ANG MAKULAY NA PAGBABALATKAYO:

A PHENOMENOLOGICAL STUDY ON THE LIVES OF FILIPINO

COSTUME PLAYERS AS THE JAPANESE POPULAR CULTURE

INVADES THE COUNTRY

September 2012

Submitted by

Ralph Alonzo M. Tobias

Patricia Jade O. Pogol

Eunice H. Cabantug

Eloise E. Limotin

MWF 12:25-01:25

Submitted to

Kevin Terence N. Olmedo

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TABLE OF CONTENTS

Chapter Title Page

1 INTRODUCTION
Background of the Study 3
Statement of the Problem 6
Objectives of the Study 6
Significance of the Study 7
Scope and Limitations of the Study 9
Theoretical Framework 10
2 REVIEW OF RELATED LITERATURE
Steampunk 12
Furry 14
Live Action Role Playing 15
Participatory Historical Re-enactment 17
Trekker/Trekkie 19
3 METHODOLOGY
Research Design 21
Locale of the Study 21
Units of Analysis 21
Procedures of Data Collection 22
4 PRESENTATION AND INTERPRETATION OF DATA
Socio-demographic characteristics of the respondents 24
Experiences of the respondents and Analyses 24
Pro- and Anti- Cosplayers 33
Perspectives of the Universitys Professors 35
5 SUMMARY, CONCLUSION, AND RECOMMENDATION
Summary 38
Conclusion 39
Recommendation 40
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Chapter 1

INTRODUCTION

In todays world, Japan is known for its cool video and computer games,

colorful light speed fashion scenes, iconic movie animations, artistic graphical

novels, and many more. Furthermore, the culture of Japan has been virtually

spreading all around the globe. One concrete example of those is the subculture

of Cosplay. The latter has invaded a number of countries and the Philippine

archipelago is one of those. Cosplay.ph, the leading Cosplay website and online

community in the Philippines, is a resounding manifestation of Cosplays

influence to the Filipino people, with its Facebook page having 12, 000 fans and

counting. This popular culture and fandom is anticipated to have a continuous

growth on the forthcoming years as Filipino manga and anime diehard fans

become more inspired to don the costumes and imitate the actions of their

favorite charactersturning this kind of appreciation to a repetitive and

customary pastime. This consumption of the Cosplay culture is the main subject

of this study.

Background of the Study

Tracing back the timeline of media, records have it that several mediums

of communication were already existing. When Johannes Gutenberg invented

the first printing press (known as Gutenberg Press) with moveable and

replaceable wooden or metal letters in 1436, the revolution in the production of

printed books, journals, and other visual paraphernalia had started (Bellis, 2012).

Hence, the creation of other channels for communication started to rise.

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Ever since the birth of media, people have been finding ways to express

and show their individual preferenceslater to find out that what they believe

their individual and unique preferences are also shared by others. That is why

when a Taiwanese television series dubbed with Tagalog lines was aired in the

Philippines, Filipino people have started to divert their attention to Asian soap

operas, sometimes said with the moniker Asianovelas (Enrico, 2008). Their

penetration in the mainstream media and the response of the Filipino people to

imported and foreign products ushered to the wave of Cosplay in the country.

Cosplay, a shortened form of kosupure, is a combination of the Japanese

words costume () and play () (Winge, 2006). Cosplay is the common

word used to describe costume fandomfandom being defined as the realm of

avid enthusiasts. Cosplay is a type of performance art in which an individual is

costumed as a fictional character, typically from graphic novels, comics,

anime/cartoons, video games, or science fiction/fantasy media (Lotecki, 2012).

The term Cosplay (kosupure) is said to have been created in the year

1984 by a person named Takahashi Nobuyukiwho was the founder and the

writer of the publishing company Studio Hardto delineate the science fiction

and fantasy fans who were wearing costumes of their favorite characters and

icons he saw at Worldcon Los Angeles in the same year (Winge, 2006).

Takahashi Nobuyuki was so amazed of what he had seen at the said convention

that when he came back to his country home Japan, he made writings about his

experiences and encouraged the readers to use costumes in the same way, too

(Cozens, 2009).
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Cosplay did not really originate in Japan. In fact, fans of science fiction

and fantasy in North America have been participating in costume fandom back to

the first World Science Fiction Convention (Worldcon) which was held in New

York on July 2 to 4, 1939 (Pollak, 2006). There were an approximately 200

attendees (Madle, 1994) and among those were Forrest J. Ackerman and Myrtle

Rebecca Douglas who were legends of science-fiction fandom (Ackerman, 1965)

(Figure 1). Today, Ackerman and Douglas are believed to have been the very

first persons to make an impact to the world of fandom.

Figure 1. Forrest J. Ackerman & Myrtle Rebecca Douglas at

the World Science Fiction Convention in 1939. From I
Remember Morojo by F.J. Ackerman, 1965.

The rapid spread of Cosplay is one of the most obvious indicators on how

big Cosplay is. However, there are only few people who have made their
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researches about Cosplay and such limited researches and knowledge have

contributed to misconceptions about Cosplay, its surrounding, and the people

appreciating the culture (Lewis, 1992).

Statement of the Problem

The study is geared towards a better comprehension and analysis behind

the shared appreciation of the Filipino teenagers to the expounding subculture of

Cosplay. Furthermore, this study questions the following query:

a. Why do Filipino Cosplayers fancy the subculture of Cosplay?

Objectives of the Study

In general, this study attempts and aims to have a deeper understanding

on why the Filipino youngsters are enthusiastically engaging themselves to the

subculture of Cosplay.

