DOCSLIB.ORG

Teaser Memorandum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Teaser Memorandum Teaser Memorandum The First Half of 2017 Investment Opportunities In Korea Table of Contents Important Notice ………………………………… 1 Key Summary ………………………………… 2 Expected Method of Investment Promotion …………………………… 3 Business Plan ………………………………… 4 Business Introduct ………………………………… 5 License ………………………………… 11 Capacity ………………………………… 12 Market ………………………………… 13 Financial Figures ………………………………… 14 Key Summary Private & Confidential Investment Highlights RBW is a K-POP (Hallyu) contents production company founded by producer/songwriter Kim Do Hoon, Kim Jin Woo, and Hwang Sung Jin, who have produced numerous K-POP artists such as CNBLUE, Whee-sung, Park Shin Hye, GEEKS, 4MINUTE etc. Based on the “RBW Artist Incubating System’, the company researches and provides various K-POP related products such as OEM Artist & Music Production (Domestic/Overseas), Exclusive Artist Production (MAMAMOO, Basick, Yangpa etc.), Overseas Broadcasting Program Planning & Production (New concept music game show/Format name: RE:BIRTH), and K-POP Educational Training Program. With its business ability, RBW is currently making a collaboration with various domestic and overseas companies, including POSCO, NHN, Human Resources Development Service of Korea, Ministry of Labor & Employment, and KOTRA. • Business with RBW’s Unique Artist Incubating •Affiliation Relationship with International Key Factors System Companies Description • With analyzing the artists’ potentials and market trend, every stage for training and debuting artists (casting, training, producing, and album production) is efficiently processed under this system. Pictures Company Profiles Category Description Establishment Date 2013. 8. 26 Revenue 12 Billion Won (12 Million $) (2016) Website www.rbbridge.com Current Shareholder C.E.O. Kim Jin Woo 29.2%, C.E.O. Kim Do Hoon 29.2%, Institutional Investment 31.7%, Executives and Staff Composition 5.6%, Etc. 4.3% Head Office B1F Starhills, Janghan-ro 20-gil, Dongdaemun-gu, Seoul Number of 55 Employees History 2010. 03 Rainbowbridge Agency, Inc. Incorporation (CEO, Kim Jin Woo) 2012. 03 WA Entertainment Inc. Incorporation (CEO, Kim Do Hoon) 2014. 01 Overseas Broadcasting Program format (Re:Birth) copyright registration (KOREA COPYRIGHT COMMISSION) 2014. 03 Venture Business Certification (No. 20140103411) 2014. 04 Laboratory affiliated with the Company (Media & Contents Lab) Certificate (Ministry of Science, No. 2014111725) 2014. 10 Investment from KTB Network Project (Re:Birth Project, 1 Billion KRW) 2015. 02 Merger between WA Ent., Inc. and Rainbowbridge Agency, Inc. (Transfer of Rights) 2015. 02 Change of name from Joint Corporation Rainbowbridge Agency, Inc. -> RBW, Inc. (Co-CEO Kim Jin Woo, Kim Do Hoon). 2nd paid-in capital increase (Capital: 350 million KRW ->490 million KRW) 2015. 07 Investment of 7 billion KRW from KTB Network, Korean Investment Partners, Posco Venture, NHN (Capital: 490 million KRW-> 710 million KRW) 2015. 09 V-App Vietnam PR-Marketing Agency contract with Naver Corporation 2016. 01 Selected as an operating institution for the 2016 Youth-employment academy ‘Entertainment-business Talent Training Program’, (by the Ministry of Employment and Labor, Human Resources Development Service) 2016. 