LinhNguyenNgoc
ProfessorI.H
GlobalStudiesSeminar
January5,2024
K-pop'sGlobalEvolution:ASoftPowerForceinShapingYouthPerspectives
ABSTRACT
K-Pop,orKoreanpopmusic,hasevolvedintoaglobalphenomenon,captivating audiencesworldwide.K-popartistsareadoredinternationallyfortheirmesmerizing performances,captivatingsinginganddancing,andtrendsettingfashion.However,beyond thedazzlingstages,K-pophasbecomeaninstrumentnotonlyforentertainingbutalsofor shapingperceptions,fosteringcross-culturaldialogues,andinfluencinginternational perspectives.Asitcapturestheimaginationofmillionsworldwide,K-popemergesasa dynamicconduitconnectingdiverseculturesandgenerations,fosteringasharedcommitment toaddressingpressingglobalissues.
DrawinginsightsfromNyeandKim's(2019)assertionthat"K-popisnotjusta randomresponsetoneoliberalglobalization,butasystematicallyplanned,monitored manifestationof'entrepreneurialself,'"thepaperexploresthedeliberateconstructionof K-popidolsthatleadstoitscurrentinternationalsuccess.Thisexplorationnavigatesthe intentionalevolutionofK-pop,fromitsculturaloriginstoitsglobalizationstrategies,the studyinvestigatestheindustry'sinnerworkings,fromthemeticulous"idolmanufacture"to thedynamicrelationshipbetweenK-popartistsandtheirfans.
Moreover,thispaperexploresthevibrantrealmofK-popfandom,analyzingfan behaviorasacrucialaspectoftheindustry'ssoftpower.Fromactiveengagementin streamingandlanguagelearningtocommunitybuildingtranscendinggeographical boundaries,thepaperemphasizesthepotentialofK-popastherepresentativevoiceofglobal youth.ItadvocatesforresponsiblefandompracticesandhighlightstheculturalbridgeK-pop forms,fosteringempathyandrespectfordiversity Thisresearchhasendeavoredtounravel theintricatelayersofK-pop'sinfluence,recognizingitsroleinshapingthenarrativeofglobal youthengagementincontemporaryinternationalaffairs.Themultifaceteddimensions exploredhereinaffirmK-pop'scapacitytoinspire,bridgeculturalgaps,andserveasa catalystforpositivechangeinthecomplextapestryofourinterconnectedworld.
WhilecelebratingK-pop'ssuccess,thispaperconfrontsethicalconcernssurrounding theshortcomingofK-popartistsandtheindustryingeneral,questioningtheappropriateness oftheirroleasculturalambassadorsandrepresentativesonglobalissues,invitingreadersto ponderthebroaderimplications.
KEYWORDS
K-Pop;GlobalPhenomenon;CulturalImpact;EntrepreneurialSelf;IdolManufacture; Fandom;SoftPower;CulturalBridge;ResponsibleFandomPractices;EthicalIssues
K-pop,shortforKoreanpopmusic,hastranscendeditsgeographicaloriginsto becomeaglobalculturalphenomenon.IthasbeenoveradecadesincePSY,afamousKorean rapper,inventedthefirstbillion-viewYouTubevideo.PSY,appearinginElvis-likeslick-back hairandflashysuit,dancingtotheunforgettablehorse-ridingdance,made“GangnamStyle” musicvideothefirsttoreachabillionviewsonYouTube,solidifyingK-pop'spresenceonthe internationalstage.ThisrecordstayedthesameuntiloneyearlateruntilthevideoforJustin Bieber’s“Baby,”whichhittheplatforminFebruary2010,reachedonebillionviewsby2014 (Bowenbank,2022).PSY'sbreakthroughpavedthewayforK-poptoachieveunprecedented globalsuccess.In2021,BTSemergedastheworld'stop-sellingmusicalactwiththeir“BTS WorldTour:LoveYourself” (1),whileBLACKPINKshowcasedtheirinternationalappealby performingattheCoachellamusicfestival (2) andcollaboratingwithrenownedartistslike LadyGaga (3) andSelenaGomez (4) .
