K-wave 2 PDF - K-Pop Music and Transnationalism

Week 11: K-Pop and Beyond 1 1. K-Pop Music and Transnationalism* ◎ Globalization of K-Pop - K-Pop has emerged as a global cultural phenomenon, representing South Korea’s engagement with modernity and globalization, and blending musical and cultural influences. - K-Pop typically ref...

Week 11: K-Pop and Beyond 1 1. K-Pop Music and Transnationalism* ◎ Globalization of K-Pop - K-Pop has emerged as a global cultural phenomenon, representing South Korea’s engagement with modernity and globalization, and blending musical and cultural influences. - K-Pop typically refers to South Korean idol groups marketed by entertainment companies as all - round entertainers with polished looks, choreographed dance, and catchy tunes, attracting a worldwide fan base through digital platforms. - PSY’s 2012 hit “Gangnam Style” significantly boosted K-Pop’s global visibility, drawing interest from international media, industries, and academia. - Significance of K-Pop in Understanding Korean Society: Examining K-Pop offers insights into Korean culture, identity, and the dynamics of globalization, as it balances local and global cultural currents. - K-Pop serves as a lens to examine broader cultural, political, and social issues in contemporary South Korea, reflecting changes in the country’s identity and global influence. * Fuhr, M. (2016). K-Pop music and transnationalism. In Routledge handbook of Korean culture and society(pp. 283-296). Routledge. 2 1. K-Pop Music and Transnationalism* ◎ Historic Background - K-Pop’s global success is rooted in Korea’s complex 20th-century history, evolving from traditional and Western influences, especially post-Cold War transformations. - Economic Growth in Music Market: South Korea’s music market saw immense growth from 2005 to 2015, positioning it among the top global markets and underscoring K-Pop’s role in Korea’s economy. - Transnationalism in K-Pop: K-Pop exemplifies transnationalism, forming networks across borders and reflecting diverse global influences beyond simple international interactions. 3 1. K-Pop Music and Transnationalism* ◎ State-corporate Complex -Rise of Korean Music Industry: The 1930s saw the establishment of Korean subsidiaries by Japanese record companies, leading to a more organized music industry and diversification of genres such as jazz and shin minyo (신민요). - Censorship in Korean Music: Throughout Japanese colonization and subsequent regimes, music faced strict censorship based on themes like Japanese influences, communism, and perceived immorality. - Shift in Cultural Policy: Post-1980s democratization and globalization led South Korea to support the cultural industry as an economic asset, especially after the 1997 financial crisis, by investing in “content industry” and “cultural technology.” - State and Corporate Collaboration: The Korean government supported the Hallyu wave and K-Pop, with Ministry of Culture funding for K-Pop increasing significantly from $1.6 million in 2011 to $280 million in 2013, integrating the state-corporate complex into K- Pop’s growth. 4 1. K-Pop Music and Transnationalism* ◎ Representation and Identity: Nationality, Gender, and Race - K-Pop’s identity debates focus on national branding, gender, and racial representation, with discussions on whether the “K” in K-Pop signifies Korean culture or serves as a marketable brand detached from traditional Korean roots. - Hybridized National Identity in K-Pop: K-Pop reflects a mix of Korean and global influences, contributing to ongoing discussions about Korean national identity within the genre. - Masculinity Representation in K-Pop: K-Pop boy groups display a “manufactured versatile masculinity,” blending stereotypical Western masculinity with traditional Korean seonbi ideals, creating a cross-cultural “flower boy” and “beast-like” image. - Femininity in K-Pop: Female idols adhere to standardized beauty ideals, embodying either “girl- next-door” innocence or sexualized aesthetics, supported by cosmetic enhancements, stylized “dollification,” and aegyo (cuteness), which are prevalent in performances. 