06 Selected as ‘2016 Excellent Venture Company by Korea Venture Business Association 2 Expected Method of Investment attraction Private & Confidential Investment Requirement Method of Investment –RCPS or Common Stocks that worth about 10 billion Won. Purpose of Using Invested Fund – Establishment of a subsidiary company in Japan and extending the business field for various types of business and global expansion Category Description Method of Investment Common Stock or RCPS The amount of fund comes from 10 Billion Won (Approx.) Investment Attraction Investment Location All Area of Japan - The entry of RBW Artists in global market and Japan Artists in Korean market / Establishment of a subsidiary Purpose of Using company in Japan for expansion of OEM/ODM Education business Invested Fund - Extending the company’s business to various global markets, including South-East Asia, China-related nations, Vietnam, Europe, and Mid/North America, with Japan co-investors. Customers Various Asian countries, including China, Taiwan, Hong-Kong, Vietnam, Japan Actual Exports Approximately 20% of Total Sales USD 1.5 Vietnam, Million Japan & Etc USD 10 Million 2016's export record 1.5 million $ exports to International customers Vietnam, Japan, China, making connections with and Indonesia internal partner companies and advancing abroad by establishing Investment Plan Vietnam branch company planning the global expansion with co-investors in Japan by establishing the branch office with investments funds. 3 Business Plan Private & Confidential Categories of Business Plan Categories Description Developing the business that produces OEM Artists and contents with making a connection Artist Incubating with overseas companies (BtoB/BtoC) System Expected Sales: 2 billion Won / year Be able to dominate the market, because of absence of strong competitors Production and Developing the business that produces and plans the K-POP artists’ world tour Planning of More than ten businesses and 2 billion won sales per year, are expected Concerts/Performances Diversification of business and creating stable revenue Developing BtoC products that attract K-POP fans with its popularity and high accessibility. K-POP travel Package Developing contents that utilize Korea and Japan’s geographical proximity and active cultural communication between them Increasing the company’s brand value and popularity. Forecasting Financial Figures (Million Won) Categories 2016 2017 2018 Sales 10,623 15,934 18,165 Sales Cost - - - (The rate of Sales Cost) (%) - - - Gross Margin 10,623 15,934 18,165 Selling and Administrative 9,964 14,810 16,668 Expenses depreciation cost 348 464 499 Operating Profit 658 1,124 1,497 The Rate of Operating Profits 6.19% 7.05% 8.24% (%) Net Profit During the Term 881 1,293 1,672 R&D NA NA NA R&D compared to Sales NA NA NA Valuation (Late 2018) (Million Won) Categories Description The Estimated Net Profit During the Term 4,500 Equity Value (Late 2018) 135,000 Equity Value The Estimated Relative Value (Late 2018) 4 Business Introduction Private & Confidential RBW Artist Incubating System / RAISe ‘RBW Artists Incubating System (RAISe)’ is RBW. inc.’s unique production system that manages the artists effectively. With analyzing the artists’ potentials and market trend, every stage for training and debuting artists (casting, training, producing, and album production) is efficiently processed under this system. 01 02 03 04 05 CASTING TRAINING PRODUCING PRODUCTION (MV, 안무, DEBUT 의상) Special producer’s Various training Music production Establishing the special Artist Debut evaluation and activities (Dance, Vocal, specialized for artists’ styles concepts for each artist Acting as a proxy in selection of would- Stage) for improving Includes composing lyrics, Dance Production, advertising and marketing be artists artists’ abilities arranging, mixing & Supporting filming MVs afterward mastering Process of OEM Artist Production Setting the scope Designating Sending the Requesting Progress of of business and the staff and Scheduling weekly and Artist Debut Production production estimating producers monthly reports Main Business ①-1 OEM Artist & Music Production (B2B) Development of music and artist with the request of agencies (Domestic/Overseas) RBW offers customized production agency services that fit the conditions and needs of customers, from artist casting, training, music producing, and style consulting to album production. With the production