Beyondtherealmsofsinginganddancingperformances,K-pophasdevelopedintoa potenttoolforinfluencingglobalviewpointsandinfluencingglobalperspectives.K-pop's growingglobalappealinrecentyearshasgivenitanewfoundroleasasoftpower instrument,servingbothSouthKoreaandtherestoftheworld.Thisevolutiongoesbeyond entertainmentandrepresentsachangeinstrategyforsoftpower,utilizingK-pop'sworldwide appealtodrawinyoungeraudiences’attention.Thisgroup,livinginaneraofhigh-tech lifestylesandinnovativethinking,ispresentedwithendlesspossibilitiestoengagewith currentinternationalproblemsandparticipateinshapingabetterworld.AsK-popcaptivates theheartsofmillionsaroundtheglobe,itservesasaconduitforconnectingyoungminds, fosteringculturalexchange,andinspiringasharedcommitmenttoaddressingthecritical issuesofourtime.ThispaperwilldelveintothemultifacetedaspectsofK-pop'sinfluence,
exploringhowithasbecomemorethanamusicalgenre,emergingasaforcethatshapesthe narrativeofglobalyouthengagementincontemporaryinternationalaffairs.
GOVERNMENTALINFLUENCES
Intheculturalmainstreamofthe20thcentury,Americanculture,characterizedbyits music,Hollywoodfilms,andMTV-styletelevisionprograms,ubiquitouslyasserteditself, overshadowingindigenouspreferencesandsubstitutingthemwithAmericanartistic standards.However,thisdominanceencounteredachangeinthinkinginthe2000swiththe adventofHallyu,anewwavefromSouthKorea,anationnothistoricallyrenownedforits culturalprominence.ThismarkedatransformativemomentforSouthKorea,propellingit ontotheglobalstageandchallengingtheentrenchedperspectiveof"Euro-American centrality."TheglobalphenomenonofKoreanpopculture,knownasHallyu,specificallythe culturalwaveofK-pop,didnotemergeserendipitouslybutwasadeliberatestrategy orchestratedbythegovernment.In1994,SouthKorea'sMinistryofCultureestablishedthe BureauofCulturalIndustries,aprecursortosubsequentinitiativesaimedatinternationalizing thenation'sculturalimage.In1997,PresidentKimDae-jung'sadministrationarticulatedthe NewCulturalPolicy,emphasizingthenecessityofexpandingtheexportofculturalproducts. Thispolicy,adoptingan"industrialandscientific"approachtoculture,laidthefoundationfor theenactmentofthe"BasicLawfortheCulturalIndustryPromotion"in1999.TheBasic LawfortheCulturalIndustryPromotionsignaledachangeinthinking,assertingthe government'sactiveroleinsupportingandpromotingthedevelopmentofculturalindustries. Overtheensuingyears,aseriesoftwenty-twolawswereenacted,withanemphasison "internationalexchange,"positioningculturalsectorandcontentdevelopmentasintegral componentsofnation-brandingwithinabroaderglobalstrategy Thisstrategicemphasiswas
notablyaccentuatedaftertheAsianFinancialCrisisof1997,whereintheSouthKorean government,recognizingtheburgeoningvalueofitsK-popindustry,allocatedsubstantial financialresourcestoestablishaMinistryofCulture,completewithadedicateddepartment focusedonK-pop.TheSouthKoreangovernment'sintentionalandstrategicinvestmentinthe K-popindustrymirroredtheprotectivemeasuresadoptedbytheUnitedStatesforits signatureindustriesduringthesameperiod,suchastheautomobileandbankingsectors.The significanceofthismovewasunderscoredbyitscommitmentofmillionsofdollars,aclear indicatorofthegovernment'srecognitionofK-popasavitalcomponentofitsculturaland economicidentityontheglobalstage(Barden,2019).
K-POPBUSINESSSTRATEGIES-K-POPARTISTSANDFANRELATIONSHIP
Ontheotherhand,thesuccessofK-popisnotsolelyattributedtotheKorean government;K-popcompaniesplayapivotalrole,employingmeticulousandstrategic planningwithcommodificationatitscore.Thisintentionalapproachisevidentinthe systematictraineeshipstrategiesemployedbythesecompanies,whereaspiringK-popartists undergoaclosedtrainingsystemforanaverageof2to3yearsbeforetheirofficialdebut.
