"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

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 treasure that is still relevant in modern-day
Introduction Filipino culture.
Music just like poetry reveals different This discourse analysis explores the
meanings based on the listener’s perspective linguistic choices, metaphors, and thematic
and that of the singer or songwriter. The nature elements that construct and express these
of the human experience reflected in the song interactions in order to investigate the power
sometimes resonates from the songwriter’s or dynamics inherent in the lyrics of "Uhaw." This
poet’s feats, adventures and objective study endeavors to uncover the song's deeper
observation of the events in the society where levels of cultural relevance and meaning.
he participated or merely acted as an observer.
Music is a form of entertainment and a source Roland Barth in his Essay entitled, “The
of enjoyment. Whether through the use of Death of the Author” explained that the literary
recordings or live performances, it enables us text should not be seen from the vantage view
to switch gears, disengage from our regular of the author alone to avoid restricting the rich
lives, and engage in something new. Music was interpretation of the text which should come
intended to be played in front of an audience in from the readers. He introduces the idea that
many of its earliest and most popular forms; the work" is the tangible result of the author's
concerti, symphonies, and operas were all labor, while the "text" is the mutable, open-
initially conceived as forms of entertainment, ended, and possibly limitless field of meaning
and all composers throughout history have created by readers' interpretations. This
created for these mediums (Montagu, 2017). distinction between the "work" and the "text" is
made by Barthes in his seminal work. He
Music has the ability to reflect, contends that the value of a document should
influence, and criticize society across all not be determined primarily by the author's
cultures and generational divides. Music has a intentions, which are frequently indeterminate.
specific significance in the rich fabric of
Filipino culture, serving as both a mirror and a Cirilo Bautista (2000) beautifully
megaphone for societal challenges and power encapsulates in his Philippine Daily Inquirer
relations. The song "Uhaw," by the well-known column the cultural imperative in the
performer Dilaw, stands out as an interesting appreciation of a literary text that at a certain
subject for discourse analysis in this context. point the richness of the text can be explored in
The Filipino word "uhaw" which means "thirst" different ways but there would be a point where
encompasses both a literal bodily feeling and a the author’s text and the readers richness of
metaphorical desire, maybe revealing deeper experiences meet to elicit meaning based on
social and cultural thirsts. how culture and language shape the way
listeners and readers think and act in many
Diverse styles of Filipino music have ways. The cultural imperative allows the
served as a repository for stories that deal with listener or reader to explore the text through
themes of love, longing, struggle, and contextualization by examining the historical,
resistance. The lyrics and melody of "Uhaw" social and cultural context for the literary works
connect with listeners on many different levels. and also from the multicultural perspective.
Due to Dilaw's distinctive voice and her poetic More importantly, it provides an avenue for
words, this song has become a timeless cultural examining how the piece of work represents

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cultural groups and identities. Stereotypes, bias Songs like "Uhaw" by Dilaw can be viewed in
and underrepresentation in the work of art are this sense as a part of a larger heritage of music
covered. In a way this approach encourages used to question and defy accepted social
readers in critically analyzing the cultural and standards (Santos, 2020).
societal implications of literary writings. For
Power dynamics and gender dynamics
this, it may be important to analyze power
coexist in the world of music (Santos, 2018).
dynamics, socioeconomic issues, and
Songs' depictions of gender roles and
ideological perspectives presented in literature.
relationships have the potential to both reflect
Finally, intersectionality would be applied in
and reinforce current power disparities
the analysis by acknowledging that a person's
(Martinez, 2016). For a thorough
identity is frequently influenced by a variety of
understanding of "Uhaw's" societal impact, it is
variables, including race, gender, class, and
crucial to examine how it resolves or challenges
sexual orientation.
gender-related power structures.