agency service, clients can minimize the cost for human and material resources to establish an entertainment company. In addition, the possibility of success in producing artists gets bigger by applying RBW’s effective training system. OEM Artists and Music Productions (Oversea) LYN SEVENSENSE S.I.N.G XL Stage남단 TRAINING, TRAINING TRAINING, TRAINING, TRAINING MUSIC MUSIC MUSIC - PRODUCING, - PRODUCING - PRODUCING PRODUCTION FRIDAY CODE-V SHU-I S.O.S S4 TRAINING CASTING, MUSIC CASTING, CASTING, - PRODUCTION TRAINING, TRAINING, TRAINING, MUSIC MUSIC MUSIC - PRODUCING - PRODUCTION - PRODUCTION TUNG LEE LIME KELVIN NOO CHI PU PHUOC CASTING, CASTING, KHANH THINH TRAINING TRAINING, TRAINING, TRAINING TRAINING MUSIC MUSIC PRODUCING - PRODUCTION - PRODUCTION 5 Business Introduction Private & Confidential Main Business ①-2 OEM Artist & Music Production (B2B) OEM Artists Production (Domestic) Tiny- Gee VIXX- GAVY G ks LEO N J Casting, Training Agent Casting, Training Training GnG HOW Ent, KW Ent, Producti Grandline Jellyfish Good Fellas on Ent. Ent Ent OEM Music Production (Domestic) Standing Egg Lee Jung Phantom Park Se Young Yeonji Louie(Geeks), Lee Hyun Nam Gyuri & Kyul Lean On Me Tomorrow Without Phantom City Shall we dance Woman’s Age about Woo A Man and Woman’s First (Feat. Park Se Young) You 30 Your Face Meeting G.NA, Sanchez Park Shin Hye Soulstar Wheesung Cosmic Girl Brian Crayon Pop (SoYul) Beautiful Day My Dear Rainy Street Masterpiece of You Don't you worry 'bout me (feat. San- Pretty Woman (Feat. Y-Shirt E) Mario) Main Business - ② Exclusive Artist Planning & Production MAMAMOO With accumulated experiences in artist & music production, RBW handles planning, PR and management of artists under exclusive contracts. MAMAMOO is a girl group composed of 4 members, Solar, Moonbyul, Wheein and Hwasa. Peppermint . Rookie of the Year’ Award,
Load more

Recommended publications
  • Current Status and Competitiveness of K-Pop Korean Wave on the Southeast Asia
    Current status and competitiveness of K-pop Korean Wave on the Southeast Asia Quoc Trung Pham1, Jong Won Yun2 1 HCMC University of Technology (VNU-HCM), Vietnam 2 Changwon National University, Korea 2020 K-WCEB International Symposium (“Building Business Relationships between World Chinese Entrepreneurs and Korea”) 13-14/11/2020 - Online Conference - Changwon National University Studio Contents 1. Introduction 2. Current status of K-pop on the Southeast Asia 3. Competitiveness of Korean wave in Vietnam 4. Future trends & Suggestion 5. Conclusion 1. Introduction In digital society, entertainment and creative industry becomes one of the most important sectors of any country. Since 2000s, the Korean Wave or K-pop evolved into a global phenomenon, carried by the Internet and entertainment technologies. The Korean wave has spread the influence of aspects of Korean culture including fashion, music, TV programs, cosmetics, games, cuisine, web-toon and beauty. K-pop or Korean wave could be used as a strategy of Korea to improve its national brand and to support cultural products exportation. Some challenges for K-pop development in the future include: The competition with J-pop, Western music and other cultural trends The impact of Covid-19 pandemic A change in policy of South Korea Government toward the Indochina Peninsula A need to review the current status and the competitiveness of K-pop in the Southeast Asia region A suitable policy to raise the impact of Korean wave in this region and to support the further development of Korean and regional economy. 2. Current status of K-pop on the ASEAN (1) Top 5 countries spending most time for K-pop idols in 2020 include: 1/ Indonesia, 2/ Thailand, 3/ Vietnam, 4/ Malaysia, 5/ Brazil (Yan.vn, 2020) Singapore There is a thriving K-pop fan-base in Singapore, where idol groups, such as 2NE1, BTS, Girls' Generation, Got7 and Exo, often hold concert tour dates.
