQuail,

2011) in the book Mass Communication Theory, namely mass media function as a provider and

conveyor of information about events and conditions in society and the world, with the hope of

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presenting news in accordance with reality and playing an important role in conveying events

to readers. Meanwhile, according to Laswell, quoted by Mcquail in his book, it is explained that

communication in society has the main function of monitoring the environment, relations with

society, and broadcasting cultural heritage. According to Charles R. Wright (Faudina, 2023),

the fourth media function is entertainment, while the fifth function is mobilization.

Framing is used by the mass media to present information and events in an entertaining

and mobilizing manner, influence people's perception of reality, and direct public opinion about

the issues reported. According to Eriyanto (Anang Sujoko & Rosalina Bilqisth, 2022), Framing

is the media's approach to selecting and writing news, allowing them to present information

from different perspectives and emphasize certain aspects of an event. The media plays an

important role in shaping public opinion by representing issues or news in a certain way, leading

to readers' opinions.

According to (Stuart Hall, 1997) Representation is the ability to describe or imagine,

where language is one form of symbol or representation. Stuart Hall divides representation into

three forms: reflective, intentional, and constructionist. Reflective representation reflects

existing meanings, intentional embodies personal intentions, and constructionist shapes

meaning through language. According to (Imawan et al., 2023) in the Journal of Tarling Music

Industry Ecosystem in The Digitalization Arena explains that the representation of language is

an important process in the formation of language, where language is considered a

representation system. Research with the title “Women in the Underground Music Scene”

written by (Indrawan, 2020) has revealed various challenges faced by women, there are several

research gaps that need to be filled. This study shows that patriarchal domination and gender

discrimination are still very strong in the underground music scene, which results in women

often being a minority and less recognized. However, this research does not delve into the

specific strategies used by women to overcome such discrimination, nor does it compare the

situation in Surabaya with other major cities that have underground music scenes. Furthermore,

there has been no in-depth focus on the role of social media in shaping perceptions and

supporting women in this scene. Therefore, the research “Asian Women and the Hardcore

Scene” aims to fill these gaps by exploring how women face and overcome challenges in the

hardcore music scene, as well as how social media can be used as a tool to support and promote

gender inclusivity in this community. As such, this research will provide a more comprehensive

understanding of women's experiences in the hardcore scene and strategies to create a more

inclusive and equal environment. In the explanation above, the author tries to analyze media

framing that explains the representation of women in the hardcore scene, how media framing

affects people's perceptions and understanding of women's representation in the hardcore punk

scene, and what impact this media framing has on women's representation.

METHOD RESEARCH

This research uses a descriptive qualitative approach, where this method aims to describe

and explain thoroughly a phenomenon or social situation, (John W. Creswell, 2014). This

research will analyze how Useyourvoice's website and social media describe the representation

of women and gender bias in the hardcore music scene through framing analysis proposed by

(Entman, 1993), explaining that framing is the way the media selects and exposes stories, which

in turn influences how society understands certain issues.

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The data collection techniques in this study include interviews, namely efforts to obtain

information directly by asking questions to informants, either directly face-to-face or through

intermediary media. Informants in this study: (1) The initials AMR owns the @useyourvoice

Instagram account, (2) the initials AS, a female informant who is active in the hardcore scene,

(3) the initials AS, a follower of the @useyourvoice Instagram account, (4) the initials MAH,

not a follower of the @useyourvoice Instagram account, and (5) the initials Z, a randomly

selected informant who does not know about hardcore music. Observation, according to

Soehartono (Aldieny Nurunnisa, 2020) observation is seeing using the sense of sight without

asking. This observation is done by paying attention to any content that discusses women in the

hardcore scene on the Useyourvoice website and social media. Research data is obtained

through literature studies of various sources such as books, scientific journals, online articles,

and other scientific works that are relevant to the topic of representation of women and gender

bias in the hardcore scene.

In completing this research, researchers used several journal references as reference

materials, including: (1) Hikmalia et al., 2022, Framing Analysis of Sexual Violence Coverage

on Women in Online Media, in the Journal of Communication Domain. This study analyzes the

framing of the news of the sexual violence case experienced by Novia Widyasari, using Robert

N. Entman's framing analysis method and communication, social psychology, or feminist

theories; (2) Fachrezi Hafidz & Masitoh, 2023, Robert N. Entman's Framing Analysis of Sexual

Violence on Women in Online Media Kompas.com and Konde. co, in the BroadComm Journal.