The ability of music to reflect, shape,
Through the different lenses reflecting
and critique society across generational and
the roles of music in the society, this study,
cultural divides has long been acknowledged
entitled, "Unveiling Power Dynamics: A
(Katz, 2019; Shepard, 2017). Music holds a
Discourse Analysis of the Song 'Uhaw'" by
special role in the rich fabric of Filipino culture,
Dilaw.” was conceived. Critical Discourse on
serving as both a megaphone for expressing
Power Dynamics in Filipino music is an area
these issues and a mirror that reflects societal
that is not yet totally explored. Through the lens
struggles and power dynamics (Dizon, 2020;
of critical discourse analysis, power dynamics
Espiritu, 2018).
would be explored in the lyrics of the song
According to Cacanindin (2016), "Uhaw" by Dilaw. This study endeavored to
Filipino music has a long history of being used answer the following questions:
as a platform for political and social
1. How are power dynamics
commentary. It is essential for expressing the
constructed and represented in the lyrics of the
aspirations, complaints, and dreams of the
song "Uhaw" by Dilaw?
Filipino people while frequently opposing
established power structures (Serapio, 2019). 2. In what ways does the song portray
Songs in particular have the power to capture resistance to power imbalances and the
intricate stories and feelings in their melodies exercise of agency?
and lyrics, allowing them to strike a powerful
chord with listeners (Gonzales, 2017). 3. How do the power dynamics
unveiled in the song intersect with broader
The tradition of protest and resistance Filipino culture and societal contexts?
through songs in Filipino music is one notable
aspect (Romero, 2021). These songs show The methodology of Critical Discourse
potential as potent instruments for opposing Analysis (CDA), which has roots in linguistic
repressive structures and promoting change and cultural studies, is used in this study. A
(David, 2015). They give underrepresented rigorous examination of the connections
voices a platform to be heard and a way to between language, power, and social context is
expose power relations (Dela Cruz, 2018). made possible by CDA. This framework
enables us to examine the language and

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thematic decisions in the lyrics of "Uhaw" and response. This aspect reveals how the music
their implications for comprehending power interacts with and responds to gender dynamics,
relations in Filipino culture by drawing on the power structures in society, and cultural
works of Fairclough and Bourdieu. standards.
In this study, the theoretical framework Bourdieu's Concept of Cultural Capital and
draws upon critical discourse analysis (CDA) Symbolic Power
as developed by Fairclough (1995) and Norman
Understanding how 'Uhaw' functions as
Fairclough's three-dimensional framework.
a cultural text is made easier with the help of
This framework enables the exploration of
Pierre Bourdieu's theories of cultural capital
language use and its relationship with power
and symbolic power: The study examined how
dynamics within the lyrics of the Filipino song
the song "Uhaw" exemplifies cultural capital,
'Uhaw.' Additionally, Pierre Bourdieu's
which stands for the information, principles,
concept of cultural capital and symbolic power
and symbols that are highly regarded in a
informs the analysis of how music functions as
culture. The study investigated how the song
a cultural text that reflects and influences
represents socio-economic hierarchy and
societal power relations.
cultural capital by dissecting its symbolism and
Fairclough's three-dimensional cultural allusions.
framework of CDA involves analyzing texts,
Bourdieu stressed the importance of
discursive practices, and social practices:
culture in upholding and subverting existing
Text Analysis: The study looked at the power structures in his idea of symbolic power.
song "Uhaw"'s lyrics to find linguistic elements The study looked at how the symbol "Uhaw" is
like metaphors, rhetoric, and vocabulary used to negotiate and challenge social power
choices. These linguistic components expose dynamics, such as those involving concerns of
underlying ideologies, power structures, and desire, gender, and social standards.
social conventions that are part of the discourse
This study aimed to reveal the complex
of the music.
power dynamics concealed in the song "Uhaw"
Discursive Practice Analysis: This and shed light on how music functions as a
domain investigates how language is used in discourse that mirrors, influences, and critiques
varied context. It entails looking at the creation, societal power relations by fusing Fairclough's
dissemination, and reception of the music, as CDA framework with Bourdieu's ideas of
well as the roles played by creators, producers, cultural capital and symbolic power.
and listeners. The study reveals the power
In this section, we describe the process
dynamics that are present in the music industry
of collecting data for our discourse analysis of
by investigating the composition and
the song 'Uhaw.' The data collection phase is
consumption of the song.
crucial in obtaining the raw materials—lyrics
Social Practice Analysis: The analysis and musical elements—necessary for our
places the song amid broader societal norms analysis.