    [Show full text]
  • Innovate-UK-Energy-Catalyst-Round-4-Directory-Of-Projects
    Directory of projects Energy Catalyst – Round 4 1 Introduction Energy markets around the world – private and public, household and industry, developed and developing – are all looking for solutions to the same problem: how to provide a resilient energy system that delivers affordable and clean energy with access for all. Solving this trilemma requires innovation and collaboration on an international scale and UK businesses and researchers are at the forefront of addressing the energy revolution. Innovate UK is the UK’s innovation agency. We work with business, policy-makers and the research base to help support the development of new ideas, technologies, products and services, and to help companies de-risk their innovations as they journey towards commercialisation and business growth. The Energy Catalyst was established as a national open competition, run by Innovate UK and co-funded with the Engineering & Physical Sciences Research Council (EPSRC), the Department for Business, Energy & Industrial Strategy (BEIS) and the Department for International Development (DFID). Since 2013, the Energy Catalyst has invested almost £100m in grant funding across more than 750 organisations and 250 projects. The Energy Catalyst exists to accelerate development, commercialisation and deployment of the very best of UK energy technology and business innovation. Support from the Energy Catalyst has enabled many companies to validate their technology and business propositions, to forge key supply-chain partnerships, to accelerate their growth and to secure investment for the next stages of their business development. Affordable access to clean and reliable energy supplies is a key requirement for sustainable and inclusive economic growth. With funding through DFID’s “Transforming Energy Access” programme, the Energy Catalyst is helping UK energy innovators to forge new international partnerships, and directly address the energy access needs of poor households, communities and enterprises in Sub-Saharan Africa and South Asia.
    [Show full text]
  • Professional Wrestling, Sports Entertainment and the Liminal Experience in American Culture
    PROFESSIONAL WRESTLING, SPORTS ENTERTAINMENT AND THE LIMINAL EXPERIENCE IN AMERICAN CULTURE By AARON D, FEIGENBAUM A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2000 Copyright 2000 by Aaron D. Feigenbaum ACKNOWLEDGMENTS There are many people who have helped me along the way, and I would like to express my appreciation to all of them. I would like to begin by thanking the members of my committee - Dr. Heather Gibson, Dr. Amitava Kumar, Dr. Norman Market, and Dr. Anthony Oliver-Smith - for all their help. I especially would like to thank my Chair, Dr. John Moore, for encouraging me to pursue my chosen field of study, guiding me in the right direction, and providing invaluable advice and encouragement. Others at the University of Florida who helped me in a variety of ways include Heather Hall, Jocelyn Shell, Jim Kunetz, and Farshid Safi. I would also like to thank Dr. Winnie Cooke and all my friends from the Teaching Center and Athletic Association for putting up with me the past few years. From the World Wrestling Federation, I would like to thank Vince McMahon, Jr., and Jim Byrne for taking the time to answer my questions and allowing me access to the World Wrestling Federation. A very special thanks goes out to Laura Bryson who provided so much help in many ways. I would like to thank Ed Garea and Paul MacArthur for answering my questions on both the history of professional wrestling and the current sports entertainment product.
    [Show full text]
  • Celebrity Cinema and Hallyu 2.0 Ng Shu Min Chrystal, Nanyang
    Celebrity Cinema and Hallyu 2.0 Ng Shu Min Chrystal, Nanyang Technological University, Singapore Liew Kai Khiun, Nanyang Technological University, Singapore The Asian Conference on Media & Mass Communication 2015 Official Conference Proceedings Abstract Through their realist cinematic portrayals of the traumatic evolution of Korean socio- political landscapes, Korean directors such as Im Kwon-Taek are synonymous with Korean national Cinema. These directors have raised the country’s cultural profile internationally through the film festival circuit. However, with the phenomenal global reach of the “Korean Wave” or Hallyu, film is no longer a singular projection of the image of South Korea. Today, television dramas have overtaken films, flooding television and small mobile screens with attractive faces of Korean celebrities. While several studies have made references to key Korean celebrities, namely Lee Young Ae, Rain and Gianna Jun, there have been fewer efforts to trace these celebrities’ trajectories within films and other platforms. This paper will explore how cinema within the Korean Wave phenomenon contributes to the ecology of the Korean Wave and the roles these celebrities play within this eco system. Keywords: Korean Wave, Hallyu, Korean Cinema, Celebrities, Gianna Jun, Lee Young Ae, Rain, Korean Drama iafor The International Academic Forum www.iafor.org Introduction Through their realist cinematic portrayals of the traumatic evolution of Korean socio- political landscapes, the names of Im Kwon-Taek, Lee Chang Dong and Park Chan- Wook may be synonymous with Korean national Cinema. Featured commonly in the circuits of prestigious international film festivals, reviews and scholarly commentaries, these filmmakers have raised the profile of South Korea’s film culture in the global arena significantly.
