"Unveiling Power Dynamics: A Discourse Analysis of the Song 'Uhaw'" by Dilaw.

Jayrold B Madarang
Department of Humanities
Philippine Military Academy
Camp Gen Gregorio H Del Pilar, Baguio City

Abstract

This study is an exploration of power dynamics gleaned from the famous song, “Uhaw”
performed by Dilaw Obero, the lead vocalist of the band. Having been examined from a cultural
lens using Fairclough’s discourse analysis model, the song is exalted with the repeated use of the
words “Uhaw,” “Ikaw,” and “Sayaw.” These metaphors converged to create a playing field for
power dynamics. Uhaw comes in the limelight to mean the longing for affection in a romantic
relationship such emotive power can compel the subject to give in to the request of the song’s
persona. In this scenario, power dynamics is solidified from the persona to the subject. On the
other perspective, the subject is perceived as someone who has control in the relationship as
expressed by the line, “Bakit uhaw sa 'yong sayaw? Bakit ikaw?” Somewhere in the middle of the
narrative, the persona seemingly challenges power dynamics and appealed to level the playing
field in the name of love. This is evidentin the lines, “ Ako'y giniginaw, halika rito,” “Dito ka
lang sa tabi ko.” The song is also an eyepiece for different discourse strategies such as metaphorical
language, imagery, repetition, direct address and contrast. The persona’s capacity to challenge
power dynamics, to act independently , to make decisions, also known as agency in power
dynamics, is manifested by expression of desire and longing, direct address and questioning,
rejection of homogenization, emotional vulnerability, empowerment through expression, defying
proper structure, story of pursuit and the use of “Uhaw’ throughout the song.

Keywords: Power Dynamics, Thirst, Uhaw, Sayaw, Ikaw, Music, Melody, Tone

Electronic copy available at: https://ssrn.com/abstract=4587338


Introduction
Music just like poetry reveals different
meanings based on the listener’s perspective
and that of the singer or songwriter. The nature
of the human experience reflected in the song
sometimes resonates from the songwriter’s or
poet’s feats, adventures and objective
observation of the events in the society where
he participated or merely acted as an observer.
Music is a form of entertainment and a source
of enjoyment. Whether through the use of
recordings or live performances, it enables us
to switch gears, disengage from our regular
lives, and engage in something new. Music was
intended to be played in front of an audience in
many of its earliest and most popular forms;
concerti, symphonies, and operas were all
initially conceived as forms of entertainment,
and all composers throughout history have
created for these mediums (Montagu, 2017).
Music has the ability to reflect,
influence, and criticize society across all
cultures and generational divides. Music has a
specific significance in the rich fabric of
Filipino culture, serving as both a mirror and a
megaphone for societal challenges and power
relations. The song "Uhaw," by the well-known
performer Dilaw, stands out as an interesting
subject for discourse analysis in this context.
The Filipino word "uhaw" which means "thirst"
encompasses both a literal bodily feeling and a
metaphorical desire, maybe revealing deeper
social and cultural thirsts.
Diverse styles of Filipino music have
served as a repository for stories that deal with
themes of love, longing, struggle, and
resistance. The lyrics and melody of "Uhaw"
connect with listeners on many different levels.
Due to Dilaw's distinctive voice and her poetic
words, this song has become a timeless cultural
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treasure that is still relevant in modern-day
Filipino culture.
This discourse analysis explores the
linguistic choices, metaphors, and thematic
elements that construct and express these
interactions in order to investigate the power
dynamics inherent in the lyrics of "Uhaw." This
study endeavors to uncover the song's deeper
levels of cultural relevance and meaning.
Roland Barth in his Essay entitled, “The
Death of the Author” explained that the literary
text should not be seen from the vantage view
of the author alone to avoid restricting the rich
interpretation of the text which should come
from the readers. He introduces the idea that
the work" is the tangible result of the author's
labor, while the "text" is the mutable, open-
ended, and possibly limitless field of meaning
created by readers' interpretations. This
distinction between the "work" and the "text" is
made by Barthes in his seminal work. He
contends that the value of a document should
not be determined primarily by the author's
intentions, which are frequently indeterminate.