and hierarchies of power. It explores the
Data Collection
sociocultural, political, and historical factors
that affect the song's message and audience Selection of the Song 'Uhaw'

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 The song, “Uhaw” was obviously very the song lyrics adapted online was verified
distinct from other songs created and through close listening to the original song
performed from 2022 to the present considering performed by Dilaw to avoid the creation of
the tempo, theme, style and content of the song different meaning if addition and deletion
as it evokes a feeling of longing or the desire to inadvertently happened. The fair use of a
quench one’s thirst. In an interview with the copyrighted work for criticism, comment, news
members of the Dilaw band regarding their title reporting, teaching, scholarship, or research,
selection, “Uhaw” they collectively agreed that whether in the public domain or privately
Uhaw does not literally mean the thirst or conducted, without the need for permission
longing for love but rather encompasses from or payment of compensation to the
different shades of meaning as the thirst for copyright owner of the work, under such terms
water, thirst for something in life, a wish, a and conditions as may be determined by the
desire, a plan or something that a person wants Intellectual Property Office of the Philippines
to venture on. The researcher’s choice of the (IPOPHL)" (Intellectual Property Code of the
song was deliberate because of its seemingly Philippines, Section 185)
magical and straightforward language and
Cultural Sensitivity
melody that suits the taste of the young and old
as if someone is longing for something in a Cultural sensitivity was observed in the
poignant narrative deep emotional tone. study given the cultural significance of the song.
Respect for the cultural context and meanings
Lyrics and Musical Elements
associated with the song were also observed.
The lyrics of the song was extracted in
Anonymity and Transparency
an open source online. It served as the main
source of information. The textual data were Steps had been undertaken to protect
used for discourse analysis. The words and any persons or groups whose names appear in
phrases that would be investigated in terms of the song during our analysis. When requesting
their discursive connotation and power permits and when outlining the research to
dynamics are found in the lyrics. prospective participants or stakeholders, the
researcher will always be open and honest
While the linguistic component of the
about the research’s goals and methodology.
song is the main focus, musical element was
also used to add flavor to the analysis. This The song's lyrics and musical
encompasses the melody, instrumentation, components were the subjects of discourse
tempo, and composition of music. These analysis in order to examine the power
components may contribute to how the music dynamics present in the song "Uhaw" within
conveys its feelings and its cultural setting. the framework of Filipino culture.
Ethical Considerations This study has the potential to shed light
on the power dynamics at play in Filipino
Permission
music and culture. Uhaw serves as a tool to
The research was undertaken with navigate, test, and perpetuate societal power
courtesy from the members of the Uhaw Band relations through the analysis of its lyrics. In
lead by Dilaw Obero and Via Bellosa, the addition, by stressing the function of music as
songwriter and lead guitarist. The accuracy of a cultural artifact and a forum for discourse on

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power, this work shall contribute to the broader perceive power imbalances as unjust, they may
field of cultural studies. engage in acts of resistance to challenge or
transform these dynamics (Scott, 1985).
Results and Discussion
Resistance can range from peaceful protests to
Power dynamics mirrors a complicated more confrontational forms of activism
and widespread aspect of social and cultural life. (McAdam, 1982).
They cover the numerous circumstances in
Coercion and control are often
which power is distributed, bargained for, and
employed by those in power to maintain their
used. For the analysis of social connections,
authority or suppress dissent (Dahl, 1957).
institutions, and systems, a knowledge of
These tactics can include censorship,
power dynamics is necessary (Foucault, 1977).
surveillance, or the use of force to limit
One of the key components of power opposition (Foucault, 1978). Furthermore,
dynamics is the existence of power imbalances power dynamics are deeply embedded in
where some people or organizations have more cultural and societal factors. Cultural norms,
power, resources or control than others. These values, and historical contexts shape how
inequalities can be manifested in variety of power is understood and exercised in a
ways, such as unequal economic distribution of particular society (Bourdieu, 1977). These
power, unequal political influence, or cultural factors can influence perceptions of
hierarchical organizational structures (Lukes, authority and legitimacy (Hofstede, 1980).
1974). In addition, power dynamics are
Finally, power dynamics can intersect
essentially relational where people or
with other dimensions of inequality, such as
organizations connect to one another in terms
gender, race, class, or age. Intersectionality
of authority and influence (Fiske, 1993). Social
recognizes that individuals may experience
conventions and cultural values frequently
different power dynamics based on multiple
influence these relationships, which can be
aspects of their identity (Crenshaw, 1989).
cooperative or antagonistic (Foucault, 1982).