    [Show full text]
  • The Globalization of K-Pop: the Interplay of External and Internal Forces
    THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract 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.
    [Show full text]
  • The Korean Wave As a Localizing Process: Nation As a Global Actor in Cultural Production
    THE KOREAN WAVE AS A LOCALIZING PROCESS: NATION AS A GLOBAL ACTOR IN CULTURAL PRODUCTION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Ju Oak Kim May 2016 Examining Committee Members: Fabienne Darling-Wolf, Advisory Chair, Department of Journalism Nancy Morris, Professor, Department of Media Studies and Production Patrick Murphy, Associate Professor, Department of Media Studies and Production Dal Yong Jin, Associate Professor, School of Communication, Simon Fraser University © Copyright 2016 by Ju Oak Kim All Rights Reserved ii ABSTRACT This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices.
    [Show full text]
  • Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 ->4-~ , & I
    INFORMATION TO USERS This material was produced from a microfilm copy o f the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Game, Set and Matched
    Other books by the same author On Tilt Game, Set and Matched Iain Fletcher High Stakes First published in 2004 by High Stakes 21 Gt Ormond St, London WC1N 3JB www.highstakespublishing.com © Iain Fletcher 2004 The right of Iain Fletcher to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publishers. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. A CIP catalogue record for this book is available from the British Library. ISBN 1 84344 018 0 24681097531 Typeset by Avocet,Typeset, Chilton,Aylesbury, Bucks. Printed and bound in Great Britain by Cox & Wyman, Reading. Dedication Without wishing to be morbid, I would like to dedicate this book to a friend who died in 1996. I met Christian Berglund in my first week at Loughborough University in 1990. Our shared interests, cricket, golf and ale mostly, made friendship easy as did his ability to make me laugh. Usually intentional, occas- ionally not, he was one of the funniest men I’ve ever met. He must have been because to this day I still think of him and chuckle. Of those still polluting the earth I must make special mention of one, a chap universally known as Spiller.
    [Show full text]
  • URL 100% (Korea)
    アーティスト 商品名 オーダー品番 フォーマッ ジャンル名 定価（税抜） URL 100% (Korea) RE:tro: 6th Mini Album (HIP Ver.)（KOR） 1072528598 CD K-POP 1,603 https://tower.jp/item/4875651 100% (Korea) RE:tro: 6th Mini Album (NEW Ver.)（KOR） 1072528759 CD K-POP 1,603 https://tower.jp/item/4875653 100% (Korea) 28℃ ＜通常盤C＞ OKCK05028 Single K-POP 907 https://tower.jp/item/4825257 100% (Korea) 28℃ ＜通常盤B＞ OKCK05027 Single K-POP 907 https://tower.jp/item/4825256 100% (Korea) Summer Night ＜通常盤C＞ OKCK5022 Single K-POP 602 https://tower.jp/item/4732096 100% (Korea) Summer Night ＜通常盤B＞ OKCK5021 Single K-POP 602 https://tower.jp/item/4732095 100% (Korea) Song for you メンバー別ジャケット盤 (チャンヨン)（LTD） OKCK5017 Single K-POP 301 