In specific, this study seeks:

a. To know the different cultural traits and characteristics present in

the Japanese contemporary culture that persuades and motivates

the Filipino Cosplayers;

b. To scope the attachment and willingness of the Filipino

Cosplayers with their shared hobby through the frequency of

their consumption of the Japanese contemporary culture;

c. To determine the different mediums that Filipino Cosplayers use

as they consume the Japanese contemporary culture;

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d. To know how the presence of the cultural traits and characteristics

embodied by the Japanese contemporary culture influence the

consumption of the Filipino Cosplayers;

e. To assess how the consumption of the Japanese subculture gives

satisfaction to Filipino teenagers who are fond of Cosplaying;

f. To find out how the fulfillment of needs serves as an inspiration to

the Filipino Cosplayers continuous consumption of the Japanese

Cosplay.

Significance of the Study

The primary reason of the researchers on why they have chosen

Cosplaying as their main subject is, as mentioned in the introductory words under

the Statement of the Problem, to make the knowledge of the readers on

Cosplaying extensive and profound. Some of the statements below are modified

from the thesis of Sarah Kristine M. Alanzalon from University of the Philippines

Diliman (Kpopped!: Understanding the Filipino Teens Consumption of Korean

Popular Music and Videos, 2011). Hitherto, the researchers firmly believe that

this study plays a significant role to the following:

a. Filipino Cosplayers. The researchers of this study are asking to

themselves if the Filipino Cosplayers really know what they are

doing and how it benefits them, either externally or internally. By

reading this amateur study about Cosplaying, the participants

(Filipino Cosplayers) will have the awareness and understanding

of their fandom and how it affects their future decisions and

engagements in their lives. Therefore, the fanatic ones would be

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encouraged to disparage the visible and invisible effects of media

to their choices. Moreover, the researchers are also drawn with

the idea that Filipino Cosplayers, specifically to those who are

joining contests, spend too much on their costumes and

accessories. This will give the parents an understanding to their

childs/childrens admiration of the Japanese culture.

b. Television networks and producers. In line with Alanzalons

study about the Korean pop culture, the fascination of Filipino

teenagers in Cosplay will give an idea to the TV network

personnel and staffs regarding the must-be-targeted audiences.

For instance, if a television network produces a show that

entertains the culture of Japan, it would bring the former an

apparently tremendous growth of net sales.

c. Japanese entertainment companies: The fascination of most

Filipino teenagers in manga and anime that gave rise to the

subculture of Cosplay can be a foundation for the Japanese

companies to recognize the potentialities of Philippines to market,

develop, and enforce their products. Also, this will be

advantageous to the fans of either J-pop or Cosplay for an easier

and faster access.

d. Filipino people. This study will also awaken the senses of the

Filipino people to be against racism and ethnocentrism. With the

help of this study, Filipinos will gain an understanding about what

is behind the faade of fan domination of the Japanese and

Filipino Cosplayers. This study will help to make a link between

the relationship of the Filipino and Japanese people.

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e. Japanese people. This study will be significant to the Japanese

people in the sense that they will have an idea why other nations

choose to adopt their culture. Hence, accusations and

stereotyping will be eradicated.

Scope and Delimitations of the Study

This study focuses on the culture of Cosplaying adopted by the Filipinos,

regardless of gender and age. Using the method of a one-on-one personal

interview with those people who are involved, this study will describe the ways

Filipinos use in utilization of this culture. It also drives those cultural aspects or

factors in which Filipinos can relate with and how the Cosplayers are satisfied by

the factors or aspects.

In this study, it does not attempt to look on the economic status of the

individual who does Cosplaying; but rather on the entertainment, social

interaction, and the identity of the individual. The word Cosplay shall also be

understood in this study. Also, the study focuses on not generalizing all Filipino

Cosplayers; rather understand furthermore the habit of these individuals through

a one-on-one interview.

This study also focuses on the perspective of those who are not involved

in this kind of practice or who are not exposed in this culture but are somewhat

affected by it. Through an interview, we could understand thoroughly why some

people are opposing or not in favor of this kind of culture.

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As a whole, this study focuses and limits only on Cosplaying, the factors

of Cosplaying, the issues involving Cosplayers, and how the people is affected

by Cosplaying.

Theoretical Framework

This theoretical foundation of this study is based on the symbolic

interactionist perspective developed by sociologists George Herbert Mead,

Herbert Blumer, and Charles Horton Cooley (who coined the term symbolic

interactionist) (Ferrante, 2012).

The said framework maintains that individuals develop social identities

through symbolic interaction, an interpersonal process using language,

symbols, and sanctions (Neubeck, Glasberg, 2005).

Moreover, the researchers behind this study are interested in the ways in

which individuals experience, influence, interact, and respond to one another in

everyday situations. The researchers are also interested in the different

meanings that individuals attach to their own actions and, in return, to the actions

of others. The researchers are also interested in how shared symbols affect their

behaviors and outlooks in life.

Hence, the theory of symbolic interactionist is used to analyze the identity

created from the diversity of cultural meanings and systems by the members of

the Cosplay community.

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Chapter 2

REVIEW OF RELATED LITERATURE

In this chapter, the main focus is to present five of the most commonly

used genres of Cosplay according to Ashley Lotecki (Cosplay Culture: the

Development of Interactive and Living Art through Play, 2012). These genres are

named as follows: steampunk, furry, live action role playing, participatory

historical re-enactment, and trekker/trekkie.

Cosplay Genres

A unique trait of fandom is its constant state of evolution and

development (Harris, 1998). This is clearly evident when looking at the growth of

Cosplay and costume fandom since the 1930s. At the first World Science Fiction

convention in 1939, the very first two fan costumes ever worn were strictly

science-fiction based, a tradition that would continue for many years (Madle,

1994). Today Cosplay encompasses a huge range of costume fandom activities.

Individuals may be costumed as fictional characters from graphic novels, comics,

anime/cartoons, video games, and science fiction/fantasy media or characters of

their own creation. Within this culture, distinct genres have developed, each with

its own unique activities, aesthetics, and communities. Insights into prominent

movements within Cosplay culture will enable a better understanding of Cosplay

as a whole.