In the analysis of this paper,
Social Standing, wealth, physical
Fairclough's Critical Discourse Analysis (CDA)
intellectual prowess and leadership
model was applied. This involves examining
responsibilities reinforce power dynamics
the language choices, discursive techniques,
(Weber, 1964). In other cultural settings such
and linguistic components representing power
power is not permanent (Emerson, 1962).
connections in the lyrics of Dilaw's song
One notable aspect of power dynamics entitled "Uhaw."
is the exercise of agency, where individuals or
Construction of Power Dynamics in the Song
groups have the capacity to act independently
Uhaw
and make choices (Giddens, 1984). Agency can
be used to challenge or reinforce existing power Power Dynamics in the song are
structures. For instance, social movements constructed through linguistic choices and
often mobilize agency to challenge power discourse strategies. In examining the words
imbalances (Tarrow, 2011). that are used in the song, “Uhaw” which means
thirsty or craving for something stands as a
Resistance is another dimension of
metaphor for longing for affection, attention,
power dynamic. When individuals or groups

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power or fulfillment. Desire and Longing. In restlessness and the urgency to emotionally and
Dilaw's song, the metaphor "uhaw" might be romantically express his love to the subject.
seen as a representation of yearning or longing. The expression "Puso'y nagmamadaling" ("the
The word "uhaw" in Filipino means "thirst" in heart is in a hurry") denotes that the persona's
English. However, "uhaw" does not refer to feelings are of prime importance as of the
bodily thirst in the context of the song's lyrics; moment; the need for decision making or
rather, it represents a deep yearning or longing reflection is set aside. The persona then is
for something or someone. motivated by a desire for comfort and affection,
setting logic aside in lieu of an emotional
The song's lyrics express a strong
connection. "Kahit na matalisod, mapagod, At
yearning to be with someone, dance in the rain,
bumigay ang tuhod, 'Di ako hihinto": These
and find solace and fulfillment in their
lines illustrate the persona's determination to
company. This metaphorical use of "uhaw" is
pursue the subject of their affection, regardless
more about the desire for a specific someone. It
of the challenges and exhaustion they may face.
conveys the desire to be with someone’s
It reflects a passionate and emotionally driven
company. There seemed to be an appeal on the
pursuit, suggesting that rational concerns are
part of the persona as expressed by the lyrics
secondary to their emotional desires.
and vocal delivery. The persona repeatedly
mentioned “Uhaw” as a means to connect 3. "Kahit na matalisod, mapagod, At
emotionally and gain the subject’s attention and bumigay ang tuhod, 'Di ako hihinto":These
affection. On the other hand, the persona’s used sentences portray the persona's undying spirit
of the words, “Nauuhaw” and Sumisigaw may to pursue his love interest despite of obstacles
be manifestations of vulnerability and and adversaries. It suggests that cognitive
desperation in the name of love. When concerns are just secondary; the primary goal is
someone is romantically in loved according to the consummation of an action that fills in the
Helen Fisher (2004), the person’s intense emotional emptiness or the longing for
emotional experiences can override rational affection.
thinking and decision-making processes. The
4. "Nauuhaw, naliligaw, Nanliligaw,
persona here is very emotional for melodiously
humihiyaw": These lines highlight a feeling of
uttering the following lines in the song:
helplessness and state of internal conflict. The
1. "Bakit uhaw sa'yong sayaw, bakit use of phrases like "naliligaw" (for "lost") and
ikaw?": This sentence conveys a sense of want "humihiyaw" (for "screaming") repeatedly
and longing that overpower reason. "Why you" highlights the persona's emotional vulnerablity
("bakit ikaw") is repeated, which denotes that and lack of emotional control. It denotes a
the persona is feeling overpowered by his departure from reason as emotions take the
emotions and wondering why this particular center stage.
person has such a strong emotional impact on
5. "Mananatiling uhaw, uhaw, uhaw":
him. It expresses an emotional desire that defies
The frequent mentioning of “uhaw” throughout
reason.
the song convey an enduring craving or thirst
2. "Hindi na mapakali, Puso'y that cannot be sated by reason. It implies that
nagmamadaling Lambingin at suyuin ka": the persona's emotional state dominates and
These sentences express the persona’s persists over reason.

