ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, summer session I, 2016 May 23 to June 17, 2016; CRN 97344, Oral Focus Webster 101 MT & RF 9:00AM – 12:00 PM (Wednesdays off)
The Korean group SNSD has attained huge success overseas. This song and video for “Love and Girls” was released only in Japan (in Japanese), reflecting the relationship between Korean pop and the larger Japanese market. In some ways, they have become a “Japanese” group.
Instructors Dr. Jayson Makoto Chun Dr. Patrick Patterson Office Moore 426C (Best way to catch us is in the classroom) Office Hours By appointment (or usually after class) Classroom Webster 101 Email [email protected] [email protected]
Course Description and Student Learning Outcomes
This course examines changes in modern Japan and South Korea through a historical investigation of popular music. We will examine urban popular music from chart-topping idols, boy bands, and rock groups as well as "traditional" Korean teuroto and Japanese enka music and the lesser-known subcultures of folk and computer music. You the student (well, at least some of you), most likely know more about K-pop or J-pop than the instructors. So this course is not a place for fan discussions – remember, not all of the class will be pop music experts. And there are so many key artists and songs that we are unable to cover all key works in detail. 2 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016
Rather, we care going to look at a “Pop Pacific,” a space of transnational cultural construction where “Korean” and “Japanese” popular music, with heavy American influence, has been created through a process of cultural exchange mediated through the physical presence of Japantowns and Koreatowns in the U.S, American bases in East Asia, TV, and the Internet. This hybridized popular music culture largely took root from the mid-1920s with Japanese-American jazz musicians performing in Japan, Japanese composers mixing Korean music and western scales, Japanese enka records making its way to colonial Korea, and Korean domestication of these outside trends. In the postwar period, the presence of music on American military bases and the growing interplay between television and music corporations accelerated and mediated this transnational flow. By the turn of the new millennium, the Internet allowed for near instantaneous access to information and provided easier means for fan interactions, helping to expand the global market.
The “Pop Pacific” will reveal the hidden transnational aspects of today’s K-pop (Korean pop) and J-pop (Japanese popular music), and show that much of this Asian popular music was part of a larger global web of world music and so labels of national origin like “Japanese,” “Korean,” or “American” hide the true nature of transnational web of popular music.
You will learn the following (Asian studies divisional outcomes are listed in parenthesis):
SLO 1: Describe 20th century Japanese and South Korean popular music and its relation to the rest of the world) (A2, A3, A4, A5, A6) ● Describe the beginnings of modern east asian popular music such as “ryūkōka” 流行歌 /yuhaengga 유행가 and Jazz in the early 20th century. ● Describe postwar Japanese and South Korean urban popular music, from “traditional” enka/ to chart-topping idols, to the alternative music. ● Describe globalization: South Korea and Japanese music abroad and the entry of foreign trends into these nations.
SLO 2: Examine popular music in the context of cultural studies (A2, A3, A4, A5, A6) ● Examine how the producer and audiences work together to create meaning in popular culture products, how media culture is a source of values for society, and ● Examine how recording technology and distribution influences musical culture ● Examine how it functions to legitimate or challenge the social structure. ● Examine how media culture and issues of gender, national identity, and race.
SLO 3: Analyze various genres of popular music and their relationship with South Korean, Japanese and world society (A2, A3, A4, A5, A6) ● Describe their relationship to the historical currents of the time. ● Analyze the lyrics, visual imagery, and music itself as reflections of the continued modernization process in Japan.
This course is interdisciplinary, covering a range of subjects including Japanese cultural history and music, East Asian studies, popular music and culture, and music as modern text. Knowledge of Japanese or Korean is not necessary, nor is formal training in music. 3 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 About the Instructors
Dr. Jayson Makoto Chun is an associate professor at the University of Hawai‘i – West O‘ahu, specializing in Japanese media history and culture. He has written the book A Nation of a Hundred Million Idiots: A Social History of Japanese Television, 1953–1973, and also articles on Japanese and Korean popular culture. He has taught university courses on anime and J-pop (Japanese popular music) for over 10 years, has been featured on Japanese television and has been the keynote speaker at a conference where he gave a presentation on Hyuna’s “Bubble Pop”. He is currently stumbling through beginner’s Korean as well as writing a book about the Pop Pacific, looking at popular music in East Asia from a wider, inter-regional view.
