K-Pop, Hallyu, Korean Wave

This chapter explores how North Koreans have been represented in recent South Korean news media coverage of the consumption of South Korean popular culture called Hallyu or the Korean Wave. By examining how South Korean news frames the Hallyu phenomenon in North Korea, it addresses how the otherness of North Korea and its people as the audiences of Hallyu is constructed and reconstructed through media discourse. Chapter 9. in Kim, Youna (Ed).(2018). South Korean Popular Culture and North Korea. Routledge.

Resumo: O texto aborda a emergência da Hallyu Wave no Brasil, a partir de um olhar sobre a prática do canto e dança k-cover que, desde o último decênio, vem ganhando visibilidade nos espaços urbanos (e nas mídias) em nosso país. Para isso, apresentamos um panorama do desenvolvimento recente desta cena, ao investigar como os k-covers brasileiros se articulam e se apropriam das narrativas dos textos culturais/musicais advindos da Coréia do Sul, bem como os espaços apropriados para a realização desta prática no Brasil. Palavras-chave: hallyu wave; k-pop; k-cover; performance; cenas. Abstract: The text addresses the emergence of Hallyu Wave in Brazil, based on a look at the practice of singing and k-cover dance that, since the last decade, has gained visibility in urban spaces (and in the media) in our country. For this, we present an overview of the recent development of this scene, by investigating how the Brazilian k-covers articulate and appropriate the narratives of the cultural / musical texts coming from South Korea, as well as the appropriate spaces for the accomplishment of this practice in Brazil.

A popularização do K-pop ou pop coreano dentro da “Hallyu” ou Onda Coreana foi
impulsionada pela Internet e, principalmente, pelas mídias sociais. Recentemente,
alcançou o Ocidente e, consequentemente o Brasil. Nesse sentido, a pesquisa visa
investigar a evolução do K-pop como gênero musical e o seu crescimento no Brasil,
mais especificamente na Web 2.0 e suas redes sociais, além de investigar as principais
atividades de lazer e o perfil dos fãs. Como métodos e técnicas, foram realizadas
pesquisas bibliográficas, netnografia, aplicação de questionários por meio da plataforma
Google docs e também sondagem por e-mail. Ao término desta pesquisa, foi possível
identificar que entre os fãs brasileiros de K-pop predomina a participação do público
feminino, assim como pessoas jovens e de origem étnica caucasiana. O primeiro contato
com o K-pop para a maioria dos fãs ocorreu em meados de 2009 a 2011, principalmente
por meio da Internet e pela indicação de amigos. Entre as atividades de lazer
investigadas, podemos confirmar a hipótese de que o nível conformista ainda é o mais
realizado entre os fãs, contudo, há uma tendência de transição eminente para a
criticidade e criatividade. Verificamos ainda que a divulgação efetuada via Internet,
tanto pelos fãs como pela Indústria Coreana, foi o que mais contribuiu para o
crescimento do K-pop no Brasil.

"Korea", en inglés, para centenares de personas, alude a un mundo increíble, espectacular y cool cuyo repositorio se encuentra en YouTube,. En este sentido, tiene como representante máximo un conjunto de productos comerciales audiovisuales llamados K-Pop. En este ensayo se definirá lo que es el K-Pop y se explicará parcialmente el por qué de su impacto dentro de la ola coreana o Hallyu.

This article aims to understand the appearance of hallyu in the countries of South America (Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Paraguay, Peru, Uruguay and Venezuela). Other countries (Guyana and Suriname) and territories (Falkland Islands, South Georgian Islands, South Sandwich Islands and French Guiana) will not be discussed due to the lack of information about this phenomenon in these regions. After understanding the appearance of hallyu in these countries, it will be possible to analyze the differences and similarities of the phenomenon among the various nations. The study of this subject is relevant because
it is an attempt to understand the impact that a culture that is so  different can have on the peoples of South America. To arrive at a conclusion, it was necessary to divide the article into different parts: first, an understanding of the term hallyu and its initial appearance, and second, the understanding of hallyu in South America and its development in each country for which information is available. Due to the immense amount of information, only the most important points connected with the purpose of the article will be emphasized.