Steampunk

Steampunk is a Cosplay genre that is rapidly growing in popularity (Rose,

2010; Shippey, 2011). Steampunk is a movement and community that draws on

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the elaborate aesthetics and worldview of 19th -century England (Guizzo, 2008,

p. 52) to create an alternate history, in which steam-driven technology has

continued into the present day.

In this imagined world, technology still operates at a modern level but

retains the Victorian steam-powered aesthetic. The word steampunk was first

invented in 1970 by author K.W. Jeter in his novel The Morlock Night (Shaw,

2011). However, the concept is much older, based on the work of authors such

as Jules Verne, H.G. Wells, Mary Shelley and Mark Twain (Allen, 2010, p. 42;

Inspiration, 2011, p. 16) and supported by more modern works such as The

Difference Machine (1990) by William Gibson and Bruce Sterling (Wherry, 2003).

Guizzo (2008) describes how diehards speak and dress as though they were

from this world, some even staying in character all the time.

The steampunk community has a large online presence which includes

discussions of their lifestyles, related literature, and sharing photos of handmade

prop weapons and costumes they have crafted. There is a real focus on sharing,

exploring things together, building community (Gilsdorf, 2010).

Fashion takes a lead role, embracing the theatrics and whimsy of Victorian

Britain and combining materials and fabrics that highlight contrasts such as

nature and technology, leather and lace, delicate fabrics and metal gears (Figure

2). Components are often stained or hammered to look aged or worn (Petrescu,

2010). The desire to make things is an integral part of the steampunk

movement (Guizzo, 2008, p. 54). Participants embrace the do-it-yourself

movement and value unique, intricate creations over disposable, common ones.
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Furry

Individuals known as Furries are fans of anthropomorphic art and fiction.

Furry fandom developed in the 1980s as a spin-off of science fiction and

fantasy conventions (Kratina, 2007), eventually gaining enough popularity that

the first furry convention, ConFurence Zero, was held in 1989 in California

(Carlson, 2011, p. 196). Many in this community strongly identify with or even

view themselves as non-human species of animals (Gerbasi et al., 2008),

sometimes adopting animal identities in a variety of environments such as online,

in role-playing games, or in real life by wearing a costume (Carlson, 2011, p.

193). The level of costume involvement varies: some individuals are happy with

wearing their normal clothing with plush ears and/or a tail (Figure 3); others

wear complete fur suits or mascot costumes; and furry lifestylers may stay

costumed in daily life (Gerbasi et al., 2008). For some creative furries, the act of

making physical costumes is a natural extension, or alternate expression, of

drawing anthropomorphic animals (Benesh-Liu, 2010, p. 48). Furry fandom is

one of the most striking but also most stigmatized genres within Cosplay,

particularly due to negative portrayals in popular media (Fried, 2005; Crow, 2007;

Parks, 2008; Malloy, 2009; Anonymous, 2011).

Costume fandom inspired by the horror genre, such as Zombie Cosplay,

has quickly gained global popularity over the past ten years. The fastest growing

expression of this genre has been organized public events known as Zombie

Walks, in which participants costume themselves as reanimated corpses and

walk a designated route, usually through the downtown area of a city. In 2003

(Anonymous, 2008, p. 1), the first ever Zombie Walk was organized by Thea

Munster in Toronto, Ontario (Canada) as a way for fans of classic monster lore
 15

and the zombie films of George A. Romero to meet (Tobias, 2008). Now a

worldwide phenomenon, attendee numbers for annual events range from a few

dozen to thousands (Alamenciak, 2011, p. A1). Estimated participant numbers of

note for 2011 events were: Toronto, 7000 (Yuen, 2011); Mexico, 9,860 (Ghouls,

2011); Denver, 12,000 (Gentry, 2011); and Brisbane, 12,000 (Howson, 2011).

Participating generally implies dressing as a zombie. Casual costuming can

involve simple makeup or torn clothing, while more hard-core fans dedicate

substantial time and money to developing detailed makeup and garments

(Hendry, 2010). Makeup artist David Ainsworth has suggested that [a] good

zombie costume will tell the story of how that person turned into a zombie

(Meyer, 2011, p. 3B), such as through faux injuries like bite marks. As well as

wearing costumes, participants frequently adopt traits of a chosen zombie type,

such as gait, mannerisms, and speech. Some participants prefer to socialize and

walk around as their usual selves at these events, but others stay in character

the entire time, speaking only in animalistic groans or moaning Brains. It is also

not uncommon to see other types of monsters or even Zombie hunters in

military-style costumes in attendance at Zombie Walks. The wide variety of

different zombie styles in popular culture and the ability for participants to

zombify any gender, occupation, or race, allows for endless creative options

and appeals to a growing number of people.

Live Action Role Playing or LARP

A more intensive activity which includes costume fandom is that of Live

Action Role Playing or LARP, which has been described as an improvisational

theater version of the game Dungeons & Dragons or a similar fantasy computer

game (Percival, 2006, p. S1). LARP events are real-life gatherings organized
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between a minimum of two players interacting in an unscripted game of role

playing guided by a plot and rules (Tychsen et al., 2006, p. 254). Games may

take place in a single day, during multiple scheduled events, or over an extended

period such as a weekend.

Large-scale events can attract over 3,000 players (Todras-Whitehill,

2004, p. F.1.). LARP, as it is defined today, is believed to have started in the

1970s (Quin, 2003, p. 4; Scotland, 2011, p. A.1) or early 1980s (Tychsen et al.,

2006, p. 256), inspired by tabletop role-playing games (RPGs) such as

Dungeons & Dragons. LARP games are usually set in a fictional reality, popularly

inspired by fantasy, science fiction, and historical re-enactment genres.