5 1. K-Pop Music and Transnationalism* ◎ Dissemination, Digital Technologies, and Social Media - Digital platforms, particularly social media like YouTube, have transformed K-Pop’s global reach, marking a new phase of Hallyu, allowing K-Pop to extend beyond Asia and connect with international audiences. - Shift from B2C to B2B Model: K-Pop companies have transitioned to a business-to-business (B2B) model, partnering with multinational enterprises (MNEs) like YouTube and Samsung, which helps offset marketing costs and provides new revenue through advertisements and endorsements. - Enhanced Merchandise and Collectibles: K-Pop CDs, DVDs, and merchandise are designed as collectible items, featuring elaborate packaging and exclusive items to appeal to fans and boost revenue despite a digital shift. - K-Pop idols participate in concerts, fan meetings, and public events, which serve both as direct revenue sources and as advertising opportunities for event organizers. - YouTube’s free access to K-Pop videos fosters fan engagement globally, while K-Pop companies earn royalties, advertising revenue, and brand endorsements, creating a circular business model beneficial to both YouTube and multinational advertisers. 6 1. K-Pop Music and Transnationalism* ◎ Audience Reception and Fandom - Digital platforms, particularly social media like YouTube, have transformed K-Pop’s global reach, marking a new phase of Hallyu, allowing K-Pop to extend beyond Asia and connect with international audiences. - Fan Engagement through Dance: K-Pop’s synchronized choreographies inspire fans worldwide to participate in dance activities, including flash mobs, cover groups, and workshops, creating a physically engaged and unique K-Pop fan culture. - Despite industry influence, fans engage in “cultural enlisting,” adding their own creativity to the K-Pop experience while creating local cultural meaning and negotiating their identities in relation to K-Pop. - European K-Pop fandom signifies a new cosmopolitan youth culture, where fans explore identity and aesthetics, blending local cultural behaviors with global K-Pop influences. 7 1. K-Pop Music and Transnationalism* ◎ Audience Reception and Fandom - Transnational Production and Consumption: K-Pop is produced within a transnational industrial framework, blending sounds, dance, fashion, and digital media, and distributed as a commodified media product through diverse channels. Cultural Arena of Global and National Forces: K-Pop operates as a cultural arena where globalizing and nationalizing forces intersect, allowing for complex negotiations of cultural identity and aesthetic expression. Dominance over Other Korean Music Genres: The focus on K-Pop has overshadowed Korea’s musical diversity, redirecting attention and resources away from other genres and reshaping Korea’s music industry. 8 2. K-Pop Industry** ◎ Idol Production - Major K-Pop Labels and Business Model: Key labels like SM, JYP, and YG Entertainment operate export-oriented, 360-degree business models, controlling every aspect of idol training, production, marketing, and even idols’ personal lives, with controversies over “slave contracts.” - SM Entertainment reported revenues of approximately $330 million in 2017, showing massive growth in the industry. - These companies recruit young teens, train them in singing, dancing, and foreign languages, and eventually form them into idol groups such as 2NE1, Girls’ Generation, and Big Bang. - Idol life is strictly controlled; performers’ images and personal lives are heavily managed, with companies overseeing almost every aspect of their activities. - K-Pop idols engage in cross-media formats, including music, TV, film, and advertising, acting as national representatives and receiving governmental support for promoting Korean culture. 9 2. K-Pop Industry* ◎ Globalization Strategy - SM Entertainment pioneered a three-step globalization strategy with multinational groups like H.O.T., BoA, and Super Junior, integrating foreign members and targeting regional markets in Asia. - Use of International Talent: K-Pop songs often involve composers and producers from Europe, Japan, and the U.S., producing hits like Girls’ Generation’s “Genie” and EXO’s “Call Me Baby” in collaboration with renowned international creators. - Global-Local-Global Model: K-Pop’s production follows a “G-L-G” model, with global creative input, local refinement, and global distribution, aiming to craft K-Pop into a product that appeals internationally. 