Background: As we move towards the convergence phenomenon where the old and new media collide, binge watching has become a recognizable jargon among the internet users. With the increase in the internet connectivity in India, viewers binge watch on movies, documentaries, web series and TV shows at their discretion. "Hallyu"-The Korean Wave has already made its cultural impact especially in the Northeast India. A steep increase in the easy availability and accessibility of content from Korean entertainment industry owing to the technological growth via the online platforms has accelerated the growth in cultural impact, fandom and popularity of the Hallyu Wave in Darjeeling town too. Therefore, the objective of the paper is to analyze the user's satisfaction, participatory culture, binge watching behavior and the evolvement of fandom in Darjeeling town along with the use of popular online platforms to access these contents. Methods: The methodology used is Focus Group Discussion using Framework Analysis using User's and Gratification theory as the theoretical framework for the study. Results: The results also show that the fandom is involved in the participatory culture and hence there is strong evolution of Hallyu fandom in Darjeeling town. The findings also indicate that there are different forms of satisfaction derived from binge watching Korean dramas and songs.

Fenomena Hallyu ini mulai menerpa Indonesia pada tahun 2002. Dari beragam contoh fenomena yang timbul sebagai dampak masuknya budaya Kpop di kalangan remaja Indonesia, membuat kami melihat bahwa isu ini menjadi sangat menarik untuk dibahas dan didiskusikan. Hal tersebut kemudian menjadi menarik, karena masuknya budaya K‐Pop melalui media massa di Indonesia semakin memberikan pengaruh tertentu budaya Indonesia. Media massa Indonesia yang terlalu mengekspos budaya asal Korea dalam bentuk Hallyu (Korean Wave) sehingga berpotensi terhadap eksistensi budaya dalam negeri, menjadi fokus disfungsi media massa Indonesia yang akan dibahas dalam presentasi ini, dengan lingkup penelitian di FIB UNAIR.

Drawing on qualitative interviews with Canadian-based K-pop (contemporary South Korean “idol pop” music) fans, this study discusses how transnational fans experience and interpret K-pop as a form of cultural hybridity that facilitates global imagination. In particular, the study explores how fans consume and translate transnational pop music while engaging with different modes of global imagination in their everyday lives. In so doing, the study contributes to a better understanding of the text and context of K-pop from the lens of audiences’ negotiation with globalization.

Resumen:
Con el creciente acercamiento de culturas, producto de la globalización, el K-pop ha logrado
estratégicamente impactar en diversos lugares del mundo, lugares remotos, lugares lejanos a su
lugar de origen: Seúl, Corea del Sur. Esta industria perteneciente a la Ola Coreana (Hallyu), es
ahora una gran influyente en la cultura pop global, por medio de sus canciones, bailes y
performances, es un llamativo producto cultural coreano que nos ha atrapado a millones de fans
alrededor del mundo. Colombia no es la excepción, la constante influencia de la cultura pop en
la juventud del país hace que se fije la atención en esta puesta en escena, generando aficiones,
pasiones y sentimientos en las personas que se convierten en fans de este tipo de música. Las y
los fans impulsadas por estas emociones, son creadoras de comunidad, la cual se convierte en
el lugar seguro y común para compartir en torno a estas pasiones. Al estar conectados en la
comunidad, baile (dance covers), canto (vocal covers), gestión de comunidad (fandoms), redes
de compra-venta (WTS, WTT), el objetivo de este proyecto es describir las relaciones, lazos y
experiencias que se presentan en la comunidad de fans del K-pop en Colombia. Este trabajo es
entonces una apuesta autoetnográfica donde expongo mi experiencia como fan de K-pop desde
la comunidad K-pop en Colombia , hasta las memorias de una visita a Corea durante la
pandemia por COVID-19, acompañado por un breve análisis desde una perspectiva feminista y
de género.
Palabras Clave: K-pop, Hallyu, Fans, Comunidad, K-pop en Colombia.

Abstract:
Due to the growing rapprochement of cultures, as a consequence of globalization, K-pop has
impacted diverse places in the world strategically, remote places far away from its
origin place: Seoul, South Korea. Belonging to the Korean Wave (Hallyu), this industry is
nowadays a big influencer in pop culture through songs, dances, and performances, becoming
then a flamboyant cultural product. K-pop has caught the attention of millions of fans around
the world and makes us part of it; Colombia is not an exception, the influence of pop culture in
the young people of the country have focused the attention on this scene, creating hobbies,
passions and feelings through people who become K-pop fans. Fans who are driven by these
emotions are community creators, and this community would become a shared and safe place
to share all-around passions. When they’re connected through community, fans share dancing
(dance cover), singing (vocal cover), community management (fandoms), merch exchange
networks (WTS, WTT), therefore the objective of this project is to describe relationships,
boundaries, and experiences that are created in the Colombian K-pop fans community. Then,
this project is an authoetnographic desire, where I present my experience as a K-pop fan
belonging to the fan community of Colombia, and the memories of a trip to South Korea during the
pandemic, all of this description matching a short analysis from feminist and gender
perspective.
Key Words: K-pop, Hallyu, Fans, Community, K-pop in Colombia