Participants develop a fictional character, choosing parameters such as race

(including fantasy races, such as elves, trolls, vampires, etc.), powers,

professions, and personality. Most players play the same character for many

years (Percival, 2006, p. S1) but sometimes are assigned a role for a game

(Todras-Whitehill, 2004, p. F.1.). Costumes are a customary part of becoming

this character, often combined with props or fake weaponry, SFX makeup, and

even speaking in ancient tongues (Dick, 2005, p. 24). The embodied nature of

play, together with the emphasis on props and costume, allows players to have

their characters interact with the game world in extremely varied and detailed

ways (Hitchens et al., 2008, p. 11). Costumes are usually bought, borrowed, or

created by LARPers but event organizers may also provide gear for their

members (Quin, 2003, p. 4).

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Participatory Historical Re-enactment

Participatory historical re-enactment groups exist in many forms and are

inspired by a variety of themes. Unlike LARP, which is typically set in a fictional

universe, these groups participate in an accurate living history of a specific time

period or historical event (Morris, 2001, p. 196) (Figure 7). In the past, high-

concept themes such as medieval knights, Vikings, pirates, pilgrims, and soldiers

have been popular; nowadays, more humble inspirations are also included, such

as the 1984-85 UK miners strike in Orgreave (Brandl-Risi, 2010, p. 56). In

bringing history to life, high importance is placed on authenticity as manifested

through costume, speech, actions, environment, and even the recreation of

historical discomforts of the re-enacted time. Here bodily discourse is created

through animating the past with the physical and psychological experiences of

these events (Agnew, 2004, p. 330). The physical and emotional investments

vary with each participant but there are accounts of intense realism: male

participants starving themselves to portray more authentic Civil War soldiers, for

example; women binding their bodies to appear male (Agnew, 2004, p. 330;

Wagner, 2007, p. 39); and Native American re-enactors painting their skin red

(Jones, 1992, as cited in Gapps, 2009, p. 404). With over 50,000 members

(Society for Creative Anachronism, 2008, p. 2), the largest group of this kind is

the international Society of Creative Anachronism (SCA) founded in 1966

(Wagner, 2007, p. 14). The SCA is dedicated to researching and re-creating the

arts, skills, and traditions of pre-17thcentury Europe (http://www.sca.org/).

Members research and participate in a range of activities such as combat,

archery, equestrian activities, costuming, cooking, metalwork, woodworking,

music, dance, calligraphy, fiber arts, and much more (http://www.sca.org/).

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Unlike groups such as war re-enactors that recreate specific events with defined

outcomes, the Societys major setting for re-creations is through events and

gatherings which can combine one or more activities, such as medieval battles

and tournaments that often feature real fighting (Hrenchir, 2004, p. A1), royal

courts, medieval feasts, and displays of artistic skills. Events can run in length

from one afternoon to a full week but most commonly are one day or weekend

(Society for Creative Anachronism, 2008, p. 2). Upon joining the Society, each

member takes the name of a person from or inspired by the Middle Ages or the

Renaissance (Rolfsen, 1988, p. 1). The New Members Guide to the SCA (2008)

states that all attendees at events are expected to wear pre-17th century

clothing, and although members usually make their own, it is acceptable to have

garb commissioned or borrowed, especially if you are a first-timer (p. 3). As a

visual indicator of the time period, characters, and story, clothing is an intrinsic

component of all historical re-enactments. Months can be spent researching

historical costume and weapons before members make their own, many of them

constructed using the skills learned through the SCA (Rondeaux, 2002, p. 3B).

Authenticity is described as a defining feature of the re-enactment

process (Gapps, 2009, p. 398), imbuing participants both with status within the

Society and outside (such as with cultural and historical organizations). In all

types of historical re-enactment, sloppy costumes and inauthentic behavior are

likely to be negatively criticized (Wagner, 2007, p. 47) and viewed as

embarrassing (Donahue, 2008, p. 1).

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Trekker or Trekkies

Over the past few decades the Cosplay that has become most

recognizable is likely that associated with Star Trek fandom. Members of this

community are known as Trekkies (Trekkies declared, 1995), or Trekkers, a title

strongly preferred by more hard core fans (Rogow, 1991, p. 350; Daly, 2009).

Gene Roddenberrys original Star Trek TV series aired from 1966 to 1969. It

gained immense cult popularity during 1970s reruns (Gilbert, 2009) and this was

reinforced in 1980s with the next series Star Trek: The Next Generation (Horne,

2006). The franchise now spans more than 40 years, including six TV series and

11 movies, the most recent released in 2009. The newest film, Star Trek,

revitalized and re-imagined the universe, appealing to both old and new fans

and further enhancing the franchise popularity. Since the 1960s, fans have

created and expanded on the lore and mythology surrounding Star Trek to the

extent that the world has become a complete alternate universe or reality

(Jindra, 1994). The continually thriving culture has its own fan-made music,

literature, philosophies, films, artwork, and conventions (Jenkins, 1997).

Trekkies/Trekkers tend to gravitate towards a specific race or time period from

Star Trek (Barry, 2009). Although participating in costume fandom is not a

requirement in this community, Cosplay is very popular. Garments and props are

often homemade, bought or commissioned (Kurniasari, 2011).

Trekkie/Trekkers may costume themselves as specific characters or their

own original creations based on the mythology of the series. Accuracy is valued

highly in this community but fans may also try to negotiate between accuracy and

their own personal tastes (Jenkins, 1997). To enhance the experience, fans may

wield weapons, wear SFX makeup and prosthetics, speak in Star Trek originating
 20

languages such as Klingon (Karras, 2003, p. B4), or adopt the personality and

demeanor of their characters. Clubs and online Star Trek communities are a big

part of exchanging ideas and tips for costuming as well as sharing other fan

creations and discussing the various incarnations of the series.

These five examples of Cosplay genres are just a few among many that

exist. The constantly evolving state of fandom suggests there will surely be even

more new genres in the future. It is important to look at the unique relationships

Cosplayers have with different genres and how fluidly they are able to move

between them if they choose (Lotecki, 2012).

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Chapter 3

METHODOLOGY

This chapter disserts what kind of method is used upon conducting the

study. Under this method is the research design, locale of the study, units of

analysis, and procedures of data collection.

