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Metacritique of P-Pop Culture: Visual Consumption, Fandom, and

the Formation of a Filipino Cultural Criticism

*Fely V. Alajar

, Julie Ann A. Orobia

Teacher III, Bukidnon National High School

Dean, Central Mindanao University

*Corresponding Author

DOI: https://dx.doi.org/10.47772/IJRISS.2025.910000634

Received: 08 November 2025; Accepted: 14 November 2025; Published: 20 November 2025

ABSTRACT

This study is a metatheoretical analysis, or metacritique, that examines existing research on P-pop culture,

particularly the fandom of the girl group BINI (BLOOMs), to articulate a Filipino-oriented framework of

cultural criticism. Instead of relying on empirical data, the study critiques the theories, arguments, and

methodologies used to conceptualize fandom as a domain of contemporary popular culture. Drawing on

Mirzoeff’s Visual Culture Theory (2015) and Jenkins’ Participatory Culture Theory (2006) as external lenses,

and the Filipino Psychology of Enriquez (1992) and Covar (1997) as the internal grounding perspective, the

study reveals that dominant interpretations remain shaped by Western epistemologies. However, these can be

localized and enriched through loob, damdamin, and pakikipagkapwa, which function as indigenous analytical

categories. The study proposes the P-pop Metacritique Framework, a model that bridges global theories with

Filipino sensibilities, underscoring that a Filipino metacritique is rooted in interiority, affect, and relationality.

Keywords: metacritique, P-pop culture, fandom, loob, damdamin

INTRODUCTION

With the ongoing expansion of popular culture in the Philippines, Pinoy Pop, or P-pop, has become a powerful

medium for art, identity, and discourse among Filipino youth. Groups such as BINI represent the modern

Filipina who is creative, resilient, and visually progressive. Meanwhile, their fandom, BLOOMs, functions as

an active community of fans participating in digital spaces through fan art, edits, dance trends, and branded

engagements.

In the previous study, “Here with You: Visual Culture and Fandom Identity of BLOOMs” (Alajar, 2025), it was

found that the fandom’s visual consumption is not merely an act of appreciation but an active process of

meaning-making. Using Nicholas Mirzoeff’s (2015) Visual Culture Theory and Henry Jenkins’ (2006)

Participatory Culture Theory, the research demonstrated that fandom serves as a site of pakikipagkapwa

(relational engagement), collective identity, and emotional connection.

However, there remains a lack of meta-critical studies that examine how such research is read, contextualized,

and valued. Most analyses of P-pop still rely on Western frameworks and are not fully grounded in Filipino

perspectives of loob (inner self), damdamin (emotional depth), and pakikipagkapwa (shared identity). From

this gap emerges the purpose of the present study to conduct a metacritique, or a critique of existing critiques,

in order to reveal the limitations, contributions, and possibilities of developing a distinctly Filipino mode of

reading and interpreting P-pop culture.

A. Scope and Delimitations of the Study

Although the study is conceptually grounded, it acknowledges several limitations. Its reliance on secondary,

largely self-referential sources narrows the range of perspectives available for metatheoretical evaluation.

INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)

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Because the analysis is primarily anchored in the researcher’s earlier work, there remains the possibility of

interpretive bias and constrained objectivity. Furthermore, the absence of empirical or ethnographic validation,

such as lived fan accounts or observational data, limits the groundedness of the study’s theoretical claims,

particularly those involving affective engagement and behavioral patterns within fandom. By identifying these

methodological constraints, the study positions the P-pop Metacritique Framework as an initial theoretical

intervention that can be expanded and empirically tested in future research.

B. Statement of the Problem

This study aims to conduct a metacritical analysis of existing research on BINI (BLOOMs) fandom and the

broader field of P-pop culture. Specifically, it seeks to answer the following questions:

1. How do existing studies describe fandom as a space of visual culture and identity?

2. What theoretical lenses dominate these analyses, and how do they either limit or expand the understanding

of the local context?

3. How can the Filipino concepts of loob (inner self), damdamin (emotional depth), and pakikipagkapwa

(shared identity) be integrated into the formation of a Filipino-oriented metacritique?