Dr. Patrick Patterson is Professor, CC, History at Honolulu Community College. He specializes in the history of Japanese popular music between 1887 and 1952. Dr. Patterson has taught classes on J-pop, History and Film, World History and Asian Studies for 15 years. He is currently doing research on Japanese journalism in the prewar period, and is working on an article about prewar Japanese music for future publication. Professor Patterson enjoys watching (and analyzing) film and learning Japanese songs for karaoke in his spare time.
Readings
Bourdaghs, Michael (2012). Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop. New York: Columbia University Press. A bit academic, but definitely thought-provoking, this groundbreaking study of Japanese pop explores the geopolitical context between America and Japan. One of the few English language books on Japanese popular music.
Hong, Y. Euny (2014). The Birth of Korean Cool: How One Nation Is Conquering the World through Pop Culture. New York: Picador. When I first visited South Korea in 1994 and brought back K-pop tapes, people laughed at me for bringing back such hick music. Not anymore How did K-pop become so popular, so quickly? What does this tell about South Korean culture today? Hong’s exploration of her own childhood will explain why.
Readings and handouts via laulima.hawaii.edu. Some handouts will be distributed in class.
The genius of Japanese megagroup AKB48 is that there are over 100 members, who can be split off into subunits or featured separately in TV shows. How corporate!!
4 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 Course Requirements and credit hour statement
All papers and presentations must be done in order to pass the class.
The University of Hawai‘i – Mānoa Credit Hour Policy states that students in a 3-credit course are expected to devote a minimum of 9-hours a week (135 hours/semester) on course related work. In accordance with the Credit Hour Policy, this course was reviewed to assure that the work assigned to achieve the stated student learning outcomes meets the credit hour policy. To achieve adequate learning in this course, it is expected that students will need to devote a minimum of 9 hours a week attending scheduled class meetings, completing assigned readings, working on the study questions, researching and writing the reaction papers, and studying for scheduled exams and quizzes.
In plain English that means for this class each day’s class readings should reflect about 6 hours of work and readings.
The course requirements are:
1st presentation (10 mins for 2 person group, 15 mins for 3) 20%
Individual fan culture presentation (Pechakucha style, 6 mins 40 10% seconds each person) 2nd presentation (10 mins for 2 person group, 15 mins for 3) 20%
Fan culture paper (to accompany fan presentation) 15%
Quizzes based on assigned and in-class readings. 25% Instructors may have pop in-person quizzes Participation and attendance 15%
Total = 100%
The Korean group BIGBANG is wildly popular throughout Asia. Although not as well known overseas, the Japanese group ARASHI is one of the top-grossing groups in the world today. Both share a common lineage – from American influences like West Side Story (1961). 5 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 Assignment Descriptions
First Presentation – Narrative of Music History. This presentation will be a discussion of the relationship of a period in modern Japanese history to the popular music of that period.
● You will be placed in groups of two. There may be three people groups. ● It must be 10 - 12 minutes for a 2-person group; 15 minutes for a 3 person group. ● You must bring up how the genre reflects the society of the time. ● What images or symbols are typical for this genre? Use a semiotic analysis. ● You must make reference to the class readings and lectures ● Give representative groups, and how they typify or deviate from genre standards. ● Explain the ideological aims of the genre, and speculate on ways of “listening otherwise.” In other words, how do consumers use (and repurpose music, giving it a different meaning)? ● If you use a genre found in Hong’s or Bourdagh’s book (such as GS sounds), do more research and add more from what you find. ● Learn to use bulletin boards to find people who can translate portions of song lyrics.
The instructors will review your choice of presentation and the speaking rubric. There will be an in -class presentation workshop. Instructors will be available to give assistance during office hours. We will also provide feedback on drafts and the final product.
In the 1960s, the Japanese singer Sakamoto Kyu and the Korean trio, the Kim Sisters made appearances on American television.
6 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016
Fan Culture Presentation and paper – This is an individual pechakucha (20 slides, 20 seconds each) 6 min and 40 second presentation (accompanied by a paper) based on interpreting fan culture, including fan documents and activities through using BBS. Post a question on a BBS or Twitter (or other online social media) asking fans a question about the artist (i.e: What does the Korean group EXO mean to you? Why do you like them?) Analyze their responses.
● Presentations will be 5-8 minutes, so you need to be concise.