Research Design

The research is designed by using the descriptive method wherein the

qualitative approaches were applied to fulfill and satisfy the objectives of this

study with regards to the subculture of Cosplay.

Locale of the Study

The research is conducted within the premises of Ateneo de Davao

University College campus located at Emilio Jacinto Street, Davao City. Also,

interviews from random people and Cosplayers around Davao City are

conducted at Peoples Park located at the heart of Downtown Davao, beside J.

Palma Gil and Jose Camus streets.

Units of Analysis

The respondents of this study are students from Ateneo de Davao

University, Holy Cross of Davao College, Colegio de San Ignacio, San Pedro

College, and Daniel R. Aguinaldo National High School, ages 12 to 19. Random

people are also interviewed at Peoples Park, ages 16 to 42. Three professors

from Ateneo de Davao University are also interviewed.

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Procedures of Data Collection

Data gathering activities were conducted from the 9 th of September 2012

to 17th of September 2012 through one-on-one structured interviews with ten (10)

open-ended and subjective questions. In a structured interview, the wording and

sequence of questions are set in advance and cannot be altered during the

course of the interview (Ferrante, 2003).

The following timeline shows the set of schedule observed by the

researchers:

DATE ACTIVITY(IES) DONE

The researchers contacted the

president of the Ani-Ma Kyoukai

International Affairs in Davao City and

September 9-11, 2012
asked for his permission to let the

researchers conduct an interview to its

members.

The researchers were able to interview

three (2) Atenean Cosplayers (they are

September 12-14, 2012
not members of the Ani-Ma Kyoukai

International Affairs).
 23

The researchers were able to interview

four (6) Ani-Ma Kyoukai International

Affairs, and seven (6) random people

September 15, 2012
who are exchanging their views about

the subculture Cosplay.

The researchers were able to interview

three (3) Social Sciences professors

September 17, 2012 who gave them their explanations with

regards to the factors that affect the

behavior of the Cosplayers.

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Chapter 4

PRESENTATION AND INTERPRETATION OF DATA

In this chapter an analysis of the data collected for the study is made,

statistical techniques are applied and interpretations are made in order to draw

the conclusions of the study.

I. Socio-demographic characteristics of the respondents

The respondents of this study are students from Ateneo de Davao

University, Holy Cross of Davao College, Colegio de San Ignacio, San Pedro

College, and Daniel R. Aguinaldo National High School, ages 12 to 19. Random

people are also interviewed at Peoples Park, ages 16 to 42. Three professors

from Ateneo de Davao University are also interviewed.

II. Experiences of the respondents and Analyses

In this section, experiences of the respondents are tackled and analyzed

by means of using the symbolic interactionist theory and the concepts of media

dependency theory, looking-glass self, the creative self, and fashion and fads.

a. Media Dependency Theory. This theory states that the more dependent

an individual is on the media for having his or her needs fulfilled, the more

important the media will be to that person. (Ball-Rokeach, S. J., & DeFleur,

M.L., 1976).

When the respondents were asked what influenced them to enter

Cosplaying and what they think the reason why Cosplayers grow in number,

some answered the influences of their friends. However, most of the respondents
 25

said that media had played a huge role as the main influence to them and

channel to propagate the number of Cosplayers.

Dumarami ang nagko-Cosplay because na publicize ito. One of

the specific goals ng Ani-Ma Kyoukai International Affairs is dalhin ang

Cosplay dito sa Davao. (The population of Cosplayers is growing

tremendously because it was publicized. In fact, one of the specific goals

of Ani-Ma Kyoukai International Affairs is to bring Cosplaying here in

Davao.) Gwenn, 18

Ang nag-impluwensiya sa ako para mag-Cosplay kay ang media.

Always man gud nako siya makita sa TV bantog na-curious pud ko kung

unsa ang Cosplay. Ug na-influence pud ko ni Myrtle sa PBB na mag-

Cosplay pero dili nako siya idol. (Media influenced me to do Cosplay. I

could always see it on TV that was why I became curious on what

Cosplay is. And, Myrtle of PBB influenced me to Cosplay.) Yumi, 12

Based on the testimonies of Gwenn and Yumi, media answers the

question of the history of their second identities as Cosplayers.

Obviously, the power of media is strong and invincible, and teenagers are

mostly affected with it. Teenagers in todays world are now presented with

high technologies such as computers, the Internet, and the touch screen

cellular phones.

As media dependency theory states, the more media is needed by

individuals, it becomes more important to them. For instance, when a

student is asked to look for information about the history of the Earth and
 26

the media is the only source he or she has, or worse, knows, he or she

becomes more dependent on it.

As researchers see it, Filipino Cosplayers depend on media when

it comes to their portrayal of roles. The latest winner of Pinoy Big Brother

was Myrtle Sarrosa who is a Cosplayer. The time she entered the most

famous house in the Philippines, Myrtle Sarrosa awakened the curiosity

and interest of the Filipinos to join the circle of Cosplayers.

Also, the media has changed the perspectives of the teenagers

about Cosplayers. Myrtle Sarrosa was popular not only because she was

a housemate of the house, but she was the object of intrigues and

gossips inside as well. Some people saw Myrtle as overacting, emotional,

childish, vain, and trying-hard; however, some people saw her as

intelligent, creative, initiative, brave, and leader-like.

Looking at the negative side, people immediately stereotype the

Cosplayers as Myrtle, compare the Cosplayers to Myrtle, and judge the

Cosplayers with Myrtle as their basis.

b. The Looking-Glass Self. According to the sociologist Charles Horton

Cooley, the looking-glass self refers to the way in which a persons sense of

self is derived from the perceptions of others. Our looking-glass self is not

who we actually are or what people think about us; rather, it is based on our

perception of how other people think of us (Kendall, 2006).

When the respondents were asked why people judge and laugh at

them every time they flaunt themselves clad in their flamboyant

costumes, assumptions and expectations were revealed.

