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Digital Community, Fan Space and Gendered Emotions: an Analysis on Korean Pop Music (K-Pop) Fandom in Turkey

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Digital Community, Fan Space and Gendered Emotions: an Analysis on Korean Pop Music (K-Pop) Fandom in Turkey IBN HALDUN UNIVERSITY SCHOOL OF GRADUATE STUDIES DEPARTMENT OF SOCIOLOGY MASTER THESIS DIGITAL COMMUNITY, FAN SPACE AND GENDERED EMOTIONS: AN ANALYSIS ON KOREAN POP MUSIC (K-POP) FANDOM IN TURKEY BETÜL TOZLU THESIS SUPERVISOR: ASST. PROF. NURSEM KESKİN AKSAY ISTANBUL, 2020 IBN HALDUN UNIVERSITY SCHOOL OF GRADUATE STUDIES DEPARTMENT OF SOCIOLOGY MASTER THESIS DIGITAL COMMUNITY, FAN SPACE AND GENDERED EMOTIONS: AN ANALYSIS ON KOREAN POP MUSIC (K-POP) FANDOM IN TURKEY by BETÜL TOZLU A thesis submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Master of Arts in Sociology THESIS SUPERVISOR: ASST. PROF. NURSEM KESKİN AKSAY ISTANBUL, 2020 APPROVAL PAGE This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts in Sociology. Thesis Jury Members Title - Name Surname Opinion Signature __________________________ ________________ ________________ ___________________________ ________________ ________________ __________________________ ________________ ________________ This is to confirm that this thesis complies with all the standards set by the School of Graduate Studies of Ibn Haldun University. Date of Submission Seal/Signature ÖZ DİJİTAL TOPLULUKLAR, FAN ALANLARI VE CİNSİYETLENDİRİLMİŞ DUYGULAR: TÜRKİYE'DEKİ KORE POP MÜZİĞİ FANDOMU ÜZERİNE BİR ANALİZ Yazar Tozlu, Betül Sosyoloji Yüksek Lisans Programı Tez Danışmanı: Dr. Öğr. Üyesi Nursem Keskin Aksay Ağustos 2020, 125 sayfa Bu çalışma Türkiye’de yaşayan Kore Pop müziği (K-Pop) fanlarının deneyimlerini analiz etmeyi amaçlar. Son yıllarda Türkiye’deki K-Pop tartışmalarının toplumsal cinsiyet ekseninde yapılıyor olmaları, K-Pop’un aile yapısı ve var olan cinsiyet kodlarına karşı bir tehlike olarak yansıtılması çalışmanın ortaya çıkmasında en büyük etkenlerden biridir. Çalışma, hem anti K-Pop olarak isimlendirilebilecek bu söylemi, hem de özellikle sosyal medya üzerinde süren fan deneyimlerini birlikte inceleyerek toplumsal cinsiyet konusunun nasıl anlamlandırıldığını analiz etmeyi amaçlar. Bu doğrultuda fanlarla derinlemesine görüşmeler, odak grupları, etnografi, dijital etnografi, söylem analizi ve katılımcı gözlem gibi birden fazla veri toplama yöntemi kullanılmıştır. Elde edilen verilen toplumsal cinsiyet olgusunun popüler kültür temsillerinin yanında, paylaşılan alan ve bu alanda dolaşımda olan duygular ile büyük ölçüde ilgili olduğunu ortaya çıkarmıştır. Katılımcılarla yapılan görüşmelerin analizleri özellikle maskülenlik olgusu ve ideal erkek tanımlarının negatif duygular ve baskıcı/tehditkar davranışlar üzerinden anlamlandırılırken, feminenlik olgusunun pozitif duygular ve daha yumuşak davranışlar ile ilişkilendirildiğini ortaya çıkarmıştır. Çalışma var olan toplumsal cinsiyet tanımlamalarının özellikle duyguları ifade etme konusunda hem kadın hem de erkek için kısıtlayıcı ve sınırlandırıcı olduğunu öne sürer. Bu bağlamda K-Pop idolleri aracılığıla gösterilen farklı toplumsal cinsiyet temsillerinin, anti K-Pop söyleminin iddia ettiğinin aksine ‘feminen’ görünümleri sebebiyle değil, feminenliğe atfedilmiş yumuşak davranış kalıpları ve pozitif duyguları ifade etme konusundaki özgürlükleri nedeni ile ilgi gördüğünü öne sürer. Bunun yanında hegemonik maskülenite kalıplarından ayrılıyor olmaları sebebiyle bu ‘daha feminen’ maskülenite temsilinin daha güvenli ve daha güvenilir olarak algılandığını gösterir. Çalışma var olan toplumsal cinsiyet tanımlamalarındaki sorunlara dikkat çekerken, duygusal bağ ve dijital alan kullanımının toplumsal cinsiyeti anlamlandırma üzerindeki etkilerini gösterir. Anahtar Kelimeler: popüler kültür, kültür endüstrisi, toplumsal cinsiyet, dijital alan, duygu ABSTRACT DIGITAL COMMUNITY, FAN SPACE AND GENDERED EMOTIONS: AN ANALYSIS ON KOREAN POP MUSIC FANDOM IN TURKEY Student Name Tozlu, Betül MA in Sociology Thesis Supervisor: Asst. Prof. Nursem Keskin Aksay August 2020, 125 Pages This study aims to analyze the experiences of Korean Pop music (K-Pop) fans in Turkey. In recent years, K-Pop has been discussed together with gender norms in the context of Turkey, claiming that K-Pop is a danger for family structure and existing gender codes. This study intends to investigate both on this discourse, which can be named as anti K-Pop discourse; and on fan experience, which mainly exist on digital space, to be able to see how gender is understood. With this aim, I have used multiple data collection techniques such as; in-depth interviews and focus groups with fans, ethnography, digital ethnography, discourse analysis and participant observation. According to the data obtained, the concept of gender is highly related with space and emotions