4. What new model or framework of Filipino meta criticism can be developed for the study of P-pop culture?

C. Theoretical Framework

This study is grounded on two major theories previously applied in earlier research but reexamined here at a

metacritical level. First, Nicholas Mirzoeff’s (2015) Visual Culture Theory explains how images are created

and interpreted as constructions of power, identity, and representation. At the metacritical level, the study

investigates how Mirzoeff’s lens aligns with—or perhaps falls short of—capturing the local experiences of

BLOOMs, the fandom of BINI. The analysis focuses on how fans interpret visual forms—from music videos

and fashion aesthetics to fan-generated content—as reflections of their collective identity.

Second, Henry Jenkins’ (2006) Participatory Culture Theory emphasizes the active role of fans in producing,

sharing, and assigning meaning to media content. Through a metacritical reading, the study explores how the

notion of “participation” is often framed within a Western perspective of individual production and how it can

be translated into a Filipino understanding of participation as pakikilahok bilang kapwa—a relationship

grounded in emotional connection, shared experience, and collective action. In this sense, fandom is examined

not merely as a media practice but as an ethical and cultural relationship among people.

In constructing a Filipino metacritique, the study also integrates the principles of Filipino Psychology

developed by Virgilio Enriquez (1992) and Prospero Covar (1997), emphasizing the concepts of loob (inner

self or consciousness), kapwa (relational identity with others), and dangal (moral and cultural integrity). These

elements serve as the foundational lens for understanding fandom not simply as a technological or aesthetic

space, but as an artistic and human domain where identity is built through participation, empathy, and

collective sentiment.

METHODOLOGY

This study employed a metatheoretical design, or metacritique, which systematically examines how existing

studies conceptualize, theorize, and interpret P-pop fandom. Rather than gathering empirical data, the study

interrogates theoretical lenses, methodological choices, and ideological underpinnings embedded within prior

research.

A. Corpus of Analysis

The study primarily utilized the researcher’s own work, “Here with You: Visual Culture and Fandom Identity

of BLOOMs” (Alajar, 2025), which served as the primary text for metacritical analysis. Additional related

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studies were also analyzed to develop a broader understanding of P-pop fandom and visual culture discourse.

These include: Filipino Stan Phenomenon by Clamor et al. (2020), which explores the dynamic relationship

between fandom and participatory culture; Abanes’ (2023) Visual Fandom and Emotional Attachment: The

Case of SB19 A’TINs, which highlights fans’ emotional connection to their idols; Mirabueno’s (2024) analysis

of BINI’s Talaarawan, which emphasizes artistic representation and national identity in music; and Gonzales’

(2022) The Rise of P-pop as a Field of Research, which situates P-pop within the academic context of cultural

studies. Taken together, these texts form the basis of a metacritical synthesis that not only describes fandom as

a cultural product but also redefines it as a space of Filipino participation and collective identity.

B. Methodological Translation of Filipino Values

To strengthen the study’s theoretical precision, the concepts of loob, damdamin, and pakikipagkapwa from

Filipino Psychology were operationalized into concrete analytical tools for metatheoretical critique. Loob

served as a hermeneutic depth criterion for evaluating the internal coherence, ethical reflexivity, and

intentionality evident in the interpretations in existing studies, particularly in their attention to fans’ interior

experiences and moral agency. Damdamin served as an affective-phenomenological lens, enabling the

assessment of how prior research accounted for emotional resonance, reciprocity, and the collective sentiment

embedded in fan practices, as well as the extent to which emotional dimensions were recognized as legitimate

sources of cultural meaning. Meanwhile, pakikipagkapwa operated as a relational-ethical indicator, guiding the

examination of whether interpretations respected communal relationships, mutual care, and the ethical

dynamics that shape fan communities, and determining whether fandom was framed merely as individual

behavior or as a relational, communal, and ethically situated practice. Together, these three lenses provided a

culturally grounded methodological apparatus that moved the metacritique beyond abstract theoretical

application toward a more nuanced, Filipino-informed understanding of fandom.