 27

Siguro, gina-judge ko nila kay mainggit man gud sila sa akoa. Dili

man gud siguro nila mabuhat ang ilang gusto. Mga suyaon lang jud sila.

(Perhaps they judge me because they are insecure with me. They cant

do what they want. They are nothing but insecure people.) Yumi, 12

Using the perspective of the looking-glass self, Yumi quickly

perceives that people laugh at her because they are jealous of her. The

researchers see that because of that mentality of Yumi, she develops a

character of overconfidence, snobbishness, and dominance. Because

she thinks that everybody becomes green monsters (an idiomatic

expression for a jealous person) when she wears her colorful costume,

Yumi feels that she is far better than them.

When the researchers saw Yumi dancing the new trend of

Gangnam style in the middle of a park, the researchers automatically

hypothesized that Yumi really possesses overconfidence. Although

people were watching her mockingly and jokingly, she still danced with

her head up high.

Ganahan sad ko sa feeling na musikat ko sa school. Kana

bitawng makita ko nila tapos muingon sila na, Hala, o! Siya man `tong

nag-Cosplay sa Abreeza, `di ba? (I also like the feeling of being popular

in school. You know, every time they see me, they cant help but say, Oh!

Isnt she the one we saw Cosplaying at Abreeza?) Hannah, 14

On the other hand, Hannah told the researchers that she likes the

feeling of being popular in school. Because of the minute attention that

her schoolmates give her, she gains a confidence on herself that leads to
 28

the wrong road. The researchers asked Hannah about her reaction when

people mock at her, she said that she engages herself in a physical and

verbal fight whenever she tries to defend herself. As she defines herself,

she is an aggressive person.

Maldita jud ko basta awayon ko, Hannah says.

Based from what Hannah said about herself, the researchers had

an idea why Hannah immediately engages in a fight. Of course, she is

used to be famous in school. Given that the school is an agent of molding

ones personality, Hannah loses her reputation if someone plays jokes

with her and her hobby. In other words, her pride or ego for herself

becomes affected.

c. The Creative Self. The concept of creative self is the self in its creative

aspects that interprets and makes meaningful the experiences of the

organism and that searches for experiences to fulfill the persons unique

style of life. This concept is developed by Alfred Alder. The concept of

creative self also reinforces that individuals make their own personalities

from the raw materials of their heredity and environment (Engler, 2009).

The researchers asked the respondents to tell who their favorite

anime characters are. Not all answers of the respondents are shown

below.

Marjorie Daw of Shakugan no Shana. Kasi mature siyang mag-

isip tapos strong rin siya na character kahit girl siya. Feminist kasi ako.

(Marjorie Daw of Shakugan no Sahana. She is thinking maturely and she

is strong even though shes a girl. Well, Im a feminist.) Alyssa, 16

 29

Ciel Phantomhive of Kuroshitsuji. Although hindi kami pareho ng

personality, may makita pa rin akong similarities namin in the way he acts

and likes niya. I can understand his feelings. (Ciel Phantomhive of

Kuroshitsuji. Although we dont have the same personality, I can see

some similarities on how he acts and also his likes.) Thea, 12

Black Rock Shooter. Maldita man gud siya tapos aggressive pa

jud. Parehas ra jud me. (Black Rock Shooter. Shes aggressive. Were

just the same.) Hannah, 14

Tsunayoshi Sawada. I can see myself sa kanya. Gina-bully siya

at first and no confidence sa sarili. (Tsunayoshi Sawada. I can see

myself on him. He was bullied at first and he also has no confidence in

himself.) Carmela, 19

After listening to the answers of the respondents, the researchers

realized that the Cosplayers preferences for their favorite anime or

manga characters are drawn from their personal experiences. By reading

between the lines, the researchers also realized that their preferences are

affected by how they see and relate themselves to the characters. It may

be how similar they are on their way of thinking, choice of words,

childhood experiences and many more.

In Carmelas case, she chooses Tsunayoshi Sawada as her

favorite character. To her, she resembles herself to the said character. At

first, she did not have any confidence for herself. She was even afraid of

talking and interacting with the crowd. She was nothing but a timid and
 30

shy person before. Nevertheless, all of those had changed after she did

Cosplaying.

I gained confidence for myself. I didnt know how to talk in

crowd. Pinalaki kasi ako sa bahay na bawal magsalita kapag hindi pa

tapos ang nagsasalita. Ive also gained creativity, open-mindedness, self-

esteem and mas naging knowledgeable ako sa topography ng Davao.

Kailangan ko kasing malaman kung saan makakabili ng mga murang

materials for my costumes. Also, I learned how to make myself pretty with

the power of make-ups. It may seem funny pero naging slim na rin ako

dahil sa proper diet. (I gained confidence for myself. I didnt know how to

talk in crowd. I grew up in a family that has the rule of not talking unless

someone finishes talking. Ive also gained creativity, open-mindedness,

self-esteem and I became knowledgeable with the topography of Davao. I

needed to know the places where I could buy materials for my costumes

in a cheaper amount. Also, I learned how to make myself pretty with the

power of make-ups. It may seem funny but I also became slim because of

proper diet.) Carmela, 19

d. Fashions and fads. A fashion is a social pattern favored by a large number

of people. Some fashions last for years, while others change after just a few

months (Macionis, 1999). Fads are temporary patterns of behavior involving

large numbers of people; they spring up independently of preceding trends

and do not give rise to successors (Schaefer & Lamm, 1995). Fads have an

amusing mass involvement. They may be products, activities, words or

phrases, or popular heroes (Andersen & Taylor, 2006).

 31

The researchers consider Cosplay as a form of collective behavior

in the society. Two of the most common kinds of collective behavior are

fashions and fads. Lyn Lofland (1973) once said that people use fashions to

make a statement about them, such as their hairstyles, clothes,

automobiles, and language. In other words, Cosplayers favor the fashion of

luminous-colored hairs, huge and heavy artificial weapons and armors,

unusual designs of clothes, and overdid make-ups.