Theartiststhemselvesaretreatedascommodities,meticulouslycraftedintorefined "products"duringthetrainingprocess.Thisestablishedtraineeshipsystem,initiatedduring thefirst-generationK-popidolserain1990s,persiststothepresentday,incorporating practicesoflocalizationandglobalizationforoverseasmarkets.Forinstance,SM
Entertainment,aprominentK-popcompany,conductsannualauditionsandscoutspotential traineesonthestreets.Onceselected,traineesundergoaregimentedandstructuredtraining regimen,encompassingsinging,dancing,acting,languageacquisition,andinterviewskills. Specializedtalents,suchasbreak-dancingorvoicemimicry,arealsohonedduringthis
period.Thetrainingpackages,inclusiveofstrictdietarycontrol,facialtreatments,andeven cosmeticsurgery,arefullyfundedbytheagencies,coveringalllivingexpenses,including food,accommodation,experttutors'fees,andvarioustrainingclasses.Itisimperativetonote thatthereisnoguaranteeofdebutingonceanindividualbecomesatrainee.Giventhe extensivenatureofthetrainingprocess,thecostofgroomingasingerintheKoreanpop industryissubstantial.Additionally,beforethedebutofagroup,thecompanystrategically determinesthegroup'simageandmembers'personalities,shapingtheoverallidentityofthe upcomingmusicalact.(Pratamasari,2017)
Secondly,theinclusionofnon-Koreanartistsisanoteworthyaspect.ParkJinyoung, thefounderofJYPEntertainment,emphasizedthesignificanceof"blendingininternational membersintoaK-popact"asacrucialstepintheinternationalizationofK-pop (5).This deliberateinclusionunderscorestheindustry'scommitmenttodiversityanditsstrategic effortstoappealtoabroaderglobalaudience.Non-KoreanK-popartists,particularlythose withthreemajornationalities:Chinese,Japanese,andAmericanplaycrucialrolesinthe globalizationofK-pop. (20) In2005,SMEntertainmentdebutedSuperJunior,thefirstgroup withaChinesememberthatbecamefamousinternationally,andstartedaspecialunitcalled SuperJunior–MforChinapromotionsin2008.TheMintheirnamestandsforMandarin. Later,SMEntertainmentadaptedthesamemodelfortheirjuniorgroup,EXOandformed EXO-MwithfourChinesemembers. (6) ThisinnovativeapproachnotonlyboostedK-pop's successinChinabutalsosetanewstandardinthedomesticChinesemusicindustryinwhich K-popartistsorwhoeverdebutedinKoreacanbeseenaspossessingperfectskills,andeven capableofbeingjudgesonChinesetalentshowswithoutquestions. (7) Agroupwiththree Japanesemembers,Twice,debutingunderJYPEntertainmenthasbeentransformative, reshapinghowK-popgroupsapproachtheJapanesemarket.Japanstandsoutasaunique
marketforK-popartists.UnlikeothercountrieswhereK-popartistsmayvisitsporadically forconcertsorliveshows,JapanhasconsistentlybeenakeymarketwhereK-popartists promotewithafrequencynearlyequivalenttotheiractivitiesintheKoreandomesticmarket, involvingexclusivealbumreleasesandmultipleconcertsthroughouttheyear.Withthestrong participationofJapanesemembersinK-popgroups,Japanesefansarenowevenmore fortunate,enjoyingaheightenedlevelofengagementwiththeirfavoriteartists(Koo,2022).
AmericanmembershavebeenintegraltotheK-popscenesinceitsfirstgenerationinthe 1990s,contributingsignificantlytothegenre'sevolution.Theirinfluenceextendsbeyond theirimmediateimpact,makingthemnotonlyrolemodelsforpresent-dayartistsbutalso legendsofK-pophistory AmericanmembershavealwaysbeenthelinkbetweenK-pop groupsandfansworldwide.BeforeK-popbecameaglobalsensation,artistsprimarily communicatedwithoverseasfansthroughsocialmediaplatformslikeTwitterorInstagram. TheAmericanmembers’English-languageproficiencyandtheirfamiliaritywithWestern culturemakethemrelatabletoabroaderaudience.Fansappreciatehavingsomeonewhocan interactinreal-timeonlivestreaming,creatingamoreintimateandpersonalconnection.
Nonetheless,thesediverseengagementshavecarvedoutauniquespacewithinthegenre, infusingK-popwiththeirculturalinfluencesandcontributingtoitswidespreadrecognition.