Discusses sexual violence against women in the mass media. Using a descriptive qualitative

approach and the Robert N. Entman analysis model; (3) Islami et al., 2022, Representation of

Gender Bias in Ultramilk Pure Passion Milk Advertising. Audience Journal. Discusses the

concept of gender as a social construction. The research method uses the Roland Barthes

semiotic approach; (4) (Java Anggara & Aziz Taufik Hirzi, 2020, Viewers and the Film “This

is Our Scene Too!”, in Journal of Journalistic Proceedings. This research describes the

movement of women in the local hardcore punk music scene. Stuart Hall's reception analysis

with supporting theories of feminist communication compiled by Rakow and Wackwitz and

uses and gratification; (5) Donaghey, 2021, Punk and feminism in Indonesia, in the Journal of

Cultural Studies. Discusses women's experiences in the punk and feminist movements in

Indonesia, ethnographic methods, interviews, and text analysis, and feminist punk,

intersectional, and poststructuralist theories.

RESULTS AND DISCUSSION

Define Problem

In the hardcore punk scene, male dominance is still apparent with minimal media

coverage of female musicians, causing inequality in the music industry. Women face stigma,

are considered sexual objects, and are not recognized as much as men. The stereotype that this

music is more suitable for men also hinders women's success and recognition in this scene. The

lack of representation and knowledge about women's roles needs to be addressed to achieve

better gender equality.

“For me, any gander is the same, it's just that there is a lack of media coverage of

musicians, especially women, or it could also be the dominance factor still held by men”.

(Interview; Akram, 13/02/2024)

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Based on Robert N. Entman's theory of defining problems, this element looks at how an event

is defined or seen by the media. In the hardcore punk scene, the problems faced by women are

reflected in the way the media frames them. The lack of media coverage of women's roles in

this scene means that women are considered irrelevant or even harassed, leading to

underrepresentation and unequal treatment. Gender stereotypes also influence this frame, with

the media tending to focus on men in the hardcore punk scene, creating the notion that the

genre is more suited to men. This limits women's participation and becomes an obstacle for

them to thrive in the music industry. This analysis is in line with Entman's framing theory,

which states that the media can choose certain aspects of an issue to influence public

perception. To overcome this, it is necessary to change the existing framing by providing more

positive coverage of women in the hardcore punk scene, overcoming gender stereotypes, and

increasing understanding of women's contributions to punk music to achieve better gender

equality.

Diagnose Cause

Gender stereotypes still limit women's participation in the hardcore punk scene by

assuming that this music is more suitable for men, creating barriers for women to feel

represented and recognized. The lack of female representation in the hardcore punk music

industry is influenced by the lack of media coverage and exposure to female musicians.

Stereotypes also cause social stigma, resulting in unequal treatment and lack of opportunities

for women. Increased education, understanding, and media coverage of the role of women in

punk music are needed to overcome gender stereotypes and provide greater space for women

in the hardcore punk scene.

"It is the same with women or men in any genre of music. As long as they work in

accordance with morals and ethics, there is no problem. I've never focused on gender. However,

it may be more difficult for women to make a career in the hardcore punk genre because of

society's perception". (Interview; Zahida, 13/02/2024)

In Robert N. Entman's framing theory, the diagnosis of the cause of the problem by the media

in the context of the representation of women in the hardcore punk scene can be seen from the

perspective of how the media shapes these views. Gender stereotypes play an important role in

shaping the frame where the perception that women are incompatible with hardcore punk music

becomes dominant. In addition, the underrepresentation of women in musicians and media

coverage also shapes a frame where women are less visible and less recognized in the scene.

The stigma and discrimination that women face in the hardcore punk scene are also part of this

framing, creating a perception that women are unwelcome and uncomfortable in this scene.

Make Moral Judgement

Views on the role of women in the hardcore punk scene are crucial to addressing gender

injustice. Media owners, musicians, and other interviewees emphasized the need to remove

stigma and discrimination against women and provide equal recognition. Other interviewees

highlighted the positive view of female musicians but cautioned that a lack of knowledge about

women's contributions can hinder gender equality. Strong collaboration between male and

female musicians is needed to achieve equality while overcoming stereotypes that hinder

women's progress in the scene. With an inclusive outlook and better understanding, a more fair

and equitable environment can be created for all hardcore punk musicians.