Cirilo Bautista (2000) beautifully
encapsulates in his Philippine Daily Inquirer
column the cultural imperative in the
appreciation of a literary text that at a certain
point the richness of the text can be explored in
different ways but there would be a point where
the author’s text and the readers richness of
experiences meet to elicit meaning based on
how culture and language shape the way
listeners and readers think and act in many
ways. The cultural imperative allows the
listener or reader to explore the text through
contextualization by examining the historical,
social and cultural context for the literary works
and also from the multicultural perspective.
More importantly, it provides an avenue for
examining how the piece of work represents
cultural groups and identities. Stereotypes, bias
and underrepresentation in the work of art are
covered. In a way this approach encourages
readers in critically analyzing the cultural and
societal implications of literary writings. For
this, it may be important to analyze power
dynamics, socioeconomic issues, and
ideological perspectives presented in literature.
Finally, intersectionality would be applied in
the analysis by acknowledging that a person's
identity is frequently influenced by a variety of
variables, including race, gender, class, and
sexual orientation.
The ability of music to reflect, shape,
and critique society across generational and
cultural divides has long been acknowledged
(Katz, 2019; Shepard, 2017). Music holds a
special role in the rich fabric of Filipino culture,
serving as both a megaphone for expressing
these issues and a mirror that reflects societal
struggles and power dynamics (Dizon, 2020;
Espiritu, 2018).
According to Cacanindin (2016),
Filipino music has a long history of being used
as a platform for political and social
commentary. It is essential for expressing the
aspirations, complaints, and dreams of the
Filipino people while frequently opposing
established power structures (Serapio, 2019).
Songs in particular have the power to capture
intricate stories and feelings in their melodies
and lyrics, allowing them to strike a powerful
chord with listeners (Gonzales, 2017).
The tradition of protest and resistance
through songs in Filipino music is one notable
aspect (Romero, 2021). These songs show
potential as potent instruments for opposing
repressive structures and promoting change
(David, 2015). They give underrepresented
voices a platform to be heard and a way to
expose power relations (Dela Cruz, 2018).
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Songs like "Uhaw" by Dilaw can be viewed in
this sense as a part of a larger heritage of music
used to question and defy accepted social
standards (Santos, 2020).
Power dynamics and gender dynamics
coexist in the world of music (Santos, 2018).
Songs' depictions of gender roles and
relationships have the potential to both reflect
and reinforce current power disparities
(Martinez, 2016). For a thorough
understanding of "Uhaw's" societal impact, it is
crucial to examine how it resolves or challenges
gender-related power structures.
Through the different lenses reflecting
the roles of music in the society, this study,
entitled, "Unveiling Power Dynamics: A
Discourse Analysis of the Song 'Uhaw'" by
Dilaw.” was conceived. Critical Discourse on
Power Dynamics in Filipino music is an area
that is not yet totally explored. Through the lens
of critical discourse analysis, power dynamics
would be explored in the lyrics of the song
"Uhaw" by Dilaw. This study endeavored to
answer the following questions:
1. How are power dynamics
constructed and represented in the lyrics of the
song "Uhaw" by Dilaw?
2. In what ways does the song portray
resistance to power imbalances and the
exercise of agency?
3. How do the power dynamics
unveiled in the song intersect with broader
Filipino culture and societal contexts?
The methodology of Critical Discourse
Analysis (CDA), which has roots in linguistic
and cultural studies, is used in this study. A
rigorous examination of the connections
between language, power, and social context is
made possible by CDA. This framework
enables us to examine the language and
thematic decisions in the lyrics of "Uhaw" and
their implications for comprehending power
relations in Filipino culture by drawing on the
works of Fairclough and Bourdieu.
In this study, the theoretical framework
draws upon critical discourse analysis (CDA)
as developed by Fairclough (1995) and Norman
Fairclough's three-dimensional framework.