https://tower.jp/item/4655033 100% (Korea) Summer Night ＜通常盤A＞ OKCK5020 Single K-POP 602 https://tower.jp/item/4732093 100% (Korea) 28℃ ＜ユニット別ジャケット盤A＞ OKCK05029 Single K-POP 454 https://tower.jp/item/4825259 100% (Korea) 28℃ ＜ユニット別ジャケット盤B＞ OKCK05030 Single K-POP 454 https://tower.jp/item/4825260 100% (Korea) Song for you メンバー別ジャケット盤 (ジョンファン)（LTD） OKCK5016 Single K-POP 301 https://tower.jp/item/4655032 100% (Korea) Song for you メンバー別ジャケット盤 (ヒョクジン)（LTD） OKCK5018 Single K-POP 301 https://tower.jp/item/4655034 100% (Korea) How to cry (Type-A) ＜通常盤＞ TS1P5002 Single K-POP 843 https://tower.jp/item/4415939 100% (Korea) How to cry (ヒョクジン盤) ＜初回限定盤＞（LTD） TS1P5009 Single K-POP 421 https://tower.jp/item/4415976 100% (Korea) Song for you メンバー別ジャケット盤 (ロクヒョン)（LTD） OKCK5015 Single K-POP 301 https://tower.jp/item/4655029 100% (Korea) How to cry (Type-B) ＜通常盤＞ TS1P5003 Single K-POP 843 https://tower.jp/item/4415954
    [Show full text]
  • “The Social Cut of Black and Yellow Female Hip Hop” Erick Raven
    “The Social Cut of Black and Yellow Female Hip Hop” Erick Raven University of Texas at Arlington May 2020 Abstract Korean female hip hop artists are expanding the definition of femininity in South Korea through hip hop. In doing so, they are following a tradition first established by Black female musical performers in a new context. Korean artists are conceiving and expressing, through rap and dance, alternative versions of a “Korean woman,” thus challenging and attempting to add to the dominant conceptions of “woman.” This Thesis seeks to point out the ways female Korean hip hop artists are engaging dominant discourse regarding skin tone, body type, and expression of female sexuality, and creating spaces for the development of new discourses about gender in South Korean society. Contents Introduction – Into the Cut ................................................ 1 Chapter I – Yoon Mi-rae and Negotiating the West and East of Colorism ............................................................. 12 Chapter II – The Performing Black and Yellow Female Body ................................................................................ 31 Chapter III – Performing Sexuality ................................. 47 Chapter IV – Dis-Orientation .......................................... 59 Conclusion .................................................................... 67 Works Cited .................................................................... 70 Introduction – Into the Cut Identities are performed discourse; they are formed when those who identify as a particular personality perform and establish a discourse in a particular social context. As George Lipsitz states, “improvisation is a site of encounter” (61). In South Korea, female Korean hip hop is the site of a social cut in dominant culture and has become a space of improvisation where new, counter-hegemonic identities are constructed and performed. In this Thesis, I argue that Korean female hip hop artists are enacting a social rupture by performing improvised identities.