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“The role of women in the hardcore punk scene makes hardcore punk music more

colorful and less uniform, and by giving equal intensity and opportunities to men and women,

it is hoped that it can create equality between men and women in the hardcore punk scene and

other music genres”. (Interview; Akram, 13/02/2024)

In Robert N. Entman's framing theory, the Make Moral Judgement element considers the

moral values that the media wants to convey in its reporting. The results of interviews with five

interviewees illustrate diverse views on the role of women in the hardcore punk scene. Some

views state that women have the same rights as men to participate in this scene, while others

consider the stigma and discrimination against women in hard music as a form of injustice that

must be addressed. The unequal treatment of women is considered a violation of the values of

equality and human rights. The lack of understanding of women's roles in the scene is also

highlighted, which can lead to inequalities in the recognition and acceptance of women.

Collaboration between male and female musicians is considered essential to ensure equality

and mutual benefit for both parties. While a neutral attitude towards women who enjoy

hardcore punk music was considered positive, a deeper understanding of women's roles and

increased media coverage of female musicians was also considered necessary to overcome the

stigma, discrimination, and inequality that women still experience in the scene.

Treatment Recommendations

Efforts to increase the representation and equality of women in the hardcore punk scene

involve measures such as increased inclusive media coverage, encouragement of women to

speak up, providing equal opportunities with men, increasing education about gender equality,

providing more space for women in the music scene, encouraging activism to fight for women's

equality, empowerment programs for women, increased awareness about gender equality

through educational campaigns, removing stereotypes through promoting the idea that all

individuals have equal rights, an equitable collaboration between male and female musicians,

increased understanding of the role of women through education and promotion, increased

promotion through relevant media, education about gender equality, the formation of

supportive communities, and open discussion about gender issues in the hardcore punk scene.

"The content ‘Hardcore punk is not for men’ inspired me to support female representation

and tackle gender stereotypes in the hardcore punk scene. Such content needs to continue to be

produced on a larger scale because the representation of women as the second sex needs to be

voiced even louder. I also believe in the importance of fighting for equality and safe spaces for

all individuals in music". (Interview; Adam, 15/02/2024)

In Robert N. Entman's framing theory, Treatment Recommendation leads to the solution

offered by the media to overcome the problem at hand. In the context of improving the

representation and equality of women in the hardcore punk scene, media owners and other

interviewees provided a number of recommendations that could be implemented. These

recommendations include increasing media coverage of female musicians, encouraging women

to speak out more, and ensuring equal opportunities for women and men in the scene. Education

and awareness about gender equality and inclusion in the music world were also considered

important. Female empowerment programs in the hardcore punk music scene are also

recommended to provide greater space and opportunities for women to create and participate.

In addition, the elimination of stereotypical views about women and hardcore punk music is

also needed, by promoting the idea that all individuals have abilities.

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CONCLUSION

Based on interviews with various interviewees in the hardcore punk scene, there is

agreement that women face various challenges in gaining recognition and equality in this scene.

The dominance of men in the scene, the lack of media coverage of female musicians, and

stereotypes that women do not fit into hardcore punk culture are the main factors that influence

the lack of representation of women in the scene. Media owners and other interviewees see

women in the hardcore punk scene as strong and courageous individuals who have the same

rights as men to participate in the scene. Therefore, they recommended steps to increase the

representation of women in the hardcore punk scene, such as increasing media coverage of

female musicians, encouraging women to be more vocal, and providing equal opportunities to

women and men in the scene. In addition, education and awareness about gender equality in

the music scene also need to be improved. From the discussion, it can be concluded that women

in the hardcore punk scene face various challenges and discrimination that need to be addressed

through concrete steps to increase representation and gender equality in this scene.

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Indra Sukma Wijaya

, Muhammad Andra Setia Putra

, Khaerudin Imawan

, Dedet

Erawati

(2024)

First publication right:

JoSS - Journal of Social Science

This article is licensed under a Creative Commons Attribution-ShareAlike 4.0

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