This research will address the portrayal of women in Korean drama, and its relation to the conditions within Korea and about its reception, influence and consequence on the youth through a feminist perspective. It will look at the popular perceptions of Korean dramas which is claimed to have started a cultural revolution by changing the attitude of the society towards convention and tradition. It will analyze two popular K-dramas ‘Boys Over Flowers’ and ‘Playful Kiss’ with respect to relationships, ideals of beauty and the portrayal of educated and working women in Korean drama. Media’s role in the influence on real life relationships, infantilism, subjugation and objectification of women are issues that will be dealt with in this paper. These factors embodied in the dramas are dialogic in nature which may appear ambiguous and relatively unimportant in nature, but makes it possible to bring elements of opposition into play which can unveil the real nature of Korean dramas, which is decisive in measuring the aesthetics of it in the global market.
Keywords: Korean Drama, Boys Over Flowers, Playful Kiss, K-Drama, Feminism

Bu kitap Güney Kore’den tüm dünyaya yayılan Kore Dalgası (“Hallyu”) olarak bilinen kültürel içeriklerin kültürel diplomasi aracı ve kanalı olarak devlet politikasıyla üretim ve yayılım sürecinin nasıl desteklendiğini örnekler üzerinden tartışmaktadır. Çalışmada, “Hallyu” örneği merkeze alınarak yaratıcı içerik endüstrisinin Güney Kore’de devlet politikası ve büyük şirketlerin desteğiyle gelişme süreci, ulusaşırı popüler kültür pazarına damga vurması hem ekonomi politik bakış açısıyla, hem de kültürel üretim ve mücadele alanı olarak kültürel çalışmaların bakış açısıyla tartışmaya açılmaktadır.  Bu kitapta Kore sinema endüstrisinin, K-dramaların ve K-pop’un  gelişkin hükümet politikalarıyla ilişkisi Kore Dalgası’nın dönemsel farklılıklarını ve gelişme evrelerini ortaya koymak için örnek olarak ele alınmaktadır.
Çalışmanın Türkiye’de kültür politikaları, kültürel diplomasi, yaratıcı endüstriler alanında çalışanlara temel bir kaynak olması amaçlanırken; farklı bir coğrafyada bir ülkenin demokratikleşme sürecine koşut olarak kültürel alana ilişkin yönetsel erkin düzenleyici politikalarının denetimden ve sansürden ilk olarak ifade özgürlüğüne ve en nihayetinde de kültürel içerikleri metalaştırmaya doğru nasıl değiştiği yönünde bir izlek sunması açısından da örnek teşkil edeceğini düşünülmektedir. Bu bağlamda, kitabın Türkiye özelinde demokratik, kapsayıcı, çok yönlü ve sürdürülebilir kültür politikaları üretimi için yeni soruların sorulmasına ve araştırmaların yürütülmesine vesile olacağı umulmaktadır.

In this 21th century, the Korean Wave has swept the world with its culture that just seems like there is no end to it; meanwhile sponsorship marketing has continue to grow and become one of the fastest growing form of marketing around the world. Both are global phenomenon that have the potential to produce income for business. Hence, this paper aims to understand whether sponsorship marketing can bring in lucrative business or vice versa by using k-drama as a medium through the fame of Korean Wave. In the end, it could identify that sponsorship marketing is a good marketing tool because it has a lot of benefits and characteristic to offer which indirectly bring in good revenue for business by using the Korean drama as a medium; besides, k-drama is an effective medium in getting business as well due to the rising popularity of Korea Wave. 

Keywords: sponsorship, marketing, Korean dramas (k-drama), Korean wave (Hallyu)

Kwestia podboju świata przez kulturę koreańską nie była nieunikniona, a jej historia nie wpisuje się wyłącznie w podniosłe narracje. Podwaliny hallyu zrodziły się w okresie zimnowojennych zmagań Korei, w wyniku rywalizacji wielkich firm i wśród polityków o jeszcze większym ego, w cieniu Korei Północnej. Mechanizmy, które doprowadziły do sukcesu marki "Korea", stworzyły rządy tyleż ambitne, co bezwzględne.