10 2. K-Pop Industry* ◎ Globalization Strategy - K-Pop’s Stylistic Fusion: Known for blending Western and Korean elements, K-Pop combines genres like hip-hop and R&B with synchronized dance, fashion, and multilingual lyrics, embodying concepts of hybridity and transnationalism. - Transnational Production and Collaboration: K-Pop’s production is global, with albums involving international teams; for instance, BoA’s 2009 U.S. album included American hit producers, exemplifying K-Pop’s transnational production chain. 11 3. BTS’s Soft Power and Public Diplomacy# ◎ Hallyu and the Growth of Cultural Diplomacy - The UN uses celebrities, like Angelina Jolie and Leonardo DiCaprio, to enhance communication with the public, raise awareness, and attract support, especially through track-two diplomacy. - Celebrity diplomacy benefits both the UN and the celebrity’s country, though issues like Western celebrity dominance and potential biases persist, highlighting the appeal of this platform for non- Western cultural diplomacy. - Yuna Kim and Si-won Choi of Super Junior serve as notable South Korean ambassadors, with Kim addressing the UN for peace during the 2018 PyeongChang Olympics, promoting a truce for the event and advocating for unity on the Korean Peninsula. - BTS as Cultural Ambassadors: BTS has addressed the UN General Assembly in partnership with UNICEF, bringing attention to South Korean culture and global values, even without an official UN title, marking a unique case of celebrity diplomacy. # Chang, H. K. (2022). BTS's Soft Power and Public Diplomacy: Partnership with UNICEF. In South Korean Popular Culture in the Global Context (pp. 6-24). Routledge. 12 3. BTS’s Soft Power and Public Diplomacy# ◎ Celebrity Diplomacy - Soft power promotes global engagement through cultural and political appeal rather than coercion, making the role of attractive cultural elements and personalities essential for influencing public opinion. - Public diplomacy has grown with globalization and digital media, moving beyond traditional state - led diplomacy to include diverse actors and topics, emphasizing mutual understanding over propaganda. - Potential Drawbacks of Celebrity Diplomacy: Critics argue that celebrity involvement may prioritize style over substance, potentially oversimplifying complex diplomatic issues and risking ineffectiveness if values don’t align with campaign goals. - Influence and Limitations of Celebrity Advocacy: While celebrities can raise awareness and influence public opinion, they have limited power over state decisions. 13 3. BTS’s Soft Power and Public Diplomacy# ◎ BTS’s Role in Global Diplomacy - BTS joined UNICEF’s #EndViolence campaign in 2017, aiming to address global issues like bullying and cyberbullying, leading to a strengthened multinational partnership by 2021. - BTS’s Love Myself Campaign: BTS launched the “Love Myself” campaign to promote self- love and end violence, donating a percentage of album sales and merchandise profits to UNICEF, while advocating for youth empowerment and self-confidence. - UN “Generation Unlimited” Partnership: In 2018, BTS partnered with UNICEF’s “Generation Unlimited,” a global initiative for youth education and employment, aligning with BTS’s message of self-respect and youth empowerment. 14 3. BTS’s Soft Power and Public Diplomacy# ◎ BTS’s Role in Global Diplomacy -First K-pop Act to Speak at the UN: BTS’s UN speech in 2018 highlighted the values of self-love and resilience, going viral on social media, with hashtags like #BTSxUnitedNations trending worldwide. - During the 75th UN General Assembly, BTS addressed the struggles of youth globally, particularly during the pandemic, offering messages of kindness, solidarity, and resilience. - Renewed UNICEF Commitment in 2021: BTS and Big Hit Entertainment renewed their global partnership with UNICEF, focusing on youth self-esteem and anti-violence amid COVID-19 challenges, demonstrating the impact of their ongoing advocacy. - Fan Engagement and Fundraising Impact: BTS’s fanbase actively supported the campaigns, promoting hashtags and fundraising, which further amplified the success and global reach of the “Love Myself” campaign. 