Class paper Guidelines (Turn in paper on same time as presentation) ● It must be a minimum of four FULL pages in length (2 line spacing, in 12 pt. Times New Roman Font) not including the title and works cited pages. ● You must make reference to the readings and or lectures. ● Use a cultural studies approach and semiotics as well. ● Cite all sources use proper citation styles. Either footnotes or endnotes are fine. Whether it is MLA, Chicago, etc is up to you, but be consistent. Have a works cited page as well.
Second Presentation – Analysis of an artist (or similar grouping of artists) in postwar Korean or Japanese popular music. This presentation requires that you choose an artist or grouping of artists (“Hawaii singers”) in the postwar period and research the development or career (for a presentation on an artist) in the context of the relevant developments in Japanese society. ● You will be placed in groups of two. There may be three people groups if there are an odd number of students. ● It must be 10 - 12 minutes for a 2 person group. and 15 minutes for a 3 person group. ● You must bring up how the artist reflects the society of the time. ● You must make reference to the class readings and lectures ● What images or symbols are typical for this artist? Use a semiotic analysis. ● Give representative songs for this artist, and how these songs reflect the vision of the artist. ● Explain the ideological aims of the genre, and speculate on ways of “listening otherwise.” In other words, how do consumers use (and repurpose music, giving it a different meaning)? ● If you use an artist found in Bourdagh’s book (such as Sakamoto Kyu), do more research and add more from what you find. ● Learn to use bulletin boards to find people who can translate portions of your song lyrics.
Quizzes – All scheduled quizzes will be completed outside of class. Some “pop” quizzes may also be given if students do not come to class prepared. The quizzes will assess your understanding of Japanese and Korean history, culture and popular music terminology and relevant theories. 7 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 ● These will be available on Laulima, and are 1-2 page typed. ● Please refer to your readings and lectures when writing your quizzes ● Also bring up the social, cultural and historical contexts
Participation Attendance will be taken for this class. Those with three or more absences without official permission or a doctor’s note will have their final grade marked down. We understand that sometimes you have work or family responsibilities, and cannot attend a class. If so, send us an email and we can work things out. If you miss a class, you are responsible for getting class notes and assignments. Don’t expect us to keep handouts for you.
Now if you have perfect, or near perfect attendance, and work very hard at class participation, then you will get a “break” if your grade is on the borderline between two grades.
Electronic copies of papers will not be accepted without instructor’s permission. You are responsible for printing them out and handing a paper copy on time! Keep all copies of the papers you write on file. Late papers will be accepted, but at a penalty for each day it is late. Late papers more than a week late will not be accepted unless there are extreme circumstances.
Plagiarism You are responsible for knowing the University of Hawai’i policy on plagiarism: “Plagiarism includes, but is not limited to, submitting, to satisfy an academic requirement, any document that has been copied in whole or in part from another individual’s work without identifying that individual; neglecting to identify as a quotation a documented idea that has not been assimilated into the student’s language and style; paraphrasing a passage so closely that the reader is misled as to the source; submitting the same written or oral material in more than one course without obtaining authorization from the instructors involved; and “dry-labbing,” which includes obtaining and using experimental data from other students without the express consent of the instructor, utilizing experimental data and laboratory write-ups from other sections of the course or from previous terms, and fabricating data to fit the expected results.” (http://www.catalog.hawaii.edu/about- uh/campus-policies1.htm)
• In other words, do not “cut and paste” from the Internet without citing your sources. • Students have often mistaken our friendliness for leniency. We have our methods, and have caught and flunked several students who tried to pass off other people’s work as their own. • You may receive an automatic “F” and will be reported if caught cheating.
8 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 Other We reserve the right to change syllabus readings and will notify the class if we do so. If you have disabilities or other conditions that affect you participation in this course, please contact the instructor privately to discuss your needs. We will make reasonable efforts to accommodate you. Let’s like to try to make our classroom more like a lounge, like a fan convention each week. Please give your advice on how we can best make it into an un-classroom. • You may bring your own pillows and yoga mats to sprawl on the floor during class • No food that makes a lot of noises or smells. Acceptable foods are donuts, chocolate, malasadas, pizzas, etc. All food must be consumed outside, or on side tables. • During lectures, you are free to go to the side tables and read magazines, or browse the Internet. This is not to be done during group work or student presentations. Please do not abuse this privilege, by for example, spending the entire class time texting. • You may get up and write on the walls at any time, using dry erase markers. • Students may show clips of interesting stuff (non-offensive) to the main screen. Here are some commonsense classroom rules. 1. Avoid eating in main lecture area during lectures (discreetly drinking coffee is okay). 2. Avoid talking, texting or disruptive behavior while class is in progress. If you must text or browse email due to an emergency, go to the side table. 3. Turn off your cell phones or at least put them in silent mode. 4. Please tell me if you need to leave class early. 5. Be in your seats the minute class starts. We understand that you may have to be late some times, but do not make a habit of this. 6. If you do come in late, come in quietly, discreetly and quietly. 7. Since anime appreciation has subjective elements, please respect the tastes of your fellow students during discussions. 8. At least say “Hi” or “good afternoon,” and “see you later” to each other in class.