as well as popular culture representations. Analyses of the interviews revealed that especially the concept of masculinity can be understood more with its attachments to negative emotions and oppressing/threatening behaviors, while femininity has attachments like positive emotions and softer behaviors. This study shows that existing definitions on gender representations are too limiting and oppressive especially when expressing various emotions both for men and women. In this context, different gender representations shown by K-Pop idols, unlike the claims of anti K-Pop discourses, raised interest not because of their ‘feminine’ appearances but because of their softer behaviors and freedom in emotional expressions which are socially constructed as femininity. Together with this, the study shows that these ‘more feminine’ masculinity representations are perceived as more secure and reliable because of their distance from hegemonic masculinity representations. While pointing to the problems of existing definitions for gender norms, this study reveals the impact of emotional connection and digital space on understanding gender norms. Keywords: popular culture, culture industry, gender, digital space, emotions ACKNOWLEDGEMENT This thesis is an outcome of my first two years of, hopefully, life long journey in academia. During this process there were many people whom I haven’t thanked enough for their support and valuable teachings. Before anyone else I have to thank to my advisor Nursem Keskin Aksay for her support and sincerity since the beginning. She believed in me even in times when I didn’t believe in myself, and it would be very difficult to survive this period without her. I can’t be grateful enough for both her contributions for this study and for being a role model for me as an academician. I am thankful to the professors with whom I took courses during these two years for their valuable teachings. I would like to thank Prof. Alev Erkilet and Prof. Heba Raouf for being inspiring teachers; I enjoyed every moment of their courses and learned a lot from their academic ethics. I am thankful to Assoc. Prof. Ramazan Aras especially for helping me improve my academic writing by correcting my response papers repeatedly, also for his encouragement and support for including students in academic events. I feel lucky and grateful for sharing my master years with an amazing group of students in Ibn Haldun sociology department. My friends Nesibe Demir and Nesibe Şahin were one of the biggest supports in every step of the last two years. We studied and grew together. I feel proud for seeing their achievements and grateful for always encouraging me to become better. I am thankful to Salma El-Zamel for her precious friendship which made my last two years very special. Thanks to Rumeysa Ertuğrul for sharing my excitement and interest about popular culture, I am waiting for the day we will start working together. Also thanks to my friend Halima Bensaid for our small conversation on hyperreality, which was very helpful for me in formulating this thesis. Lastly I am most thankful to my father, my mother, brother and sister whom all were extra understanding and supportive with me during my thesis writing period in quarantine. They have always been the biggest support in my studies and I wouldn’t be able to reach this point without their encouragement. Betül TOZLU ISTANBUL, 2020 TABLE OF CONTENTS ÖZ ................................................................................................................................ ii ABSTRACT ............................................................................................................... iv ACKNOWLEDGEMENT ........................................................................................ vi TABLE OF CONTENTS ......................................................................................... vii CHAPTER I INTRODUCTION ............................................................................... 1 1.1. Understanding the K-Pop .................................................................................. 6 1.2. A New Kind of Foreign Wave in Turkey ......................................................... 8 1.3. Main Academic Works About Hallyu Wave .................................................. 15 1.4. Digital Space as a New Field: Stepping in to the ‘Fan Space’........................ 21 1.5 Conclusion ....................................................................................................... 25 CHAPTER II BEFORE AND AFTER THE K-POP............................................ 28 2.1 The Impact of the ‘K’ in K-Pop ....................................................................... 32 2.2 K-Pop as a Culture ..........................................................................................
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