C. Steps in Metacritical Analysis

The metacritical analysis followed a systematic process for examining existing studies on P-pop culture,

particularly the fandom of BINI (BLOOMs). The first phase involved describing the key features of the

selected texts such as their objectives, theoretical bases, and methodological designs—using Here with You:

Visual Culture and Fandom Identity of BLOOMs (Alajar, 2025) as the main corpus, supported by related

works by Clamor et al. (2020), Abanes (2023), and Mirabueno (2024). The second phase applied thematic

metacritical analysis across three dimensions: theoretical, by analyzing the use of Visual Culture and

Participatory Culture theories; methodological, by identifying whether the approaches were descriptive,

interpretive, or empirical; and cultural, by assessing the localization of these theories within a Filipino

framework. The third phase engaged in reflexive and critical evaluation on epistemological, methodological,

and ideological levels to uncover the knowledge bases, limitations, and dominant ideologies shaping fandom

studies. In the fourth phase, theoretical questions guided a deeper reading on how fandom, identity, kapwa, and

collective experience are represented, and what implications arise from Western frameworks in understanding

local culture. The final phase examined the historical and socio-cultural contexts of P-pop and fandom as

postcolonial expressions linked to the decolonization of Filipino cultural criticism. Altogether, these stages

illustrate metacritical reading as a process that reveals the dynamic intersections of theory, culture, and power

within Filipino popular culture.

D. Content of the Metacritique

The metacritique comprises three key components that enable a deeper examination of existing studies on P-

pop fandom. First, the summary of texts describes the main objectives, theoretical lenses, and conclusions of

each study, presenting the overall direction of the research before engaging in in-depth analysis. In Alajar’s

(2025) study, for instance, the fandom of BINI is portrayed as a collective space of visual participation, using

the theories of Mirzoeff and Jenkins to explain how Filipino youth construct their identity in the digital age. In

this way, the summary serves as an initial step toward understanding the ideological and cultural dimensions of

fandom. Second, the critical analysis of arguments investigates the logic, validity, and contextual relevance of

each study’s ideas. This phase examines whether the applied theories fit the local context, how the concepts of

loob, damdamin, and kapwa are reflected in fandom studies, and how the visual representations of Filipino

INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)

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youth acquire cultural meaning. Through this process, the analysis identifies both the strengths and limitations

of existing interpretations while opening the possibility of expanding them through a Filipino-centered lens.

Third, the overall evaluation synthesizes all findings and leads to the development of the P-pop Metacritique

Framework, which integrates Visual Culture Theory, Participatory Culture Theory, and Filipino Psychology—

particularly the values of loob, damdamin, and kapwa—as interpretive lenses. Through this integration, the

study proposes a new approach to understanding popular culture that is not solely anchored in Western theories

but grounded in Filipino cultural consciousness. Ultimately, the metacritique emphasizes that fandom is not

merely a space of entertainment but a modern site of participation and identity formation that expresses the

collective identity and cultural meaning of Filipinos in the digital age.

E. Ethical Considerations

Since this study is metatheoretical and does not involve direct interaction with participants, its primary ethical

consideration centers on the responsible use, interpretation, and citation of existing research. The researcher

ensures that all texts used as the corpus—including Here with You: Visual Culture and Fandom Identity of

BLOOMs (Alajar, 2025) and related studies by Clamor et al. (2020), Abanes (2023), Mirabueno (2024), and

Gonzales (2022) are utilized with full respect for the authors’ intellectual property rights, originality, and

scholarly ownership.

The study strictly adheres to the standards of academic integrity and intellectual honesty by properly citing

sources and avoiding plagiarism, misrepresentation, or distortion of ideas. All interpretations and metacritical

analyses are presented as the researcher’s own readings, while maintaining explicit acknowledgment of the

sources. Furthermore, all information derived from published works is used exclusively for academic purposes

and not for commercial or political intent. When dealing with sensitive statements or subjective interpretations

from previous researchers, the study approaches them with respect, professionalism, and awareness of cultural

sensitivity.

Above all, as a Filipino-oriented metacritique, this study is conducted in accordance with the ethics of

pakikipagkapwa-tao (Enriquez, 1992)—a perspective that recognizes the dignity of others as fellow

researchers and contributors to the shared pursuit of knowledge. Thus, every act of reading, critique, and

evaluation is guided by respect, empathy, and intellectual responsibility, all directed toward advancing Filipino

thought in the fields of criticism and popular culture.

RESULTS AND DISCUSSION

This section presents and discusses the results of the metatheoretical analysis based on existing studies on P-

pop culture, particularly the fandom of BINI (BLOOMs). The analysis was conducted using the lenses of

Mirzoeff’s (2015) Visual Culture Theory, Jenkins’ (2006) Participatory Culture Theory, and the Filipino

Psychology frameworks of Enriquez (1992) and Covar (1997). Through metacritique, the study examined the

theories, arguments, and methodologies employed by previous researchers to determine how the concepts of

visual culture, participation, and Filipino sensibility are expressed and integrated within fandom studies. From

this process, the findings of the metacritique are organized and presented according to the study’s four main

research questions.