Groups like BTS (Bangtan Boys) have redefined Asian male masculinity 9 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016
Last of all, a request from the instructor As previously mentioned, this was one of the first classes in the NATION solely devoted to this topic, and it started back in 2003! But this course will only be as good as YOU the student, decide to make it. Sometimes the class was quiet and all students wanted to do was take notes and get out of class. Other years, the class was intellectually stimulating, and high energy. Some years, the students talked to each other in class but that was about it. Other years, the students became close friends, and judging from Facebook posts, still keep in touch with each other. Or they still keep in touch with the instructors many years after the class. I had a reunion of alumni from this class who are currently in Japan. So, how the class turns out will depend on YOU. We’ll do our best to keep this class intellectually stimulating and fun. As for you, please be respectful towards others and their views. If you are fan of anime, then realize that some people are beginners and please help them learn the anime basics. If you are a beginner, don't worry, by the end of the course should have a working knowledge of the topic. Let’s work on having fun and learning a lot in this class. And about grades – the key to success is regular attendance, daily study, and intellectual curiosity. If you come to every class, participate enthusiastically and do every assignment, we GUARANTEE you will do well in this course (and enjoy it too!)
Utada Hikaru’s Automatic (1999) was the best-selling Japanese album of all time 10 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 WEEK ONE Roots: Early Pop Pacific Music to the 1960s
Date In Class Due Today
May 23 Class Introduction and “ice breaking” Introduce instructors Mon Introduce self, go over course goals Lecture 01: Pop music: Producer, Audience, context (Chun)
Learn how to analyze images: Cubic U and Utada Hikaru. (Patterson)
Lecture 02: Beginnings of the Pop Pacific, Readings: May 24 (Patterson) ● Bordaughs, intro, pp. 1-9. Tues ● Origins of “traditional” Japanese music ● Patterson, from “Urban Shin ● Birth of modern popular music industry in Minyo” (provided) Japan ● “Oppositional reading,” radio, and ● Trot: The Original K-pop colonialism in the prewar period. http://seoulbeats.com/2012/08/tr ot-the-original-k-pop Lecture 03: Domesticating new music: Prewar Japanese jyazu and Korean teuroteu, (Chun) Quiz 01: Quiz on readings (due • Listen to clip of “Tokyo Koushinkyoku” today) 東京行進曲(1929) and “Oppaneun punggakjaeng” 오빠는 풍각쟁이 (1938) • Learn about Korean influence on “traditional” Japanese music
Presentation training: Groups for presentations. Tell class about genre interested in. Go into groups afterwards. Watch Death by Powerpoint Video to learn how to make effective presentations.
May 25 No class. Work on genre research Wed
11 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016
Date In Class Due Today
Lecture 04: Wartime empire and Imperial East Readings: May 26 Asia, (Patterson) • Bordaughs, chap 1, pp. 11 – 35 Thurs In Class: Listen and analyze Doki no sakura. • Hong, chap 4&5, 51 - 89. • Highway Star (2007) you can rent War and on amazon.com for $4.00 Peace Lecture 05: Occupied Japan and Occupied Korea (Chun) Quiz 02: on Bordaughs, Hong, and ● In Class: clips from Drunken Angel . Highway Star (due today) ● What do the signs denote? (“preferred reading”) What do you think the signs Look up a genre and bring your connote (“oppositional reading”) findings as a one-page paper (We won’t grade it. But failure to bring Presentation training: Present draft in class will affect participation) for five minutes. Then go over pechakucha presentation format. Go into groups based on similar interests.
May 27 Field TRIP: Oceanic Popular Culture Fri Conference. Chaminade University 9:00 AM Work on presentations Check in at Loo Student Center
• Watch us present our academic papers. • We will go back to Manoa at 12:00 pm, and can take you back. • Who wants to drink at 3:30 pm at Manoa Gardens in the evening?