This framework enables the exploration of
language use and its relationship with power
dynamics within the lyrics of the Filipino song
'Uhaw.' Additionally, Pierre Bourdieu's
concept of cultural capital and symbolic power
informs the analysis of how music functions as
a cultural text that reflects and influences
societal power relations.
Fairclough's three-dimensional
framework of CDA involves analyzing texts,
discursive practices, and social practices:
Text Analysis: The study looked at the
song "Uhaw"'s lyrics to find linguistic elements
like metaphors, rhetoric, and vocabulary
choices. These linguistic components expose
underlying ideologies, power structures, and
social conventions that are part of the discourse
of the music.
Discursive Practice Analysis: This
domain investigates how language is used in
varied context. It entails looking at the creation,
dissemination, and reception of the music, as
well as the roles played by creators, producers,
and listeners. The study reveals the power
dynamics that are present in the music industry
by investigating the composition and
consumption of the song.
Social Practice Analysis: The analysis
places the song amid broader societal norms
and hierarchies of power. It explores the
sociocultural, political, and historical factors
that affect the song's message and audience
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response. This aspect reveals how the music
interacts with and responds to gender dynamics,
power structures in society, and cultural
standards.
Bourdieu's Concept of Cultural Capital and
Symbolic Power
Understanding how 'Uhaw' functions as
a cultural text is made easier with the help of
Pierre Bourdieu's theories of cultural capital
and symbolic power: The study examined how
the song "Uhaw" exemplifies cultural capital,
which stands for the information, principles,
and symbols that are highly regarded in a
culture. The study investigated how the song
represents socio-economic hierarchy and
cultural capital by dissecting its symbolism and
cultural allusions.
Bourdieu stressed the importance of
culture in upholding and subverting existing
power structures in his idea of symbolic power.
The study looked at how the symbol "Uhaw" is
used to negotiate and challenge social power
dynamics, such as those involving concerns of
desire, gender, and social standards.
This study aimed to reveal the complex
power dynamics concealed in the song "Uhaw"
and shed light on how music functions as a
discourse that mirrors, influences, and critiques
societal power relations by fusing Fairclough's
CDA framework with Bourdieu's ideas of
cultural capital and symbolic power.
In this section, we describe the process
of collecting data for our discourse analysis of
the song 'Uhaw.' The data collection phase is
crucial in obtaining the raw materials—lyrics
and musical elements—necessary for our
analysis.
Data Collection
Selection of the Song 'Uhaw'
 The song, “Uhaw” was obviously very
distinct from other songs created and
performed from 2022 to the present considering
the tempo, theme, style and content of the song
as it evokes a feeling of longing or the desire to
quench one’s thirst. In an interview with the
members of the Dilaw band regarding their title
selection, “Uhaw” they collectively agreed that
Uhaw does not literally mean the thirst or
longing for love but rather encompasses
different shades of meaning as the thirst for
water, thirst for something in life, a wish, a
desire, a plan or something that a person wants
to venture on. The researcher’s choice of the
song was deliberate because of its seemingly
magical and straightforward language and
melody that suits the taste of the young and old
as if someone is longing for something in a
poignant narrative deep emotional tone.
Lyrics and Musical Elements
The lyrics of the song was extracted in
an open source online. It served as the main
source of information. The textual data were
used for discourse analysis. The words and
phrases that would be investigated in terms of
their discursive connotation and power
dynamics are found in the lyrics.
While the linguistic component of the
song is the main focus, musical element was
also used to add flavor to the analysis. This
encompasses the melody, instrumentation,
tempo, and composition of music. These
components may contribute to how the music
conveys its feelings and its cultural setting.