Description of Existing Research on Fandom as a Space of Visual Culture and Identity

Based on the metacritical analysis, existing studies commonly describe P-pop fandom as a space of visual

creativity and identity formation. In Alajar’s (2025) study, the fandom of BINI, known as BLOOMs, is

portrayed as a collective force of visual participation in which fans are not merely consumers of content but

creators of their own symbols of connection and patriotism. Practices such as fan edits, digital artworks, fan

cams, and online tributes become expressions of emotional engagement and cultural participation.

Meanwhile, the works of Clamor et al. (2020) and Abanes (2023) also discuss fandom as a form of

participation in media culture; however, these studies remain largely framed within Western concepts of

subculture and affective labor. Such readings acknowledge fandom’s links to the global digital system but tend

INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)

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to lack localization in the Filipino context. Overall, the metacritique reveals that Alajar’s (2025) “Here with

You” provides a more grounded interpretation by situating fandom within the framework of a Filipino affective

community, where participation emerges through shared emotion, relational engagement, and visual unity.

Dominant Theoretical Lenses and Their Limitations or Extensions in Understanding the Local Context

The analysis revealed that existing studies on P-pop fandom are predominantly framed through Western

theoretical lenses, particularly Visual Culture Theory and Participatory Culture Theory. These frameworks

have been instrumental in explaining fandom as a field of visual representation and participatory creation.

However, the metacritique also identified their limitations, as such perspectives often center on notions of

individual production, technological agency, and capitalist participation.

From a local standpoint, participation is not merely an act of involvement but an expression of pakikilahok

bilang kapwa—a relational process grounded in empathy, connection, and shared emotion. In this view,

fandom transcends the digital economy, becoming a medium of human connection and collective meaning.

Thus, while Western theories provide valuable analytical tools, they require contextual adaptation and

reinterpretation to align with Filipino sensibilities. This is precisely the effort undertaken by Alajar (2025),

who bridges theory and emotion within the framework of Filipino cultural experience, creating a dialogue

between global theory and indigenous affective understanding.

Integration of the Concepts of Loob, Damdamin, and Pakikipagkapwa in Building a Filipino

Metacritique

The findings of the metacritique reveal that the concepts of loob, damdamin, and pakikipagkapwa, developed

by Virgilio Enriquez (1992) and Prospero Covar (1997) in Filipino Psychology, serve as the foundation for a

Filipino mode of reading fandom. These are not merely cultural values but analytical lenses applicable to the

metatheoretical study of popular culture. Covar’s notion of loob represents the innermost dimension of the

self—the kaloob-looban that gives rise to conscience, emotion, and action. Within fandom, loob is reflected in

the fans’ deep awareness and internal connection with their idols and fellow members, transforming aesthetic

admiration into shared empathy and meaning. When used as a metacritical lens, loob encourages an analysis

that reaches emotional and cultural depth—a dive into the intentions and lived experiences within cultural

discourse. Meanwhile, Enriquez’s damdamin goes beyond emotion to signify embodied sensitivity and

relational attunement.

In the BINI fandom, damdamin manifests in creative expressions such as fan edits, reaction videos, and digital

artworks that embody affection and collective identity, showing that critique must also feel and empathize to be

authentically Filipino. Finally, pakikipagkapwa, regarded by Enriquez as the core of Filipino personhood,

refers to a relational ethics of treating others as equals endowed with dignity and feeling. Within fandom, it is

visible in mutual support, respect, and care among members, forming the ethical dimension of community life.

As a metacritical perspective, pakikipagkapwa grounds criticism in humility, compassion, and social

consciousness. Altogether, these three concepts function as epistemological pillars of a Filipino metacritique

that views fandom as a human and cultural space of emotion, empathy, and shared meaning. Thus, Filipino

criticism emerges not only as theoretical or visual analysis but as a moral and cultural reflection—one that is

rooted in loob, flows through damdamin, and engages with kapwa, embodying a distinctly Filipino

consciousness and identity.

