It links Korean music with Confucian Korean culture, a link that was affected by an influx of foreign music styles (Japanese enka, genres from the United States) after 1945. Nevertheless, Korea retained a unique musical aesthetic based on the pentatonic scale and exemplified by the singer Cho Yong-pil. Following the 1970s, a U.S. influence with its diatonic scale began to inform Korean music in response to political and cultural oppression following the liberation of South Korea. This period also witnessed increased popularity of television and music, exemplified by Seo Taiji and Boys, who did not “sound Korean” and introduced dance into their performance. The rise of K-pop is related to the growth of the South Korean economy as an export market as well as the development of technology, especially digitized music and video. This is exemplified by Korean agency CEOs like Lee Soo-man of SM Entertainment. K-pop provided alternatives to American performers, Korean performers of the audiences’ parents’ generation, and J-pop, which did not have global aspirations. The K-pop industry operates like a business driven by profits rather than musical considerations. Music is merely a product to be produced and exported. Because K-pop is a product, it does not retain elements of “traditional Korea” but only exists as a brand.
]]>This article focuses on the source of K-pop’s commercial success and the meaning of that success for South Korean society and culture.
It links Korean music with Confucian Korean culture, a link that was affected by an influx of foreign music styles (Japanese enka, genres from the United States) after 1945. Nevertheless, Korea retained a unique musical aesthetic based on the pentatonic scale and exemplified by the singer Cho Yong-pil. Following the 1970s, a U.S. influence with its diatonic scale began to inform Korean music in response to political and cultural oppression following the liberation of South Korea. This period also witnessed increased popularity of television and music, exemplified by Seo Taiji and Boys, who did not “sound Korean” and introduced dance into their performance. The rise of K-pop is related to the growth of the South Korean economy as an export market as well as the development of technology, especially digitized music and video. This is exemplified by Korean agency CEOs like Lee Soo-man of SM Entertainment. K-pop provided alternatives to American performers, Korean performers of the audiences’ parents’ generation, and J-pop, which did not have global aspirations. The K-pop industry operates like a business driven by profits rather than musical considerations. Music is merely a product to be produced and exported. Because K-pop is a product, it does not retain elements of “traditional Korea” but only exists as a brand.
Korea Observer, 43.3 (2012): 339-363.
Previous studies focus on transnational appeal and visual and aural qualities. This article focuses on “digital fandom practices.” The articles holistic approach draws on Appadurai’s 91996) “disjunctive ‘ethnoscape, technoscape,’ and mediascape’ of globalization” (2251).
Transcultural fandom is the means by which Latin American fans of K-pop develop their fan identity and fans become “cultural emissaries” and enact a fan activism. The ties between Latin America and South Korea comes from historical ties dating back to the 1900s, the increase in Korean migration, and the development of Korean business opportunities and part of cultural diplomacy that also includes the use of various distribution platforms. The digital plays a significant role in K-pop fan activities in Latin America, made unique by the investment in the Korean cultural context of K-pop, adapting “to new cultural practices to recognize and validate themselves as transcultural fans” (2259). Moreover, K-pop occasionally emerges in the mainstream culture and makes use of officially recognized distribution channels and media.
]]>K-pop is a subculture and through digital means, develops into a transcultural fandom that results in its incorporation into Latin American mass culture. By providing a critical examination of “K-pop fan activism,” the article examines the transcultural nature of K-pop fandom, providing a “more holistic approach to the study of the Korean Wave.” It also goes beyond the reception of K-pop in East Asia to focus on Latin America. The article uses interviews, surveys and fan blogs to analyze K-pop fandom in Latin America.
Previous studies focus on transnational appeal and visual and aural qualities. This article focuses on “digital fandom practices.” The articles holistic approach draws on Appadurai’s 91996) “disjunctive ‘ethnoscape, technoscape,’ and mediascape’ of globalization” (2251).
Transcultural fandom is the means by which Latin American fans of K-pop develop their fan identity and fans become “cultural emissaries” and enact a fan activism. The ties between Latin America and South Korea comes from historical ties dating back to the 1900s, the increase in Korean migration, and the development of Korean business opportunities and part of cultural diplomacy that also includes the use of various distribution platforms. The digital plays a significant role in K-pop fan activities in Latin America, made unique by the investment in the Korean cultural context of K-pop, adapting “to new cultural practices to recognize and validate themselves as transcultural fans” (2259). Moreover, K-pop occasionally emerges in the mainstream culture and makes use of officially recognized distribution channels and media.
J. Choi. “Loyalty Transmission and Cultural Enlisting of K-pop in Latin America.” K-pop—The International Rise of the Korean Music Industry, edited by J. Choi and R. Maliangkay, Routledge, 2014, pp. 98-115.