One of the questions of the researchers is the expenditures the

Cosplayers spend for their blings, accessories, and props. The researchers

are curious how much they spend in every set of costumes and whether the

money they use comes from their allowances or from their parents.

Personal money. In my case, pinakamahal na ang P 3, 400 na

nagasto ko will all the wigs, fabrics, labor, et cetera. Pinakamura na rin

siguro ang P 2, 000. Hindi naman ako nanghihinayang. I just keep my

costumes for old times sake. (Personal money. In my case, P 3, 400 is the

biggest expense I had with all the wigs, labor, et cetera. Perhaps P 2, 000

pesos is the lowest. Well, I dont feel any regret with the things Ive spent

for. I just keep my costumes for old times sake.) Karla, 17

From my parents. Approximately, P 2, 500 is the most expensive

costume and I dont regret it. Thea, 12

Ginagamit ko ang sarili kong pera. Ang pinakamahal na nagastos

ko ay 5, 000 pesos at hindi ko pinanghihinayangan `yon. (I use my own

money. So far, the biggest expense I had amounted to 5, 000 pesos. But, I

dont regret each cent that I have spent.) Angelica, 18

 32

When asked about whether their parents like what they are doing,

the answers of the respondents were all similar to each other.

Actually, hindi pumapayag ang parents ko because it has too much

expenses. They think hindi masyado sensible. Hindi nila ma-understand

ba. (Actually, my parents do not agree with me because of its expense.

They think what I do is insensible. They do not understand in other words.)

Alyssa, 16

As of the moment, yes. Dati, hindi sila pumayag kasi hindi nila

makita ang sense ng ginagawa ko. (As of the moment, yes. Before, my

parents didnt like the idea of me doing Cosplay because they couldnt see

the sense of the latter.) Angelica, 18

At first, nagalit sila kasi mahal daw. Hindi rin daw nila nakikita `yong

sense ng ginagawa ko. But, I argued with them. I said that they had no right

to take away my right for having fun. Since I enjoy Cosplay, I should have

the freedom to do it so. Karla, 17

Hanggang ngayon, hindi alam ng parents ko na nagko-Cosplay

ako. To make it clear, `yong Mommy ko lang ang nakakaalam. Pero nong

nag-college na ako, dumating si Dad. Hes strict. At hindi pa niya alam ang

pagkahalina ko sa Cosplay. Carmela, 19

The researchers realized that Cosplayers spend too much on their

costumes. They spend not just too much of their time but too much of their

money, too. Other might think that the money they have spent for their

costumes might have been spent for more sensible things like food. Or,
 33

others might think that they should have donated to some sort of charity the

money.

But, as what Karla said, They had no right to take away my right of having fun.

The Cosplayers decide for themselves. In their book Sociology: Pop Culture to

Social Structure (2010), Robert Brym and John Lie have given a statement about

fashion and fads.

A persons identity or sense of self is always a work in progress. True, we

develop a self-conception as mature. We come to think of ourselves as
members of one or more families, occupational groups, communities, classes,
ethnic and racial groups, and countries. We develop patterns of behavior and
belief associated with each of these social categories. Nonetheless, social
categories change over time, and so do we as we move through them and as
we age. As a result, out identities are always in flux. When our identities
change, we become insecure or anxious about who we are.

Clothes help us express our shifting identities. For example, clothes can
convey whether you are straight, sexually available, athletic, conservative,
and much else, thus telling others how you want them to see you and the
kinds of people with whom you want to associate. At some point, you become
less conservative, sexually available, and so on. Your clothing style is likely to
change accordingly. For its part, the fashion industry feeds on the ambiguities
in us, investing much effort in trying to discern which new styles might capture
current needs for self-expression.

III. Pro- and Anti-Cosplayers

In this section, the researchers are able to interview random people for

their opinion about Cosplaying. Note that not all answers are stated in this

section. The answers here are chosen deliberately by means of the

generalizations of the answers. Note also that the names are invented to

maintain the anonymity of the respondents as well as the confidentiality of their

answers.

In my own opinion, I find Cosplayers as deviants. They are different

from the majority. Society sets standards on how we behave especially when
 34

in public places. For me, it is not appropriate to dress and look like aliens

walking by the streets. They are people who need acceptance, approval and

attention from the public. Siguro, wala silay feeling of belongingness way

back home bantog nagabuhat sila ug inyana nga klaseng behavior. Rhea,

30, mother

Dili lang ko ganahan sa ilaha. Sa akong opinyon, samok sila sa

mata. (I just dont like them. They are a pain in the eyes.) Vince, 42,

employee

Hindi ko makita ang sense ng ginagawa nila. I mean, okay ang

Cosplay kapag may contests. Pero `pag ordinary days tapos nasa park ka,

kailangan pa bang mag-Cosplay ka? Dapat nasa lugar ang pagko-Cosplay.

(I cant see the sense of what they are doing. I mean, Cosplay is okay if its

used in contests. But during ordinary days and youre in a park, is it

necessary to Cosplay? Cosplaying must be put in the right place and at the

right time.) Patricia, 16, student

It (Cosplaying) helps the youth to have a positive thinking.

Cosplaying enhances their ability and confidence. All I can say is Cosplay is

an artyou give life on it. You know, the youth must enjoy every moment of

their generation as what they have now because time will pass. For sure,

they will remember their youth life as they grow older. Janine, 22,

employee

Wala may mali sa mga Cosplayers. Binubuhay nila ang mga

characters. (Theres nothing wrong with the Cosplayers. They live out the

fictional characters.) Ashley, 25, employee

 35

Walang masama sa mga Cosplayers. `Yon `yong hilig nila. Its an art.

Its their love for Cosplay. Dili man sad pasabot na dili na sila pure Filipinos.