Ethical Considerations
Permission
The research was undertaken with
courtesy from the members of the Uhaw Band
lead by Dilaw Obero and Via Bellosa, the
songwriter and lead guitarist. The accuracy of
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the song lyrics adapted online was verified
through close listening to the original song
performed by Dilaw to avoid the creation of
different meaning if addition and deletion
inadvertently happened. The fair use of a
copyrighted work for criticism, comment, news
reporting, teaching, scholarship, or research,
whether in the public domain or privately
conducted, without the need for permission
from or payment of compensation to the
copyright owner of the work, under such terms
and conditions as may be determined by the
Intellectual Property Office of the Philippines
(IPOPHL)" (Intellectual Property Code of the
Philippines, Section 185)
Cultural Sensitivity
Cultural sensitivity was observed in the
study given the cultural significance of the song.
Respect for the cultural context and meanings
associated with the song were also observed.
Anonymity and Transparency
Steps had been undertaken to protect
any persons or groups whose names appear in
the song during our analysis. When requesting
permits and when outlining the research to
prospective participants or stakeholders, the
researcher will always be open and honest
about the research’s goals and methodology.
The song's lyrics and musical
components were the subjects of discourse
analysis in order to examine the power
dynamics present in the song "Uhaw" within
the framework of Filipino culture.
This study has the potential to shed light
on the power dynamics at play in Filipino
music and culture. Uhaw serves as a tool to
navigate, test, and perpetuate societal power
relations through the analysis of its lyrics. In
addition, by stressing the function of music as
a cultural artifact and a forum for discourse on
power, this work shall contribute to the broader
field of cultural studies.
Results and Discussion
Power dynamics mirrors a complicated
and widespread aspect of social and cultural life.
They cover the numerous circumstances in
which power is distributed, bargained for, and
used. For the analysis of social connections,
institutions, and systems, a knowledge of
power dynamics is necessary (Foucault, 1977).
One of the key components of power
dynamics is the existence of power imbalances
where some people or organizations have more
power, resources or control than others. These
inequalities can be manifested in variety of
ways, such as unequal economic distribution of
power, unequal political influence, or
hierarchical organizational structures (Lukes,
1974). In addition, power dynamics are
essentially relational where people or
organizations connect to one another in terms
of authority and influence (Fiske, 1993). Social
conventions and cultural values frequently
influence these relationships, which can be
cooperative or antagonistic (Foucault, 1982).
Social Standing, wealth, physical
intellectual prowess and leadership
responsibilities reinforce power dynamics
(Weber, 1964). In other cultural settings such
power is not permanent (Emerson, 1962).
One notable aspect of power dynamics
is the exercise of agency, where individuals or
groups have the capacity to act independently
and make choices (Giddens, 1984). Agency can
be used to challenge or reinforce existing power
structures. For instance, social movements
often mobilize agency to challenge power
imbalances (Tarrow, 2011).
Resistance is another dimension of
power dynamic. When individuals or groups
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perceive power imbalances as unjust, they may
engage in acts of resistance to challenge or
transform these dynamics (Scott, 1985).
Resistance can range from peaceful protests to
more confrontational forms of activism
(McAdam, 1982).
Coercion and control are often
employed by those in power to maintain their
authority or suppress dissent (Dahl, 1957).
These tactics can include censorship,
surveillance, or the use of force to limit
opposition (Foucault, 1978). Furthermore,
power dynamics are deeply embedded in
cultural and societal factors. Cultural norms,
values, and historical contexts shape how
power is understood and exercised in a
particular society (Bourdieu, 1977). These
cultural factors can influence perceptions of
authority and legitimacy (Hofstede, 1980).
Finally, power dynamics can intersect
with other dimensions of inequality, such as
gender, race, class, or age. Intersectionality
recognizes that individuals may experience
different power dynamics based on multiple
aspects of their identity (Crenshaw, 1989).
In the analysis of this paper,
Fairclough's Critical Discourse Analysis (CDA)
model was applied. This involves examining
the language choices, discursive techniques,
and linguistic components representing power
connections in the lyrics of Dilaw's song
entitled "Uhaw."
Construction of Power Dynamics in the Song
Uhaw
Power Dynamics in the song are
constructed through linguistic choices and
discourse strategies. In examining the words
that are used in the song, “Uhaw” which means
thirsty or craving for something stands as a
metaphor for longing for affection, attention,
power or fulfillment. Desire and Longing. In
Dilaw's song, the metaphor "uhaw" might be
seen as a representation of yearning or longing.