Korean culture has begun to enter Indonesia, we can see from the large number of kpop fans in Indonesia. Culture itself is a reflection of the identity of a country. South Korea is a phenomenon in the spread of a culture that has developed in Asia, one of which is Indonesia. With so many kpop fans in Indonesia this is used by the Indonesian government to carry out international cooperation in addition to the economic sector. Several events were presented to strengthen relations between the two countries. For this reason, this article is prepared to discuss further the cooperation between Indonesia and South Korea in the socio-cultural field.

With the increasing appeal of Korean popular culture known as the Korean Wave or hallyu, fans in Israel among Korean studies students have joined—and even replaced—ethnic Koreans in performing nationalism beyond South Korea’s borders, creating what I call hallyu fan-nationalism. As an unintended consequence of hallyu, such nationalism enables non-Korean hallyu fans to take on the empowering roles of cultural experts, educators, and even cultural ambassadors to promote Korea abroad. The symbolic shift from diasporic to hallyu nationalism brings to the fore nonnationalist, nonessentialist, and transcultural perspectives in fandom studies. In tracing the history of Korea Day from the 2000s to the 2010s, I found that hallyu fan-students are mobilized both by the macro mission to promote a positive image of Korea in their home societies and by the micro motivation to repair their own, often stigmatized, self-image.

El Hallyu  es definido por el Ministerio de Cultura, Deportes y Turismo como “la popularidad del entretenimiento y cultura coreana en Asia y el resto del mundo” (Global Communication and Contents Division, s.f.). Sin embargo, esta definición puede entenderse también como un instrumento cultural que potencia el consumo de distintas manifestaciones de la cultura coreana y su estilo de vida (Coote, 2011). Es la cara visible de Corea en el extranjero y su proceso de construcción requiere una mirada al interior que permita forjar la identidad coreana que se quiere mostrar afuera. Por ende, el Hallyu se convierte en un símbolo de unidad dentro del mismo país y en un emblema nacionalista que busca penetrar mediante el poder blando en Corea del Norte y el exterior (Cain, 2013).

O projeto proposto visa analisar o movimento da onda coreana, também conhecido como hallyu, que, em tão pouco tempo, conquistou uma legião de aficionados pela cultura coreana no Brasil e Hungria. Contudo, trata-se de uma investigação introdutória, isto é, em desenvolvimento. O grupo de estudos Scientific research about the Hallyu (Korean wave) tem como base o estudo da hallyu, e paralelamente, o estudo comparativo quanto ao movimento da onda coreana entre ambos países. A princípio, estima-se que tal método seja capaz de abarcar amplamente o objeto principal de estudo e elucidar o movimento coreano em diferentes culturas.

Drawing on qualitative interview data, this study examines the cultural translation of K-pop in Canada. By focusing on Canadian youth of Asian descent, who are relatively marginalized in the dominant Canadian mediascape yet considered a main segment of K-pop fandom in Canada, the study closely examines how racial and affective affinities of K-pop are translated and negotiated by young fans. In the study, young Asian Canadian fans challenged the racial stereotyping of K-pop as the other of dominant Western pop culture by positively redefining racial meanings attached to K-pop. Meanwhile, they affectively identified with K-pop idols via the extensive use of social media, and thus internalize a particular mode of subjectivity through which individuals willingly seek the model of a self-developing, entrepreneurial self.

Filipino consumption of Korean dramas played a significant role in the Hallyu (Korean Wave) phenomenon in the Philippines. Watching Korean dramas has been part of Filipino lives in the past two decades, however despite numerous studies and articles related to this, there is not a consolidated explanation on why this is continuing. Thus, the objective of paper is to establish a general contextualization on Filipinos' fascination for Korean dramas by identifying the meanings that Filipino viewers ascribe to watching Korean dramas or series using the researcher's working theory dubbed as the Legitimated Social Action Theory. Using data from previous related researches with varying populations, selected tweets and Facebook posts, eight (8) themes/LSAT codes were constructed: engaging storylines, high production value, positive affect and disposition, strong portrayals of women, charismatic actors/actresses, supporting favorite actors and actresses, learning Korean culture, and bonding activity with family and peers. Applying these codes in the legitimated social action plane offers a general contextualization of the social action. It may also serve as starting point for future related researches in unraveling the totality of this social action and its significance in the comprehensive understanding of Hallyu phenomenon in the Philippines.