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 These lines illustrate the persona’s The subject's dance seems to enrapture
overwhelming emotional state in "Uhaw." This the persona, making the subject the center of
caused him to reject reason. The song narrates attention and power. The subject's dance is so
a story in which intense feelings take alluring as the line says, "Bakit uhaw sa'yong
precedence over reason, highlighting the sayaw, bakit ikaw?" (Why thirst for your dance,
compelling power of emotional vulnerability in why you?).
issues of the heart. The persona has invoked his
There are moments in the song when the
own reality by recollecting experiences that are
persona yearns for closeness and reciprocity, as
related to the dance, “Bakit uhaw sa 'yong
indicated by lines such as "Ako'y giniginaw,
sayaw?” In the context of power dynamics,
halika rito, Dito ka lang sa tabi ko" (I'm cold,
dancing can empower people in several ways.
come here, Stay by my side). These lines
It has special advantage to the person who has
suggest a desire for the subject come closer for
the skill, even if it may not be as frequently
them to level the playing field in power
connected with power as other abilities, like
dynamics.
leadership or negotiating. Jones (2020) justified,
“Dancing allows individuals to express their Therefore, it would be more accurate to
identity and culture with confidence say that the power dynamics in the song are not
overthrowing power entities that may suppress unidirectional but rather fluctuate between the
their identity. Smith and Garcia (2018) subject and the persona, reflecting the
explained, “Dance as a non-verbal form of complexity of their emotional relationship
communication overcomes language barriers
and capacitates individuals to relay messages It would be reasonable to claim that the
and emotions effectively. Hence, the dance that power dynamics in the song are not
the persona mentions repeatedly speaks of his unidirectional but rather vary between the
experiences related to the longing for affection. subject and the persona, reflecting the intricacy
It is a metaphor that pertains to romantic of their connection because they shift between
relationship that can be uncovered in the the subject and the object.
following lines: Discourse Strategies used in the Song
Ako'y giniginaw, halika rito Several discourse strategies were used
Dito ka lang sa tabi ko to convey the themes of desire, longing, and
Mananatiling uhaw, uhaw, uhaw power dynamics. These strategies were
identified as follows:
In this life drama, it is evident that the Metaphorical Language. The song is
persona was emotionally dependent on the full of metaphors that represent longing and
subject but the dynamics of power seem to shift desire. For instance, the song's frequent usage
back and forth between the subject and the of the word "uhaw" (thirst) serves as a
persona rather than moving in a linear manner metaphor for the persona's strong yearning or
from one to the other. The song lyrics typify an longing. The use of metaphors enables the
intricate interplay of emotions, desires and songwriter to subtly express complicated
vulnerability manifesting that both the subject feelings.
and the persona alternately possess the power
in the song.

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 Repetition. The core themes of desire complexities of human emotions and power
and longing are reinforced by the repetition of dynamics in relationships by evoking feelings
significant lines such "Bakit uhaw sa'yong of longing, desire, and emotional intensity.
sayaw, bakit ikaw?" (Why thirst for your dance,
Resistance to Power Imbalances and the
why you?) and "Nauuhaw, naliligaw,
Exercise of Agency
nanliligaw, humihiyaw" (Thirsty, lost, wooing,
shouting). Music frequently uses repetition as a The song portrays several elements of
rhetorical strategy to emphasize and accentuate agency and resistance to power imbalances as
feelings. follows:
Direct Address (Second Person). "Bakit Expression of Desire and Longing:
uhaw sa'yong sayaw, bakit ikaw?" (Why thirst Desire and longing are the song's main themes.
for your dance, why you?) and other lines that The persona shows a strong desire for a
use the second person "ikaw" (you) establish a romantic or emotional connection by
direct approach to the topic of desire. This expressing a deep thirst ("uhaw") for the
specific reference makes the song feel more subject. As the persona unravels his feelings
intimate as if the persona and the subject are and desires, he keeps on repeating the words,
talking together. “Uhaw,” and “Ikaw.” This capacity to act
independently symbolizes agency.