The word "uhaw" in Filipino means "thirst" in
English. However, "uhaw" does not refer to
bodily thirst in the context of the song's lyrics;
rather, it represents a deep yearning or longing
for something or someone.
The song's lyrics express a strong
yearning to be with someone, dance in the rain,
and find solace and fulfillment in their
company. This metaphorical use of "uhaw" is
more about the desire for a specific someone. It
conveys the desire to be with someone’s
company. There seemed to be an appeal on the
part of the persona as expressed by the lyrics
and vocal delivery. The persona repeatedly
mentioned “Uhaw” as a means to connect
emotionally and gain the subject’s attention and
affection. On the other hand, the persona’s used
of the words, “Nauuhaw” and Sumisigaw may
be manifestations of vulnerability and
desperation in the name of love. When
someone is romantically in loved according to
Helen Fisher (2004), the person’s intense
emotional experiences can override rational
thinking and decision-making processes. The
persona here is very emotional for melodiously
uttering the following lines in the song:
1. "Bakit uhaw sa'yong sayaw, bakit
ikaw?": This sentence conveys a sense of want
and longing that overpower reason. "Why you"
("bakit ikaw") is repeated, which denotes that
the persona is feeling overpowered by his
emotions and wondering why this particular
person has such a strong emotional impact on
him. It expresses an emotional desire that defies
reason.
2. "Hindi na mapakali, Puso'y
nagmamadaling Lambingin at suyuin ka":
These sentences express the persona’s
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restlessness and the urgency to emotionally and
romantically express his love to the subject.
The expression "Puso'y nagmamadaling" ("the
heart is in a hurry") denotes that the persona's
feelings are of prime importance as of the
moment; the need for decision making or
reflection is set aside. The persona then is
motivated by a desire for comfort and affection,
setting logic aside in lieu of an emotional
connection. "Kahit na matalisod, mapagod, At
bumigay ang tuhod, 'Di ako hihinto": These
lines illustrate the persona's determination to
pursue the subject of their affection, regardless
of the challenges and exhaustion they may face.
It reflects a passionate and emotionally driven
pursuit, suggesting that rational concerns are
secondary to their emotional desires.
3. "Kahit na matalisod, mapagod, At
bumigay ang tuhod, 'Di ako hihinto":These
sentences portray the persona's undying spirit
to pursue his love interest despite of obstacles
and adversaries. It suggests that cognitive
concerns are just secondary; the primary goal is
the consummation of an action that fills in the
emotional emptiness or the longing for
affection.
4. "Nauuhaw, naliligaw, Nanliligaw,
humihiyaw": These lines highlight a feeling of
helplessness and state of internal conflict. The
use of phrases like "naliligaw" (for "lost") and
"humihiyaw" (for "screaming") repeatedly
highlights the persona's emotional vulnerablity
and lack of emotional control. It denotes a
departure from reason as emotions take the
center stage.
5. "Mananatiling uhaw, uhaw, uhaw":
The frequent mentioning of “uhaw” throughout
the song convey an enduring craving or thirst
that cannot be sated by reason. It implies that
the persona's emotional state dominates and
persists over reason.
 These lines illustrate the persona’s
overwhelming emotional state in "Uhaw." This
caused him to reject reason. The song narrates
a story in which intense feelings take
precedence over reason, highlighting the
compelling power of emotional vulnerability in
issues of the heart. The persona has invoked his
own reality by recollecting experiences that are
related to the dance, “Bakit uhaw sa 'yong
sayaw?” In the context of power dynamics,
dancing can empower people in several ways.
It has special advantage to the person who has
the skill, even if it may not be as frequently
connected with power as other abilities, like
leadership or negotiating. Jones (2020) justified,
“Dancing allows individuals to express their
identity and culture with confidence
overthrowing power entities that may suppress
their identity. Smith and Garcia (2018)
explained, “Dance as a non-verbal form of
communication overcomes language barriers
and capacitates individuals to relay messages
and emotions effectively. Hence, the dance that
the persona mentions repeatedly speaks of his
experiences related to the longing for affection.