Madrid-Morales, D. and B. Lovric. “Transatlantic Connection: K-pop and K-drama Fandom in Spain and Latin America.” Journal of Fandom Studies, vol. 3, no. 1, 2015, pp. 23-41, doi: 10.1386/jfs.3.1.23_1
Otmazgin, N. “Hallyu Across the Desert: K-pop Fandom in Israel and Palestine.” Cross-Currents: East Asian History and Culture Review, vol. 9, 2013, pp. 68-89, https://cross-currents.berkeley.edu/e-journal/issue-9/otmazgin-lyan.
The article points to significant events in the introduction of K-pop to Mexico, including its links to the introduction of Japanese culture in 1992 and K-dramas in 1998 and 2002.
Most K-pop information is spread from entertainment conglomerates. Twitter messages tend to be positive and include information about K-pop and K-drama.
]]>This study analyzes the tweets of K-pop fans in Mexico focusing on topics in mentions in retweets. As a social networking service, Twitter is a significant force for information sharing. In doing so, the study fills a void in the scholarship, which focuses on Southeast Asia and Europe. The study uses the keyword “kpop” in the keyword search feature on Twitter to collect messages through Twitter API from users located in Mexico. Location was determined through profile information. NodeXL and UCINet were used for analysis
The article points to significant events in the introduction of K-pop to Mexico, including its links to the introduction of Japanese culture in 1992 and K-dramas in 1998 and 2002.
Most K-pop information is spread from entertainment conglomerates. Twitter messages tend to be positive and include information about K-pop and K-drama.
International Journal of Contents, vol. 10, no. 1, 2014, pp. 36-42, KoreaScience, http://dx.doi.org/10.5392/IJoC.2014.10.1.036.
S. Jung. “K-pop, Indonesian Fandom, and Social Media.” Race and Ethnicity in Fandom, edited by R. Reid and S. Gaston, no. 8, 2011, Transformative Works and Cultures, doi:10.3983/twc.2011.0289.
E.M. Kim and J. Ryoo. “South Korean Culture Goes Global: K-pop and the Korean Wave.” Korean Social Science Journal, vol. 34, no. 1, pp. 117-152, 2007, KOSSREC, http://kossrec.org/board/imgfile/KSSJ%20Vol.34.no.1%28Eun%20Mee%20Kim&Jiwon%20Ryoo%29%29.pdf.
D.B. Sim and K. W. Roh, “YouTube and Girls Generation Fandom.” Journal of Korea Contents Association, vol. 12, vol. 1, 2012, pp. 125-137.
“Border-crossing Korean pop culture” is part of a larger phenomenon describe as “trans-Asia cultural traffic” (Iwabuchi) or “East Asian pop culture” (Chua). Yet previous studies confine Korean pop culture to the Asia region while K-pop is engaged in a globalizing mission.
Rain functions as a case study because he seeks to transform from a star in Asia into a global star. The means by which this could be achieved is the “star manufacturing system,” where Korean entertainment agencies incorporate production and management within the agency, and includes a training system. This system developed in the wake of the 1997 economic crises and shifts in the production in idol groups in the wake of the decline of music show programs. In order to achieve global star status, the article argues that Rain de-emphasized his Asian identity to embrace a global one in terms of marketing.
]]>Using the Korean artist Rain as a case study, the article examines the Korean music industry and its development into “multi-purpose star management” that creates transnational stars by de-emphasizing their national identity. It also examines the reaction by media and fans.
“Border-crossing Korean pop culture” is part of a larger phenomenon describe as “trans-Asia cultural traffic” (Iwabuchi) or “East Asian pop culture” (Chua). Yet previous studies confine Korean pop culture to the Asia region while K-pop is engaged in a globalizing mission.
Rain functions as a case study because he seeks to transform from a star in Asia into a global star. The means by which this could be achieved is the “star manufacturing system,” where Korean entertainment agencies incorporate production and management within the agency, and includes a training system. This system developed in the wake of the 1997 economic crises and shifts in the production in idol groups in the wake of the decline of music show programs. In order to achieve global star status, the article argues that Rain de-emphasized his Asian identity to embrace a global one in terms of marketing.
Howard, Keith. “Exploding Ballads: the Transformation of Korean Pop Music.” Global Goes Local, edited by J. Craig and Richard King, UBC Press, 2002, pp. 80-95.
Lee, Jamie Shin Lee. “Linguistic Hybridization in K-pop: Discourse of Self-Assertion and Resistance.” World Englishes, 2004, vol. 23, no. 3, pp. 429-450.
Lee, Jung-yup. “Contesting Digital Economy and Culture: Digital Technologies and the Transformation of Popular Music in Korea.” Inter-Asia Cultural Studies, 2009, vol. 10, no. 4, pp. 489-506.
Shin, Hyunjoon. “K-pop (music) in the Emerging Cultural Economy of Asian pop.” Journal of Communication Arts, vol. 25, no. 4, 2007, pp. 1-11.
Siriyuvasak, Ubonrat and Shin, Hyunjoon.” “’Asianizing K-pop: Production, Consumption and Identification Patterns among Thai Youth.” Inter-Asia Cultural Studies, vol. 8, no. 1, 2007, pp. 109-136.