Imagery. The lyrics are rich in vivid
sensory imagery, such as dancing in the rain Direct Address and Questioning: The
("Mayakap ka't masayaw sa ulan") and feeling persona asks questions like, “Bakit uhaw sa
cold ("Ako'y giniginaw"). The imagery makes 'yong sayaw?” Bakit ikaw? "Why thirst for
it easier for listeners to identify with the your dance, why you?" when speaking directly
feelings conveyed in the song. to the audience. As the persona asks questions
directly and asserts their right to know the
Contrast. In order to emphasize the
significance of the topic, it challenges the
depth of want and longing, the song also uses
power dynamics.
contrast. For instance, the contrast between
darkness ("Dumilim man ang paligid") and the Rejection of Homogenization: The song
subject serving as the persona's light ("Nandito rejects conformity and homogenization by
ka, oh, ilaw ko") emphasizes the subject’s highlighting the subject's individuality and the
importance in the life of the persona. persona's exclusive desire for her. The
persona's agency lies in their rejection of such
Narrative Structure. Despite not having
pressures and pursuit of his particular desires in
a standard narrative framework, the song
a society where there may be pressure on
develops like a dialogue or inner monologue as
individuals to conform to certain norms or
the character expresses his thoughts,
expectations.
aspirations, and queries to the subject. The
audience is engaged by this conversational Emotional Vulnerability: Lyrics like
format, which also effectively expresses the "Nauuhaw, naliligaw, nanliligaw, humihiyaw"
persona's emotional journey. (Thirsty, lost, courting, shouting) convey
emotional vulnerability. Because it takes
These discourse techniques work
courage to express one's emotions in public,
together to make the song powerfully depict the
especially when those emotions run counter to

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establish power structures, this vulnerability is Romantic Longing as Cultural. A
an assertion of agency. recurring theme in Filipino culture is the
longing and desire that characterize romantic
Empowerment through Expression:
relationships. The song's depiction of a burning
Expressing one's longing and desire, despite
desire ("uhaw") for the topic is reminiscent of
apprehension or potential rejection, is an act of
the romantic and passionate undertones
agency. It illustrates the persona's capacity for
frequently found in Filipino courtship and love
emotional risk-taking and emotional expression.
tales.
Defying Power Structures. The song
Direct Communication and Emotional
challenges the notion that one's desires should
Expression: In relationships, open and direct
be determined by external norms or
communication of feelings is highly valued in
expectations, even though it doesn't directly
Filipino culture. The persona's direct
address societal power structures. Instead, the
discussion of the issue and emotional openness
persona exercises agency by going after their
in the song are consistent with this cultural
goals on their own.
value of open emotional expression.
Story of Pursuit: According to the
Social Context of Dancing: The song's
song's narrative, the persona is actively
reference to dancing connects to the country's
pursuing the object, which is an act of agency
social and cultural importance of dance. Dance
in the context of interpersonal relationships.
is a potent cultural symbol because it is
They actively pursue love or connection rather
frequently used in courtship and celebration.
than being passive recipients of another
person's affection. Emphasis on Individual Expression.
Filipino culture places a strong emphasis on
"Uhaw" depicts the exercise of agency
encouraging people to express their distinct
and resistance to power disparities through the
identities and emotions. This emphasis on
persona's overt displays of desire, emotional
individuality and free will in matters of the
vulnerability, defiance of homogenization, and
heart is reflected in the persona's exclusive
relentless pursuit of the object of their affection.
desire for the subject.
The song emphasizes the value of standing up
for one's emotions and desires in the face of Challenging Traditional Gender Roles.
societal norms and hierarchical power The act of pursuing someone with such ferocity
structures. 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 Dynamics, Filipino Culture and power in interpersonal relationships.
Societal Context Intersect
As a result of its alignment with cultural
The power dynamics unveiled in the themes of romance, open emotional expression,
song "Uhaw" by Dilaw intersect with broader active pursuit of love, resistance to conformity,
Filipino culture and societal contexts in several and the cultural significance of dance, "Uhaw"
ways: intersects with larger Filipino culture and

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societal contexts. In the context of the power Filipino society. Philippine Journal of Music,
dynamics in relationships, it both reflects and 4(1), 9-23.
challenges certain aspects of Filipino cultural
Dahl, R. A. (1957). The Concept of Power.
values and norms.
Behavioral Science, 2(3), 201-215.
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