The Developed Model or Framework of Filipino Meta criticism in the Study of P-pop Culture

From the results of the metacritique, the P-pop Metacritique Framework was developed as a new model of

Filipino meta criticism. This framework integrates Visual Culture Theory and Participatory Culture Theory as

external analytical lenses, and Filipino Psychology as the internal grounding perspective. Through the concepts

of loob (inner self), damdamin (emotional depth), and kapwa (relational identity), fandom is understood as a

space of visual participation, cultural creation, and collective identity.

The model demonstrates that fandom is not merely a by-product of media but an active arena of cultural

formation and national sentiment. In this sense, P-pop becomes a reflection of Filipino youth—using visual

INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)

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culture not only for participation but as a means of expressing identity and connecting with others. The P-pop

Metacritique Framework thus contributes to the decolonization of literary and cultural criticism, advancing a

critical discourse rooted in the lived experience, emotion, and consciousness of the Filipino people.

Figure 1. The Developed P-pop Metacritique Framework

CONCLUSION AND RECOMMENDATIONS

The metacritique revealed that existing studies on P-pop culture portray fandom as a creative, visual, and

collective space of identity formation. Through various forms of participation such as digital art, fan videos,

and online community engagement, fans are not merely consumers of media content but active creators of

meaning. Fandom, particularly that of BINI’s BLOOMs, emerges as a cultural sphere shaped by distinctly

Filipino values such as empathy, respect, and shared emotional connection.

In analyzing the theoretical lenses, the study found that Western paradigms such as Mirzoeff’s (2015) Visual

Culture Theory and Jenkins’ (2006) Participatory Culture Theory remain dominant. While these frameworks

offer valuable insights into visual power and participation, their scope remains limited in articulating local

sensibilities. Most studies tend to emphasize the technological and productive aspects of fandom while

overlooking its emotional, relational, and cultural dimensions. The metacritique therefore underscores the need

to reorient and indigenize theoretical frameworks, adapting them to Filipino language, sentiments, and cultural

consciousness.

Through the application of Filipino Psychology by Enriquez (1992) and Covar (1997), the study identified

loob, damdamin, and pakikipagkapwa as central to constructing a Filipino metacritique. Loob represents the

inner connection between emotion and consciousness; damdamin embodies the collective energy and affective

expression of fandom; and pakikipagkapwa provides the ethical foundation for community interaction. These

three concepts act as bridges that translate foreign theories into cultural readings grounded in Filipino

experience. In this sense, criticism becomes not only an intellectual discourse but also an enactment of

empathy, connection, and humanity.

As a synthesis of the metatheoretical analysis, the study developed the P-pop Metacritique Framework, a new

model of Filipino meta-criticism that integrates Western theories with the indigenous sensibilities of Filipino

Psychology. Through loob, damdamin, and kapwa, fandom is redefined as a space of visual participation,

cultural creation, and collective identity. From this perspective, fandom is not simply a media by-product but a

living representation of Filipino youth who use visual culture to express themselves, connect with others, and

participate in society.

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The study recommends using the P-pop Metacritique Framework as a foundational lens for future research in

popular culture, arts, and media studies in the Philippines. It can also be incorporated into the teaching of

literature and literary criticism to cultivate students who are critically aware and culturally empathetic.

Moreover, continued metacritical studies on P-pop, visual arts, and digital participation are encouraged to

further enrich the Filipino discourse in literature and cultural studies.

In conclusion, this study demonstrates that metacritique is not merely an examination of theories but a

translation of Filipino consciousness into the act of interpretation itself. The P-pop Metacritique Framework

represents a decolonized form of criticism, one rooted in loob, flowing through damdamin, and engaging with

kapwa. In this way, P-pop culture becomes a mirror of the contemporary Filipino: creative, critical, and

continuously shaping identity amid globalization.

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5. Covar, P. R. (1997). Larangan: An Essay on Filipino Personhood. In F. Landa

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8. Gonzales, E. M. (2022). Pag-usbong ng P-pop bilang Larang ng Pananaliksik sa Kulturang Popular. De

La Salle University Publishing House.

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10. Jenkins, H., & Shresthova, S. (2012). Spreadable Media: Creating Value and Meaning in a Networked

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11. Mirabueno, L. A. (2024). Review of BINI’s “Talaarawan”: A Cultural Reading of P-pop Girlhood and

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