The worldwide popularity of South Korean popular music has generated global consumer demand for variations of its grueling training regimen offered by talent recruitment agencies and dance studios. Using the case study of the South Korean popular music boot camps offered by the Australia-based agency, The Academy, this article seeks to frame these performative engagements along more cosmopolitan notions of choreographic co-creative labor. In contrast to the highly competitive South Korean popular music machinery, participation in these boot camps can be characterized as affective prosumer "free labor" from trainees from diverse backgrounds, abilities, and motivations. Through programs that enable trainees to "re-present," "re-organize," and "re-interpret" K-pop dance performances, studios like The Academy leverage on K-pop's popularity and its training pedagogies so as to open new fields of creative labor. Accompanying such openings are the strengthening transnational connectivities in the activities of The Academy in intensifying existing multicultural networks in Australia. The studio is also part of a more cosmopolitan platform in orienting traditionally Eurocentric mainstream Australia culturally toward the Asia-Pacific region. By further democratizing the dance abilities of K-pop choreographies, initiatives like The Academy serve in enlarging creative labor in transnational rhythmic communities.

The study of emotional intelligence has been studied in conjunction with many topics since its conception in 1995, however there is no research linking the concept to marketing potential for any specific music genre.  Emotional intelligence includes the study of deciphering your emotions as they occur and altering those feelings as appropriate, as well as the ability to infer information about the emotions of those around you.  K-pop is a music genre that has benefitted from globalization and business strategies that involve social media, especially sites like YouTube.  Teens are the primary demographic for K-pop marketing, which coincides with teenage propensity towards celebrity worship which has been used to capture merchandising opportunities.  Celebrity worship has been shown to be negatively correlated with emotional intelligence, however the jump from the emotional intelligence level of celebrity worshipping teens in general to the knowledge of how K-pop fans score on emotional intelligence has not been studied. This paper sets framework to show that studies should be conducted to determine if knowing the emotional intelligence levels of target demographics could increase K-pop company’s profits through appropriate marketing.

The full text is also available at the author's personal website. www.kyongyoon.com
This chapter discusses how a cultural form emerging from a postcolonial context can be resignified and reappropriated as a means of cultural negotiation for subaltern groups. It has analyzed global K-pop as a cultural practice that implies postcolonial legacies and struggles in media production and consumption.

This chapter examines the emergence of a regionalising East Asian pop music as at least a partial consequence of 1960s American attempts to bring Cold War Asia back to “normality” through the fostering of regional economic exchange. The 1980s “East Asian Miracle” that resulted in turn supported a regional desire for modern cultural formations that could accompany economic buoyancy. The unexpected spread of Japanese pop culture in East and Southeast Asia in the 1990s and the Korean pop culture that followed in its wake from the late 1990s – both of which were not aimed at regional audiences in their origins – follow from a progressive translocal change in cultural subjectivity, even though these pop-cultural phenomena should not be taken as linked in their entirety with the various Asian developmental states’ politico-economic agendas. The images in these pop cultures speak of a glossy urban Asia – no cultural essentialisms or exotic Asia here. The chapter enquires how we might think through the contradictions of imagining a capitalist “new Asia” from the 1980s, when tensions with origins ranging from the presence of mid-nineteenth century European colonialism to the Cold War, and that continue into the current global order, seem more pronounced than ever. No new ideology congruent with the ongoing economic integration has come about, and regionalising (if not quite regional) pop music is the postcolonial cultural expression of the fraught contemporary moment, in which culture, intertwined as it is with the commitment to economic growth, has engaged with older modernist ideologies in ways not conceivable during the Cold War.

Although many attempt to explain BTS’ surge in global popularity by pointing to their social media use, grassroots fandom, and performance skill, there is a clear lack of focus on the importance of the storytelling found in BTS’ work, as well as the underlying influences from literature and psychology. If we are to truly understand BTS and their significance within pop culture and the global music scene, it is necessary to examine BTS’ narrative and its effects more deeply.

Throughout BTS’ conceptual journey from 2013 to the present, trials and anxieties are brought to the surface, contemplated, and resolved. Within their lyrics, music videos, and fictional Bangtan Universe, universal themes of wandering youth, school, temptation, love, and self-development are amplified by related themes seen in works of literature and psychology. These influences help BTS tap into a form of bibliotherapy, a creative art therapy that uses literature to promote healing. A close examination of BTS’ work reveals how BTS engages its fanbase with a cohesive cross-platform narrative that effectively helps fans explore their own anxieties and learn to heal.

In my proposed presentation, I will interpret BTS’ conceptual narratives and themes within the context of works by Hermann Hesse, Carl Jung, and Erich Fromm. I will also apply the theory of bibliotherapy to explain how BTS’ narrative succeeds in helping fans cope with anxieties and pain. To illustrate impacts on the fandom, I will include data from a brief fandom survey.

