Arts Management


Account Executive, Lowe Singapore



Intern, Y&R (Young & Rubicam) Singapore

Elaine served in a supporting role in building a global brand name for OCBC Bank Singapore and the Bank of Singapore.


Coordinator (Intern), Symphony 92.4FM MediaCorp


Elaine supported the smooth-running of the Young Talents Project 2014 which was televised on Okto and Channel 8. In addition, she also:

- Assisted Young Talents Project 2014 Project Director in all administration matters and relevant paperwork for Young Talents Project 2014;

- Coordinated and liaised with overseas guest performers, sponsors and suppliers with quotations, partnerships etc.

Thesis Title

A Study on Gendered Attitudes: Female Indie Rock Musicians in Singapore

Thesis Abstract

A Study on Gendered Attitudes: Female Indie Rock Musicians in Singapore is a feminist critique that analyses the implications of the cultural constructions of gender in the lives of female indie rock musicians in a specific context. It centers on female musicians’ roles in the indie rock music scene and explores the gendered patterns of participation in the scene, so as to determine whether indie rock scene in Singapore may have reflected or engaged a pre-existing masculine culture.

Over the past two decades, various books have asserted that rock actively exemplifies a masculine culture. Rock music consists of many subgenres and they include heavy metal, grunge, progressive-rock, punk and so on - each of which has associated itself with specific codes of conduct, style and display that continue to contribute, encourage and maintain separate gendered responses. Indie or alternative rock, on the other hand, has been widely understood as having to have a more enlightened sense of gender roles and being more receptive to female participation than other musical styles and practices of rock subgenres.

Singapore publications, critics and fans alike have observed that the number of local female rock musicians has significantly increased over the last decade. The significant lack of discussion on gender in relation to Singapore contemporary music scene is also acknowledged in this study. With this, the research serves to address the gap in the body of knowledge and ultimately sets out to make a contribution to the radical reworking of the constructions of gender and the working dynamics in Singapore’s contemporary music scene, so that women musicians may not only participate fully in all aspects of the local music scene, but also to take charge in shaping its training and work practices that are integral to the scene.