It is a metaphor that pertains to romantic
relationship that can be uncovered in the
following lines:
Ako'y giniginaw, halika rito
Dito ka lang sa tabi ko
Mananatiling uhaw, uhaw, uhaw
In this life drama, it is evident that the
persona was emotionally dependent on the
subject but the dynamics of power seem to shift
back and forth between the subject and the
persona rather than moving in a linear manner
from one to the other. The song lyrics typify an
intricate interplay of emotions, desires and
vulnerability manifesting that both the subject
and the persona alternately possess the power
in the song.
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The subject's dance seems to enrapture
the persona, making the subject the center of
attention and power. The subject's dance is so
alluring as the line says, "Bakit uhaw sa'yong
sayaw, bakit ikaw?" (Why thirst for your dance,
why you?).
There are moments in the song when the
persona yearns for closeness and reciprocity, as
indicated by lines such as "Ako'y giniginaw,
halika rito, Dito ka lang sa tabi ko" (I'm cold,
come here, Stay by my side). These lines
suggest a desire for the subject come closer for
them to level the playing field in power
dynamics.
Therefore, it would be more accurate to
say that the power dynamics in the song are not
unidirectional but rather fluctuate between the
subject and the persona, reflecting the
complexity of their emotional relationship
It would be reasonable to claim that the
power dynamics in the song are not
unidirectional but rather vary between the
subject and the persona, reflecting the intricacy
of their connection because they shift between
the subject and the object.
Discourse Strategies used in the Song
Several discourse strategies were used
to convey the themes of desire, longing, and
power dynamics. These strategies were
identified as follows:
Metaphorical Language. The song is
full of metaphors that represent longing and
desire. For instance, the song's frequent usage
of the word "uhaw" (thirst) serves as a
metaphor for the persona's strong yearning or
longing. The use of metaphors enables the
songwriter to subtly express complicated
feelings.
 Repetition. The core themes of desire
and longing are reinforced by the repetition of
significant lines such "Bakit uhaw sa'yong
sayaw, bakit ikaw?" (Why thirst for your dance,
why you?) and "Nauuhaw, naliligaw,
nanliligaw, humihiyaw" (Thirsty, lost, wooing,
shouting). Music frequently uses repetition as a
rhetorical strategy to emphasize and accentuate
feelings.
Direct Address (Second Person). "Bakit
uhaw sa'yong sayaw, bakit ikaw?" (Why thirst
for your dance, why you?) and other lines that
use the second person "ikaw" (you) establish a
direct approach to the topic of desire. This
specific reference makes the song feel more
intimate as if the persona and the subject are
talking together.
Imagery. The lyrics are rich in vivid
sensory imagery, such as dancing in the rain
("Mayakap ka't masayaw sa ulan") and feeling
cold ("Ako'y giniginaw"). The imagery makes
it easier for listeners to identify with the
feelings conveyed in the song.
Contrast. In order to emphasize the
depth of want and longing, the song also uses
contrast. For instance, the contrast between
darkness ("Dumilim man ang paligid") and the
subject serving as the persona's light ("Nandito
ka, oh, ilaw ko") emphasizes the subject’s
importance in the life of the persona.
Narrative Structure. Despite not having
a standard narrative framework, the song
develops like a dialogue or inner monologue as
the character expresses his thoughts,
aspirations, and queries to the subject. The
audience is engaged by this conversational
format, which also effectively expresses the
persona's emotional journey.
These discourse techniques work
together to make the song powerfully depict the
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complexities of human emotions and power
dynamics in relationships by evoking feelings
of longing, desire, and emotional intensity.
Resistance to Power Imbalances and the
Exercise of Agency
The song portrays several elements of
agency and resistance to power imbalances as
follows:
Expression of Desire and Longing:
Desire and longing are the song's main themes.
