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All Journal Rubikon: Journal of Transnational American Studies Kiryoku: Jurnal Studi Kejepangan
Belia, Athaya Prita
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Humanities Languange, Linguistic, Communication & Media

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Borderless Sound, Bordered Reality: Crossfaith and the Dynamics of Transnationalism in Japanese Metalcore Belia, Athaya Prita; Puryanti, Lina; Husain, Sarkawi B
KIRYOKU Vol 9, No 1 (2025): Kiryoku: Jurnal Studi Kejepangan
Publisher : Vocational College of Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/kiryoku.v9i1.105-119

Abstract

This paper examines the cross-border dynamics of Japanese metalcore, focusing particularly on the band Crossfaith, exploring how they navigate the complexities of global mobility, cultural identity, and transnationalism in their music. This study employs a case study approach, using document analysis as the primary method. The data then was analyzed by identifying recurring themes, patterns, and relationships. The results show that while metalcore itself is already transnational due to its use of English, Crossfaith exemplifies the creation of a "borderless" sound that transcends national boundaries. Through collaborations with international artists, performances at the Nikkosan Rinnoji Temple, and partnerships with local artists, the band manages to maintain a strong Japanese identity while appealing to a global audience. However, cross-border challenges remain, including linguistic barriers, visa restrictions, and cultural negotiations, which impact Crossfaith's international success, revealing the uneven access to global stages for non-Western artists. These challenges highlight the need for a more inclusive and accessible global music industry. This study concludes by advocating for the reduction of systemic barriers to ensure that diverse musical voices can fully participate in the global exchange of ideas, thereby enriching the cultural landscape and promoting greater cross-border collaboration in music.
THE FEMININE LABEL, THE MASCULINE VOICE: BADDIECORE AND THE RACIALIZED GENDER CONSTRUCTION OF GENRE IN DIGITAL METAL COMMUNITIES Belia, Athaya Prita; Meyrasyawati, Dewi; Arimbi, Diah Ariani
Rubikon : Journal of Transnational American Studies Vol 12, No 2 (2025)
Publisher : Pengkajian Amerika, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/rubikon.v12i2.109142

Abstract

On 18 August 2023, “Baddiecore” emerged as a fan-coined label described as “metalcore with enough pop music crossover and sex appeal that normie hot people like it,” according to a viral X post by Craig Reynolds. Although bands like Sleep Token, Bad Omens, and Spiritbox were initially associated with the term, “Baddie” itself is rooted in Black American digital and feminist culture. This creates a tension when the genre is visually and sonically dominated by white male artists. This study examines how Baddiecore reflects the gendered construction of genre in digital metal communities, using the framework of postfeminist sensibility. Employing content analysis, the study draws 108 public posts on X between August 2023 and December 2024, using keywords like “Baddiecore” and associated band names. Findings show that Baddiecore was initially met with contestation due to its feminized tone but later gained acceptance, particularly among women fans engaging through merchandise and aesthetic participation. However, genre ownership remains centered around white male artists, with only two solo women and one female-fronted band visibly linked to the term. Ultimately, Baddiecore reveals how genre can operate as a site of aestheticized neoliberal femininity, shaped yet remains a space historically dominated by white, male voices.
Co-Authors Dewi Meyrasyawati Diah Ariani Arimbi Lina Puryanti Sarkawi B Husain