PratamasaripointedoutthatthenichemarketcreatedbycompanieslikeSM Entertainment,oftentargetingfandomswithdistinctivecharacteristics,differentiatesthe Koreanpopindustryfromitscounterpartsglobally.Toreachinternationalaudiencesmore effectively,K-popleveragesonlineplatforms,markingadeparturefromthetraditional physicalalbum-centricapproach.Theriseofstreamingservicesandonlineplatformshas facilitatedtheglobaldisseminationofK-pop,withnumeroussites,blogs,andfan-produced contentcontributingtoitspopularityworldwide.Thisphenomenonhasledtowhat
Pratamasaridescribesas"grassrootsconvergence,"whereinaudiencesactivelyinfluencethe production,distribution,andreceptionofK-popmedia.Thenatureofthisnichemarkethas influencedmarketingstrategies,particularlyintherealmofphysicalalbumsales.Contraryto thedecliningtrendinthedigitalera,physicalalbumsalesintheK-popindustryhavethrived, drivenbysmartandluxuriouspackagingmethodsthatincludephotobooks,postcards,and posters.SMEntertainment,knownforitssavvymarketing,releasesdifferentcoverversions andmultiplelanguageeditionstocatertothediversepreferencesoffans,enhancingtheir perceived"fanstatus."
Notes
(3) LadyGaga’ssixthstudioalbum“Chromatica”(2020)featuredonetrack“Sour Candy”incollaborationwithBlackPink
(4) BLACKPINK’sdebutstudioalbum“THEALBUM”(2020)including“IceCream”a trackincollaborationwithSelenaGomez
(5) SummarybasedonSMEntertainment’sartistbiographyonofficialwebsite https://www.smtown.com/
(7) LayZhang,EXOformerChinesemember,wasthemainproducer/mainjudgeofIdol Producer(2018)andYouthWithYou(2019),Chinesetalentshowstopickoutninewinners todebutforthefinalline-upofChineseidolgroups.AlsoinIdolProducer,ZhouJieqiong,a ChinesememberofK-popgroupI.O.I(debutedin2016)wasalsothedancementor She cameundercriticsonSNSquestioningherqualificationsandstageexperiencestobea mentoralthoughonlydebuted2yearsbeforetheshow BLACKPINKmember,Thai nationality,Lisa,waspickedtobedancementorinYouthWithYou2and3.Sheparticipated asamentorfor2seasonsin2020to2021despitenotspeakingChineseandcouldnot physicallyfilmtheshows(virtuallyparticipatedduetoCovid-19)whichraisedcriticson whethershereallyhelpedmentoringorjustforviewsandpopularityoftheshowfranchise.
Self-summaryfrommultiplefandiscussionthreatsonWeibo,Douban,Facebook,Reddit, quoraetcandiQIYIofficialwebsiteiq.com,TencentVideo.
(8) Basedonfan’ssummarizedlistofSEVENTEEN’sofficialaccountat https://listography.com/ohmyjww/links/seventeen_official_accountsasHYBEandPledis Entertainmentofficialwebsites(JapanandKoreaofficialwebsites)listdonotinclude members’personalprofilesandaccountsforothertargetedregionslikeChina.
(9) PersonallymadecomparisononSEVENTEENandTaylorSwift’sactivitiesonSNS. OnpopularplatformslikeFacebookorTwitter,TaylorSwiftofficialaccountonlyhascontent writteninEnglishwhileSEVENTEENwouldpostinatleasttwolanguages,Koreanand English,forsomespecificpoststheywouldalsoincludeChinese,Japaneseandother languages.SEVENTEENandTaylorSwiftbothhaveofficialWeiboaccounts,however SEVENTEEN’spostsonWeiboarewritteninChinesewhileTaylorSwift’sallusedEnglish.
(15) ExampleofNewJeans,girlgroupunderHYBE,debutedbackinJuly2022,theywere thefollowingages:Minjiwas18,Hanniwas17,Daniellewas17,Haerinwas16,andHyein was14
(19) ConstantlyremindedfanetiquettesbyK-popcompanies,samplefromHYBEon &TEAMofficialfancommunitysitehttps://weverse.io/andteam/notice/14641?hl=ja
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