15 3. BTS’s Soft Power and Public Diplomacy# ◎ BTS’s Role in Global Diplomacy -Alignment of Values with UNICEF: Both UNICEF and BTS emphasized shared values of self-love and youth empowerment, showing the importance of value alignment in effective celebrity public diplomacy. - BTS’s journey from an underdog group to a global sensation and their focus on self-love resonates with youth worldwide, reinforcing UNICEF’s mission to empower and uplift young people: highlights challenges with Western media’s biases against K-pop and Asian artists, facing xenophobia and marginalization in music award categories, which BTS and their fans actively resist. - Fan Engagement and Fundraising Impact: BTS’s fanbase has grown significantly across the Americas and Europe, with the highest increases in preference in the U.S., Brazil, France, and the UK, showcasing BTS’s widespread international influence. - BTS’s fanbase actively supported the campaigns, promoting hashtags and fundraising, which further amplified the success and global reach of the “Love Myself” campaign. 16 4. K-pop Activism## ◎ K-pop Fans’ Collective Action - Subculture and Counter-culture Dynamics: K-pop fandom acts as both a subculture and a counter- culture, with shared symbols and values distinct from mainstream culture, especially in its organized, internet-driven activism. - Cyberspace as an Inclusive Platform: Digital spaces lower barriers to cultural participation, enabling diverse individuals to connect through shared interests like K-pop and engage in collective action that transcends class, ethnicity, and gender. - Hallyu Fandom’s Paradoxical Traits: K-pop fans balance individuality with collective identity and are characterized by “digital intimacy,” “non-social sociality,” “transnational localism,” and “organizing without organization,” creating a global, digitally-rooted subculture. -##Alsford, N. J. (2022). Stan Activism: Is K-Pop the New Punk?. In South Korean Popular Culture in the Global Context (pp. 25-38). Routledge. 17 4. K-pop Activism## ◎ K-pop Fans’ Collective Action - Virtual, Faceless Nature of K-pop: Unlike geographically bound subcultures (e.g., hip-hop in the Bronx), K-pop fandom lacks a fixed origin, existing as a “faceless” global phenomenon driven by digital interaction and user-generated content. - Digital Symbols in K-pop Activism: K-pop fans use gifs, memes, and hashtags to create layers of meaning that are transnationally understood, shaping political narratives and enabling social activism while also risking the spread of misinformation. - K-pop stans can drive social change and hold institutions accountable, yet their power also poses risks of cyber-vigilantism and “cancel culture,” which can silence dissenting voices out of fear of retribution. 18 4. K-pop Activism## ◎ K-pop Fans’ Collective Action - Organized Charity Efforts: BTS’s fandom, ARMY, has a strong ethic of mobilizing for social causes, exemplified by their spontaneous fundraising campaigns such as the #EndViolence campaign with UNICEF and matching BTS’s $1 million donation to Black Lives Matter in 2020. - Fan-Led Social Etiquette Campaigns: ARMY has set up self-policing initiatives to promote positive fan behavior at events, including no-littering and respectful conduct at BTS performances. - Comparison with Other Fan Activism: Like the Harry Potter Alliance, BTS fans use their fandom as a springboard for civic and political engagement, proving the social impact potential of fan communities. 