*Note: This paper was presented at the 2020 BTS Conference in London. It is currently submitted for publication, so no file has been uploaded.

With Sorry, Sarangheyo (2010) and Hello Stranger (2010) as a case study, this paper discusses the more active attempts by Southeast Asian cinema in negotiating these otherwise highly asymmetrical and essentializing global and regional cinematic flows that have scopophilicaly reduced countries like Thailand into an exotic pre-modern spectacle.  Directed by Bajong Pisanthankun, the romantic comedy revolves around the realities of the encounters of two Thai nationals in their holidays to South Korea. With not just many scenes shot at locations made famous by Korean dramas, but also the parodying of its conventional dramaturgical styles, Hello Stranger stages a multiple engagement with the both the screen fetish for East Asian modernity embodied in Korean pop culture. Filmed almost completely in South Korea, the production represents not only the current commercial confidence of Thai cinema in projecting its imaginaries directly back to the First World, and in the process, sailing against the currents of the circulation of regional popular cultural flows. At another level, this cinematic projection also becomes a more subtle displaced signifier of the disillusionment with the current political uncertainties in the Kingdom. The question to be raise here in both films is whether this shift represents efforts to be an active and autonomous participant of the regionalization of Asian popular culture; As the protagonists start to put on stylish and layered winter clothes, it remains to be seen whether such participation would mean moving the dreams of Thai cinema in constructing youthful cosmopolitan urbanity and modernity from the Chao Praya River to the Han River of Seoul in the Heart of the Korean Wave.         
Keywords: Thai Cinema, Korean Wave,  Popular Culture Flows, Asian Modernity, Identity,Media and Society, Culture & Representation, Thai Urbanism

"This is just a very small .....and not-in-depth attempt to write an essay out of my curiosity about K-pop's presence in Indonesia. And..as to whether people really like it as much as it is portrayed and hyped. So, I was doing an out-of-curiosity 'research' into how some people express their 'hatred' towards K-Pop seen from the perspective of nationalism and religion (two issues that may uniquely arise in Indonesia (and Malaysia as my essay points out) when it comes to talking about K-pop. Mostly, I look into how they express their so-called 'hatred' through facebook. Other than that, I also point out some news on K-Pop that came up in Indonesian online newspaper and how those online media portrayed the K-pop seen from the nationalism.
"

This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological. On the industrial level, major forces that shape the music industry in which K-pop’s business operates are evaluated based on the framework of Porter’s Five Forces. External environmental analysis is followed by the review of the global strategies of major Korean entertainment companies in achieving their organizational objective of turning K-pop into a successful global business. We identify all the key value-creating activities ranging from talent acquisition to customer relationship management in the value chain of K-pop’s industry, and analyze how each of these activities have contributed to K-pop’s success in the global market. In conclusion, the recent success of K-pop on the global stage can be understood as the rewards for the capability of its internal strategy to anticipate and capitalize new opportunities in external environment.

This paper inquires into the implications of the recently rising
Korean-Chinese co-productions and the Chinese investments on Korean cultural industries. This paper first examines theories on cultural flows and globalization, then, it contextually discusses historical development of Chinese film industry for the past two decades. This paper argues that the recent rise of Chinese film industry and the Chinese capital outflows are related to the Chinese government’s desire to become a Great Nation. In the end, this paper critically investigates the influences of commercialization and industrialization of culture in China and Korea.

This book presents the diverse features of Korean Wave, known as Hallyu, in Islamic South East Asian societies. The chapters elaborate contemporary issues and themes that present the reader to distinctive Korean Wave phenomena in the region while underscoring the cultural proximity between Korean and Islamic society, inclusive dimensional approach and the endeavors made by stakeholders of Korean Wave.

Edited by Kim Keum Hyun and Rou Seung Yoan, there are 9 chapters that covers Korean Wave and its relation/impact to Brunei, Indonesia, and Malaysia (the so-called Islamic South East Asia) referred to in this book.

And…I am more than honored to chip in my take on the issue for this book. It has been a privilege to be in the same league with other scholars/contributors of this book.

This book is available in hard copy and e-book which (will be) available via:  https://www.e-sentral.com/

Please note that due to copyrights,  I uploaded only an obscure and not-that-clear image of the book.