    [Show full text]
  • HEN TURKEYS Hams Ready for Your Selection! and Where Can You in the Last Great Flood of 1943
    SS^S^Sf^^^SSSS Avenge Dally Ket PreM Sun l i n k i n g Y «r tlML.Week Ending ‘ April. I ^ , 4 9 4 ”.......... Mcmbdr of the Andlt Bnrenit. ot’ClreuUHona Mnncheeter^A €Uy of ViUnge Charm . VOL. LXXI, NO. 164 ^(CRaaai^^__A ISL U„ . , . MANCHESTER. p N N „ ESlDAY, APRIL.11, 1952. - . -•-.-tWskjl^-RAGES)- - y ' pricbjpIYr ^js^j^Holiday Xiuotity Foods ‘Aitroctiyely Prkod ^ - 4 9 H A N K L i $ f ...M « t « tiMiM, M l iiM fc lit WONDERFUL ImM , m lUii, M MHflin M . « f f m t m t For> Your ■■V ^ MNUINI *% Its. BUYS IN THE V H O R M IL NAM $7.2S VERY BEST Easter HORMEM Mseithcyumt^Geis^learmneeioQuUMAT^ffos^J^ f SMOKED — — ■■ ■; f „ —— ^—-—; li-'' — f-’-"''■ - ' ‘ ^ — r ' '-’V ■ ■ s srcVEITLAWE Negotiatorg Set PICNICS SWEET MIXED Lovett Tells RelcHMefl .T* NATO Com m ander COOKED PICKLES ‘Big Muddy’Flood Brevity Record "T/tcarkihasttffam READY*TO-EAT Survivors •/ p t. Munaan, Korea, April II— General He 27c Loss Hits Millions .(4b—Teuee aego^ateM.-- seL.:* ^ M a H A N t new-record for brevlt.v toda.v, PREMIER SPANISH PmEAPPLE CHUNKS dlapf^ng of their ^ djSJps J 4 « n < A M "PleiTerS. lir, 'April "Misisburi tii lib ’seobnds. ..... ................. Is Released OLIVES BIRDS EYE SLICED It waa the sixth aiicceaalve III river flood swept toward down.stream communities today after da.v like that, leading an Al­ dropping here slightly overnight from its record crest of jujit 1 VVsshington, April 11—K/P) Idiami, Fia., April 11—(fl*)-r-The U.
    [Show full text]
  • PENGALAMAN FANATISME PADA K-POPERS (Studi Kasus ARMY Dan ONCE Di Kota Medan)
    PENGALAMAN FANATISME PADA K-POPERS (Studi Kasus ARMY dan ONCE di Kota Medan) SKRIPSI Diajukan Guna Memenuhi Salah Satu Syarat Memperoleh Gelar Sarjana Sosial dalam Bidang Antropologi Sosial Oleh: Marintan Manik 160905078 PROGRAM STUDI ANTROPOLOGI SOSIAL FAKULTAS ILMU SOSIAL DAN ILMU POLITIK UNIVERSITAS SUMATERA UTARA MEDAN 2021 Universitas Sumatera Utara ii Universitas Sumatera Utara iii Universitas Sumatera Utara UNIVERSITAS SUMATERA UTARA FAKULTAS ILMU SOSIAL DAN ILMU POLITIK PERNYATAAN ORIGINALITAS PENGALAMAN FANATISME PADA K-POPERS (Studi Kasus ARMY dan ONCE di Kota Medan) SKRIPSI Dengan ini saya menyatakan bahwa dalam skripsi ini tidak terdapat karya yang pernah diajukan untuk memperoleh gelar kesarjanaan di suatu perguruan tinggi dan disepanjang pengetahuan saya juga tidak terdapat karya atau pendapat yang pernah ditulis atau diterbitkan oleh orang lain, kecuali yang tertulis diacu dalam naskah ini dan disebutkan dalam daftar pustaka. Apabila dikemudian hari terbukti lain atau tidak seperti yang saya nyatakan disini, saya bersedia diproses secara hukum dan siap menanggalkan gelar kesarjanaan saya. Medan, Februari 2021 Marintan Manik iv Universitas Sumatera Utara ABSTRAK Marintan Manik, 2020. Judul Skripsi PENGALAMAN FANATISME PADA K- POPERS (Studi Kasus ARMY dan ONCE di Kota Medan). Skripsi ini bertujuan untuk melihat bagaimana pengalaman fanatisme pada K-Popers, dengan studi kasus ARMY dan ONCE di Kota Medan. Rasa suka yang berlebihan kepada idola K-Pop seringkali melahirkan sikap fanatik dalam diri K- Popers. Rasa suka yang berlebihan ini akan melahirkan berbagai tindakan fanatisme. Setiap K-Popers memiliki pengalaman fanatisme yang berbeda-beda tergantung pada kemampuan mereka. K-Popers pria dan wanita juga cenderung memiliki pengalaman yang berbeda, didasarkan pada aturan-aturan gender yang berlaku dalam masyarakat.
    [Show full text]