19 4. K-pop Activism## ◎ Contradictions in K-pop Fandom - Cyberbullying and Tragic Consequences: Cyberbullying is a major issue, especially toward female idols. - Psychological Impact on Idols and Fans: This culture of online policing and cyberbullying reveals underlying strain and pressure within fan communities, illustrating a “transfer of oppression” where collective strain can lead to harmful behaviors within the community. - Rivalries between fan groups, like EXO-Ls and V.I.Ps, often escalate online into fan wars. Examples include public shaming, online harassment. - Addictive Behavior and Bystander Effect: Participation in fan forums can become addictive, with members hesitant to intervene in disputes due to fear of retaliation or loss of status within the group. - Blurred Real-World and Virtual Identities: K-pop fans construct identities online, navigating the blurred lines between virtual and real life, acting as “dwellers on the threshold.” 20 5. Game and E-Sports+ ◎ Domestic Gaming Market by Field (2021) 1) Game production and distribution market - Mobile game - PC game - Console game - Arcade game 2) Game circulation market - PC bang - Gaming arcade +KOCCA. (2023). 2022 White Paper on Korean Games. Korea Creative Content Agency 21 5.1 Export & Import of Domestic Gaming Industry+ 22 5.2 Export of Domestic Gaming Industry+ ◎ S HA R E O F D O M ES TI C G A M I NG EX P O RT S BY CO U N T RY (2 0 20 - 20 2 1) 23 5.3 Global Gaming Market+ ◎ S H AR E O F DO M ES T I C G AM IN G M AR K ET S H AR E I N T H E G L O BAL M AR KET (2 02 0 - 2 02 1) 24 5.3 Global Gaming Market+ ◎ G L O BAL M AR KET S H AR E BY P L AT F O R M AN D R E GI O N (2 02 1 /2 02 4) 25  (unit: %) 5.3 Global Gaming Market+ ◎ G L O B A L M A RK ET S HA R E BY C OU N T RY( 20 21 ) 26 5.4 League of Legends World Championship Seoul 2023 - https://www.youtube.com/watch?v=mY6sJxu7cg8 - https://www.youtube.com/watch?v=mLXAf_csKrU 27 6. Cartoon/Webtoon++ ◎ Definitions of Cartoon/Webtoon Contents 1) Webtoon: color cartoons with vertical scrolling 2) Published comics: published comics including books of webtoons published offline, regular serials, digital page comics - Digital page cartoon: digital comics viewed in page format, including the ones with page-directed scans of published cartoons ETC) Cartoon movies (Animation productions) and educational cartoons: viewed on TV/theater/online platforms do not fall under cartoon/webtoon ++KOCCA. (2023). 2022 Cartoon Industry White Paper. Korea Creative Content Agency. 28 6.1 Webtoon++ 29 6.1 Webtoon++ 30 6.1 Webtoon++ 31 6.1 Webtoon++ 32 6.2 Published Comic++ 33 6.2 Published Comic++ 34  (unit: million U.S. dollar) 6.3 Global Cartoon/Webtoon ◎ M A R KET S IZ E Market++ 35  (unit: million U.S. dollar) 6.3 Global Cartoon/Webtoon ◎ U. S. M A R KET SI ZE Market++ 36  ◎ U. S. W EB T O O N 6.3 Global Cartoon/Webtoon M A JO R P L AT FO R M I N 2 0 22 Market++ 37  6.3 Global Cartoon/Webtoon Market++ ◎ U. S. W EB T O O N M A J O R PL AT FO R M Naver Webtoon, WEBTOON - U.S. market share: 70.5% (Monthly Active Users, 2022) - The English service of the amateur creative platform ‘CANVAS’: played a major role in Naver Webtoon’s great success in the U.S. market to attract a variety of creators and users, with over 120,000 authors registering their works through this platform - Partnership with DC Comics: Released , , on WEBTOON 38 6.3 Global Cartoon/Webtoon Market++ ◎ JA PA N W E BT O O N M A JO R P L AT FO R M I N 2 0 22 39 6.3 Global Cartoon/Webtoon ◎ F R ENC H W EB T O O N M A JO R P L AT FO R M IN Market++ 2 0 22 40 7.1 Performing Arts: Classical Music ◎ Classic Music Pianists - CHO, Seong-jin: won the XVII International Chopin Piano Competition in 2015 - LIM, Yunchan: the youngest person ever to win the Van Cliburn International Piano Competition at eighteen years old in 2022 - SUNWOO, Yekwon: won the Sendai International Music Competition in 2013, the first Korean to win the gold medal at the Van Cliburn International Piano Competition in 2017 - https://www.youtube.com/watch?v=S0k8JrKHPm0 41  7.2 Performing Arts: B-boying/Breaking ◎ B-Boys - Hong 10: silver medalist in 2023 Asian game, 3-time Red Bull BC One World Champion since 2005 - https://www.youtube.com/watch?v=qcO89478-9Q - Physicx: https://www.youtube.com/watch?v=UTsnJ7sdK88 - Jinjo Crew: the first team wining 5 major b-boy championships (R16 KOREA, Battle of The Year, FreeStyle Session, UK B-Boy Championships, Red Bull BC One) - https://www.youtube.com/watch?v=snxtE6KLdzU 42