EXO is a good example of transnational music. Music from Scandanavia. Members from South Korea and China. And songs in Korean and Mandarin.
12 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 WEEK TWO
America, the Cold War Sphere, and the Pop Pacific
Date In Class Due Today May 30 Memorial Day holiday Mon First Presentations (9:00 - 10:25 am) Readings: • Bourdaughs, chap 2, pp. 49 – 72 Lecture 06: Asians on American TV: • Bordaughs, chap 3, pp. 97 – 112 May 31 Sakamoto Kyu and the Kim Sisters (Chun) Tues. • Go over Asian gendered images in the 1960s American TV. Quiz 03 due today 1960s Pop Pacific in Fan groups workshop (Patterson) America • What is the fan? • Para-social interaction and aura • How to research fan culture. June 1 No class. Wed Readings: Lecture 08: High speed growth, music ● Furmanovsky, Michael. 2012. “A and teen culture (Chun) Complex Fit: The Remaking of June 2 • mainstream music from the 1960s. Japanese Femininity and Fashion, Thurs • Examine teurotto in postwar Korea 1945-65.” Kokusai Bunka Kenkyu. Vol 16. Mainstream Lecture 09: 1960s: Cold War Politics, ● Bordaughs, chap 4, pp. 113 - 132 and margins Dissent, and the war on rock. (Patterson) in 1960s • Authenticity in 1960s youth culture Quiz 04: Laulima quiz on Bourdaughs. and 1970s. • The global attack on rock Bring three-page draft (cover + three full Discuss drafts in class (if time) pages + work cited) to class. Failure to do so will lead to 5 to the paper grade. Lecture 07: 1950s Enka 101 (Patterson) Readings: June 3 ● Karlin and Galbraith, “Introduction” Fri Lecture 10: Japan Inc (1973 - 1989) 1 - 34 and the beginning of idol culture, (Chun) ● Karlin, “Through a Looking Glass
The Idol Darkly” 72 - 96. Society Prep for Fan Presentation ● Covington (2014). “Unraveling a Join Dr. J’s anime class for Gyukaku fantasy: A beginner’s guide to (Waikiki) dinner and karaoke afterwards? Japanese idol pop” The A.V. Club. Dinner starts at 5:00 pm around 7:00 pm Quiz 05: on idol readings 13 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016
WEEK THREE Pop Pacific: the Korean Wave and Galapagos Japan
Date In Class Due Today Fan paper due today. Fan presentations (9:00– 10:15 am) June 6 ● No reading for today. Have Mon Movie in class: 200lb Beauty (2006). K- presentations ready! pop and beauty.
Lecture 11: The Bubble Era and the Readings: Rebels (Ozaki) • Article on Ozaki • Look up one of Ozaki’s songs and
Lecture 12: The Pop Pacific: America, J- deconstruct the lyrics, and do a June 7 pop and K-pop. (Chun) cultural studies analysis. Tues • Chun, “The Pop Pacific” (2016) In class: Analyze American influence in Japanese and South Korean music. Quiz 06 June 8 No class Wed Readings: Lecture 13: Bubble and Post-bubble Japan • Bordaughs, chap 5, 159 – 163; 178 (Patterson) 194; chap 06 and coda, pp. 206 - 228 June 9 • Hong, chaps 1 – 5, pp. 1 – 90. Hong, Thurs. Lecture 14: Birth of Korean cool: Seo chaps 6 – 10, pp. 91 – 178. Taiji and the birth of K-pop (Chun) • Bevan, David. 2012. “Seoul Trained: The Cool Inside Korea’s Pop Factory” Spin. 1990s Discuss next Friday’s presentation March 26. (optional)
Quiz 07 the MEGAQUIZ
June 10 Friday Dawn of No class the new Millenium
14 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 WEEK 4 K-pop is not Korean: The Worldwide Song Machine
Date In Class Due Today Lecture 17: The Korean Wave Readings: June 13 in Japan (Chun) • Michel, Patrick St. 2011.”How Korean Pop Mon. In class: analyze appeal of K-pop Conquered Japan,” The Atlantic. September in Japan 13. • Hong, Euny. 2012. “Goodbye Kitty: Why Lecture 18: Galapagos Japan: it was so easy for Korea to overtake Japan Jimusho and the Japanese Music in the pop culture wars?” Quartz.com. Scene (Patterson). November 17. • Hong, chaps 11 – end, pp. 179 – 252. • Marx, “The Jimusho System” pp. 35 - 55. Quiz 09 Lecture 19: The Song Machine Readings: June 14 (Patterson) • Rich, Nathaniel. 2015. “Hit Charade” The Tues. Atlantic. October. Lecture 20: Manufactured • St. Michel, Patrick. 2011. “The 48 Japanese Manufactured Loyalty through Girl Groups: Schoolgirls Aiming to Take over the pop, AKB48, SNSD (Chun) World” The Atlantic. Oct 18. globalization, and • Seabrooke, John. 2012. “Factory Girls: nationalism Cultural technology and the making of K- pop.” New Yorker. October 8. Quiz 10 June 15 No Class Wed