Este estudo tem como objetivo fazer uma análise da Hallyu Wave, como um fenômeno de internacionalização da marca-país (Nation Brand) da Coreia do Sul e como estratégia de inserção internacional. Fazendo um paralelo com a forma que o Brasil faz sua inserção internacional através de suas indústrias culturais, a força motriz da Hallyu Wave, este trabalho de caráter introdutório visa preencher as lacunas de estudos brasileiros a respeito, comparar e buscar exemplos para a inserção internacional brasileira através de uma melhoria da imagem externa do país. Para isso, foi realizado um estudo de caso da ascensão da indústria cultural sul-coreana buscando compreender os fatores históricos político-econômico-sociais envolvidos. Desenvolveu-se uma pesquisa documental através de análise bibliográfica, baseando-se e estabelecendo um diálogo entre os conceitos de indústria cultural dos estudos da Escola de Frankfurt de relações internacionais, o de soft power de Joseph Nye e o de hegemonia cultural de Antonio Gramsci. Logo, trata-se de um estudo predominantemente qualitativo que buscou dados quantitavos apenas para esclarecer e validar alguns pontos da pesquisa. Os estudos a respeito da imagem do Brasil e sua Marca País são recentes e por isso fazer uma análise bibliográfica a respeito apresentou-se como uma dificuldade, restrita aos documentos nacionais. Concluiu-se através do cruzamento entre os casos que a forma como Coreia do Sul e Brasil exercem seu nation branding são bem diferentes, tanto em objetivos, quanto em meios para chegar a estes fins. Uma se volta para o turismo do país e a outra para a imagem do país como um todo. A Coreia do Sul utiliza-se fortemente de sua indústria cultural como aliada da sua diplomacia cultural, enquanto no Brasil a diplomacia cultural é exercida pelo MinC em conjunto com o MRE e a imagem do país está a cargo mais especificamente da Embratur. Contudo notou-se que apresentar-se internacionalmente através de imagens e narrativas positivas têm sido o objetivo de ambos os Estados como forma de inserir-se internacionalmente seja por meio do turismo ou da diplomacia cultural.
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This study aims to analyze the Hallyu wave, as a phenomenon of internationalization of the nation brand from South Korea and as an international insertion strategy. Making a parallel with the Brazil makes its international insertion through its cultural industries, a driving force of Hallyu Wave, this work has an introductory character – since it fills as gap in Brazilian studies about the theme – about an improvement of the external image of the country. For this, a case study of the rise of the South Korean cultural industry was carried out, looking for the historical political-economic-social elements involved. A bibliographic research was developed through documental analysis, based on a dialogue between the concepts of the Frankfurt School studies’s cultural industry, Joseph Nye’s soft power and Antonio Gramsci’s cultural hegemony. Therefore, it is a predominantly qualitative study that sought quantitative data only to clarify and validate some points of the research. The studies refer to the image of Brazil and to its Country Brand are recent and for that reason to make a bibliographical analysis about it presents itself like very difficult, restricted to the analysis of national documents. It was concluded by crossing the cases that South Korea and Brazil resort to their nation brands quite differently, both in objectives, and in means to achieve these ends. The first appeal to its tourism and the second to the whole image of the country. South Korea draws heavily from its cultural industry as a tool of its diplomatic culture, while in Brazil a cultural diplomacy is exercised by the MinC in conjunction with the MRE while the image of the country is a more specifically Embratur cargo. However, it has been noted that show themselves internationally through positive images and narratives is the aim of both states as a way of inserting themselves internationally through tourism or cultural diplomacy.