Actually, wala man nila totally gina-adopt ang culture sa Japan. Gina-

appreciate lang jud nila. (Theres nothing wrong with the Cosplayers. Its

what they like. Its an art. Its their love for Cosplay. It doesnt also mean that

they are not Filipinos anymore. Actually, they dont totally adopt the culture of

Japan. They just appreciate it.) Nicole, 18, working student

IV. Perspectives of the Universitys Professors

In this section, the researchers have conducted an interview with three

professors in Ateneo de Davao University on how they can relate Cosplay to their

field of study. The researchers asked the following respondents whether

Cosplaying is a form of deviant behavior or the otherwise. Note that researchers

decided not to show the names of the respondents for their anonymity to be kept

and the given information as well.

Cosplay is just normal for people who love to play different loves and

I think, it is part of growing up. It is not a form of deviance as well.

Philosophy Division

In sociology, we define deviance as the behaviors or practices that

violate existing cultural norms. When we say of norms, it can be mores and

folkways. Maybe you can say that they are violating folkways because their

hairstyles and costumes are catchy. There is something that they do that is

new to the society. However, if its something that they do every day, such as

they wear their costumes in school, its another matter. So, I dont think there

is a form of deviance; but, they can be considered as a subculture. Because

 36

of their hobby or dahil gusto nilang gawin, it makes them different from the

mainstream. But, as I said, its not necessarily a form of deviance. Wala koy

mahuna-hunaan na theory para makaingon ko nga deviance ang ilang

ginabuhat. But there are deviants who constitute a subculture. For example

are the homosexuals. They violate norms, `di ba? Ang lalaki dapat sa babae,

ang babae dapat sa lalaki. Therefore, they violate norms. Sociology

Division

There is no any sign of deviant behavior in Cosplaying. It is just an

expression of art. Like the costumes per se, it is an art. As far as I am

concern, hindi ko makita na deviant behavior ang pagko-Cosplay. `Yon lang

kapag it becomes a tool to criticize a person. Ibang level na `yon. Theology

Division

The ending question of the researchers is as follows: Hanggang saan

ang limitasyon ng pagko-Cosplay mo? Dadalhin mo ba ang pagko-Cosplay

hanggang sa iyong pagtanda?

At that point, opinions are halved. Some answered that they would not

stop Cosplaying come what may. Some also answered that they did not think

that they would continue Cosplay because time would come that their minds

would be occupied with their priorities in life, such as family and work.

However, they said that once a Cosplayer, you will always be a Cosplayer by

heart.

The researchers did ask about their loyalty to the culture of the

Philippines. They all had a collective answer that even if they adopt culture

from other nations, they still know and acknowledge their own bloodline and
 37

heritage. They even defended themselves that they do not totally adopt the

culture of other people. What they are doing is that an appreciation to

someone elses culture.

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Chapter 5

SUMMARY, CONCLUSION, AND RECOMMENDATION

This chapter shows the highlights of the study, the conclusion of the

researchers of the data gathered, and the recommendations.

Summary

This study found out that Filipino Cosplayers were active consumers of

the Japanese culture. One factor that is concerned on the dissemination of the

context of Cosplaying is the media. Media virtually molds the personality of the

Cosplayers because of its nature as ubiquitous.

This study also found out that Filipino Cosplayers do not mind on

spending too much money for their donned costumes and synthetic weapons.

The Cosplayers preference on choosing their favorite anime or manga

characters is based on how they relate themselves to the latter.

By Cosplaying, the Cosplayers develop the artistic and mature spirit in

them. It discloses lots of their hidden skills and abilities.

There are also people who do not like the idea of Cosplaying. The antis

say that the Cosplayers just need a special attention from the public. The pros

also say, on the other hand, that the Cosplayers are just re-enacting the

characters of the imaginative animation.

However, Cosplaying should not be categorized as a deviant behavior.

Instead, it should be categorized as a subculture only.

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Conclusion

The results of the study generated the following conclusion in accord to

the objectives:

a. The different cultural traits and characteristics present in the

Japanese contemporary culture that persuades and motivates the

Filipino Cosplayers are the artistry and creativity of the costumes.

b. The attachment and willingness of the Filipino Cosplayers with

their shared hobby through the frequency of their consumption

of the Japanese contemporary culture is whether for infinity or

not. The reason for the latter is the creation of family, changes of

decisions, and scarcity of time to do so.

c. The different mediums that Filipino Cosplayers use as they

consume the Japanese contemporary culture are the media, peer

groups, and acquaintances.

d. The consumption of the Japanese subculture gives satisfaction to

Filipino teenagers who are fond of Cosplaying. Also, Cosplaying

gives them the benefit to develop their self-confidence, creativity,

knowledge, bravery, and interpersonal skills.

e. The fulfillment of needs serves as an inspiration to the Filipino

Cosplayers continuous consumption of the Japanese Cosplay

because of the exposure, popularity, and psychological benefits

that the subculture gives.

 40

Recommendation

The researchers recommend future researchers to tackle the cognitive

and behavioral effects of foreign media content, such as Cosplay, on the Filipino

fans. The current research almost touched on this subject, but failed to elaborate

more and incorporate more of the researchers extensive and subjective analysis.

The researchers recommend also studying the effects of consuming Cosplay

content on the fans actions, personalities, lifestyle, etc. The researchers

recommend more thorough studies on how Filipino Cosplayers react to the

mannerism of stereotyping and judging them. Studies on crimes or violent

engagement wherein Cosplayers are involved are also recommended by the

researchers.

Also, for future researchers, it is recommended to have an interview with

the parents of the Cosplayers to confirm the validity of the statements of the

Cosplayers. Such personal interviews with the parents will give the teenagers the

understanding why their parents oppose them of fancying Cosplay. Lastly, a

study on the a comparative analysis between Japanese culture and Filipino

culture can also shed light on which of the two media texts is more preferred by

the Filipino audience and the reasons for their preference. The results of such

studies would be beneficial for the improvement of the local media industry.