The persona shows a strong desire for a
romantic or emotional connection by
expressing a deep thirst ("uhaw") for the
subject. As the persona unravels his feelings
and desires, he keeps on repeating the words,
“Uhaw,” and “Ikaw.” This capacity to act
independently symbolizes agency.
Direct Address and Questioning: The
persona asks questions like, “Bakit uhaw sa
'yong sayaw?” Bakit ikaw? "Why thirst for
your dance, why you?" when speaking directly
to the audience. As the persona asks questions
directly and asserts their right to know the
significance of the topic, it challenges the
power dynamics.
Rejection of Homogenization: The song
rejects conformity and homogenization by
highlighting the subject's individuality and the
persona's exclusive desire for her. The
persona's agency lies in their rejection of such
pressures and pursuit of his particular desires in
a society where there may be pressure on
individuals to conform to certain norms or
expectations.
Emotional Vulnerability: Lyrics like
"Nauuhaw, naliligaw, nanliligaw, humihiyaw"
(Thirsty, lost, courting, shouting) convey
emotional vulnerability. Because it takes
courage to express one's emotions in public,
especially when those emotions run counter to
establish power structures, this vulnerability is
an assertion of agency.
Empowerment through Expression:
Expressing one's longing and desire, despite
apprehension or potential rejection, is an act of
agency. It illustrates the persona's capacity for
emotional risk-taking and emotional expression.
Defying Power Structures. The song
challenges the notion that one's desires should
be determined by external norms or
expectations, even though it doesn't directly
address societal power structures. Instead, the
persona exercises agency by going after their
goals on their own.
Story of Pursuit: According to the
song's narrative, the persona is actively
pursuing the object, which is an act of agency
in the context of interpersonal relationships.
They actively pursue love or connection rather
than being passive recipients of another
person's affection.
"Uhaw" depicts the exercise of agency
and resistance to power disparities through the
persona's overt displays of desire, emotional
vulnerability, defiance of homogenization, and
relentless pursuit of the object of their affection.
The song emphasizes the value of standing up
for one's emotions and desires in the face of
societal norms and hierarchical power
structures.
Power Dynamics, Filipino Culture and
Societal Context Intersect
The power dynamics unveiled in the
song "Uhaw" by Dilaw intersect with broader
Filipino culture and societal contexts in several
ways:
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Romantic Longing as Cultural. A
recurring theme in Filipino culture is the
longing and desire that characterize romantic
relationships. The song's depiction of a burning
desire ("uhaw") for the topic is reminiscent of
the romantic and passionate undertones
frequently found in Filipino courtship and love
tales.
Direct Communication and Emotional
Expression: In relationships, open and direct
communication of feelings is highly valued in
Filipino culture. The persona's direct
discussion of the issue and emotional openness
in the song are consistent with this cultural
value of open emotional expression.
Social Context of Dancing: The song's
reference to dancing connects to the country's
social and cultural importance of dance. Dance
is a potent cultural symbol because it is
frequently used in courtship and celebration.
Emphasis on Individual Expression.
Filipino culture places a strong emphasis on
encouraging people to express their distinct
identities and emotions. This emphasis on
individuality and free will in matters of the
heart is reflected in the persona's exclusive
desire for the subject.
Challenging Traditional Gender Roles.
The act of pursuing someone with such ferocity
can be seen as challenging traditional gender
roles, where men are frequently expected to
take the lead in courtship, even though it is not
explicitly mentioned in the song. This
reexamines and challenges the dynamics of
power in interpersonal relationships.
As a result of its alignment with cultural
themes of romance, open emotional expression,
active pursuit of love, resistance to conformity,
and the cultural significance of dance, "Uhaw"
intersects with larger Filipino culture and
societal contexts. In the context of the power
dynamics in relationships, it both reflects and
challenges certain aspects of Filipino cultural
values and norms.
References
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Cacanindin, P. (2016). Music and society: A
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Electronic copy available at: https://ssrn.com/abstract=4587338
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Electronic copy available at: https://ssrn.com/abstract=4587338