이 글은 작년 하반기 아이유 4 집 앨범 발매 이후 벌어진 일련의 상황을 사례 삼아 최근 걸 아이돌에 대한 부정적인 대중 감정의 내용과 논리를 드러내고자 했다. 그간 팬덤 연구의 흐름은 스타에 대한 동일시와 그에 기반을 둔 팬덤 커뮤니티 형성에 초점을 맞추었지만 최근 ‘안티팬덤’이나 연예인에 대한 ‘악플’ 현상 은 이들에 대한 적의나 샤덴프로이데(타인의 불행을 기뻐하는 감정)와 같은 부정적 감정을 다루어야 할 필요를 제기한다.
샤덴프로이데는 공적 평등과 사적 소유 간 모순을 특징으로 하는 근대 자유주의에서 배태되어 ‘능력주 의’를 중심으로 이 모순을 극대화하는 신자유주의에서 심화되는 사회적 감정이다. 오늘날 연예인은 종 종 샤덴프로이데의 대상이 되는데, 이는 연예인이 본질적인 자질보다 ‘유명하다는 이유로 유명해지는’ 방식으로 존재하게 된 상황과 관련이 있다. 또한 샤덴프로이데는 남녀 연예인에게 다르게 작동한다. 근 대에 이르러 존재 자체가 남성의 사적 소유물로 위치되었던 여성의 ‘성공’은 섹슈얼리티를 이용한 ‘불공 정한 자원 획득’으로 여겨지기 때문이다. 이는 현재 한국 사회에 만연한 ‘여성혐오’ 문화의 배경이기도 한데, 이러한 맥락에서 아이유의 ‘여동생 아이돌 아티스트’로서의 성공은 젠더화된 샤덴프로이데의 적 절한 대상이 된다. ‘페도필리아(소아성애증)’라는 명명은 작금의 여성주의 성폭력 정치가 직면한 교착 상태를 반영하는 측면이 있지만, 아동성폭력/학대의 구조적 원인에 관심을 두게 하기보다 개인의 유명 세에 흠집을 내는 추문으로서 작동한다. ‘아이유 사태’에서 ‘페도필리아’ 규정의 작동 방식을 ‘성 정치의 샤덴프로이데화’로 본 것은 이 때문이다. 결과적으로 이 용어는 연예인 주가의 상승과 하락을 반복하며 장을 넓혀나가는 연예인 경제 지속에 기여하게 된다.
(This study aims to reveal the content of and logic behind a recent negative public sentiment toward female idols with the example of a debate over songstress IU’s fourth album that was released late last year. While previous studies on fandom have focused on the identification process towards entertainers and making community, a recent phenomenon of “anti-fandom” or “malicious comments” implies that more research is needed on negative emotions such as hostility or schadenfreude (feelings of pleasure from others’ misfortunes). Schadenfreude is a social sentiment that originated in modern liberalism, which features contradictions between public equality and private ownership, and that has been intensified in neoliberalism, which features a maximization of this contradiction centring on a meritocracy. Celebrities in Korea often become the targets of schadenfreude, which is associated with the suspicion that they gain popularity not from their abilities but from “just being popular.” It should also be noted that this kind of schadenfreude operates differently between male and female entertainers. Specifically, the acquisition of money and fame by modern women whose presence used to be located in the private possessions of males is considered to be due to their unjustified use of sexuality. This is also the background of the recent online misogyny culture in Korea. In this context, IU, who had been successful at building a differentiated image of “sister-like idol artist,” became a valid target. Although accusing IU of utilizing paedophilia reflects a stalemate that a current politics of sexual violence faces, it rather damages the name of an individual than attracts public attention to the structural causes of child sexual abuse. This is why I see the way that paedophilia was used in the debate over IU as a schadenfreude. Consequently, the term paedophilia here contributes to an expansion of the entertainment economy that is sustained by rises and falls of the celebrities’ stock prices.)

Este trabalho visa apresentar a associação entre cultura juvenil, moda e o Kpop, sendo este visto como uma subcultura adolescente. Para tanto foram estudados
autores que falam sobre a história do K-pop, sua construção e evolução, assim como
elementos da Onda Coreana e sua expansão pelo mundo. A música popular detém
um importante papel na cultura juvenil, influenciando o modo de vestir e se comportar
dos jovens, além de carregar signos que os identificam e/ou os separam entre a
subcultura na qual estão inseridos e outros grupos. Por não haver muitos materiais
bibliográficos que tratam especificamente da moda no K-pop, o presente trabalho
propõe trazer um estudo que proporcione conhecer esse universo e entender melhor
a roupa como uma ferramenta de suma importância na construção da identidade. Ao
final da pesquisa foi realizado um editorial para um catálogo online que traz
informações sobre esse estilo musical e apresenta uma experiência de moda
inspirada no K-pop, demonstrando como o estilo pode se fazer presente na vida das
pessoas em diferentes momentos.

Course Description: This is a class for those who want to use popular music as a tool to more deeply understand contemporary Korea. The class will address Korean popular music from the turn of the twentieth century to the latest K-pop hits, all while noting the ways that the changing musical tastes of Korean people are linked to historical, social, and cultural shifts on the Korean peninsula as well as music and performance related trends that influenced Korea from abroad. Students are not expected to be deeply familiar with Korean music, history, culture, or language, however, class lectures, activities, and discussions will presume that the average student has some knowledge through previous classes in Asian Studies, following Korean popular culture, or growing up in a Korean family. Class will use abundant music and video clips, incorporate discussions based on academic articles and chapters, and require student analysis that connects popular music to its context.