The visual kei band, The GazettE has achieved substantial popularity in Europe
15 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016
Date In Class June 16 Lecture 21: The “margins” of Readings: Thursday Vocaloids, visual kei, and “Asian- • Zoladz, Lindsay. 2014. Hatsune Miku Is a American” K-pop (Chun) Piece of Software. She May Also Be the Pop Pacific in Future of Music. New York Magazine. Nov America: When Lecture 22: The Revolution 17. Margins ARE the will not be televised: The • Chun, “Bubble Pop” (2016) mainstream, and Hidden Mainstream, Internet • “Interview with an ex-Visual Kei record mainstream is the and “amateurs” (Patterson) executive” Tokyo Damage Report. Margins http://www.hellodamage.com/top/2010/03/ Groups meet for presentation 01/interview-with-an-ex-visual-kei-record- preparation. executive/ • Marty Friedman and Timothy Lim on BabyMetal https://youtu.be/i2qarTeJ1Bk • https://youtu.be/rZApf9c8Tes BabyMetal American Debut
Quiz 11 June 17 Final Presentations Friday Celebration at Gyukaku at 5:00 pm with Dr. J’s anime class. Karaoke afterwards. Time to party and network.
K-pop fans in Columbia in a reality show by the local TV and South Korea's Arirang TV 16 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 Bibliography for this class
Bourdaghs, Michael (2012). Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop. New York: Columbia University Press.
Choi, JungBong, and Roald Maliangkay (2014). K-pop: The International Rise of the Korean Music Industry. New York: Routledge.
Fuhr, Michael (2015). Globalization and Popular Music in South Korea: Sounding out K-pop. New York: Routledge.
Hong, Y. Euny (2014). The Birth of Korean Cool: How One Nation Is Conquering the World through Pop Culture. New York: Picador.
Iwabuchi, Koichi. Recentering Globalization: Popular Culture and Japanese Transnationalism (2002). Durham: Duke University Press.
Jung, E.Y. “Transnational Cultural Traffic in Northeast Asia: The “Presence” of Japan in Korea’s Popular Music Culture,” (2001) Ph.D thesis, Arizona State University.
Lie, John (2014). K-pop Popular Music, Cultural Amnesia, and Economic Innovation in South Korea. Berkeley: University of California Press.
Seabrook, John (2015). The Song Machine: Inside the Hit Factory. New York: W.W Norton.
Stevens, Carolyn S (2007). Japanese Popular Music: Culture, Authenticity and Power. New York: Routledge Press.
17 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 Oral Presentation Rubric
MASTERY OF THE SUBJECT (____ /50pts) 5 4 3 2 1 0 -pertinence -depth of commentary -spoken, not read -able to answer questions
Communication Skills (_____ 25 pts) PRESENCE 5 4 3 2 1 0 -body language & eye contact -contact with the public -poise and enthusiasm -physical organization -Appropriate attire
LANGUAGE SKILLS 5 4 3 2 1 0 -correct usage -appropriate vocabulary and grammar -understandable (rhythm, intonation, accent) -spoken loud enough to hear easily
Presentation Organization ( _____ 25 pt)
ORGANIZATION 5 4 3 2 1 0 -clear objectives -logical structure -Cites references
VISUAL AIDS 5 4 3 2 1 0 -transparencies, slides -handouts -audio, video, etc.
Other 5 4 3 2 1 0 -very interesting / very boring -pleasant / unpleasant to listen to -very good / poor communication -Shows teamwork, and all members speak
TOTAL SCORE ______