Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-1, 2017 ISSN: 2454-1362, http://www.onlinejournal.in

The Hallyu Influence. K-POP on Foreign Lands

Alexandra Elissa Necula Sogang University, , South

Abstract : The , also known as Hallyu, reason, the current paper plans on studying some represents a strong cultural manifest coming from aspects related to the perception of the Korean Wave . The movement recently began to slowly, (Hallyu) in the case of foreign individuals. But, but certainly penetrate global markets in various Hallyu itself includes a wide range of Korean ways. The most popular manner is K-Pop, Korean cultural products, the most famous being music (K- music, which has become a manifest itself, especially pop), and drama (K-drama). So, an attempt to since foreign individuals seem to not always relate it analyze all of these issues or even several requires an to Hallyu; actually, the tendency is to separate the elaborate research plan, for which reason it is better two concepts. Still, as previous research on the topic to treat each aspect individually. Thus, this research shows, overseas popularity of Hallyu and K-Pop is will be dealing with Korean music (K-Pop), and the not as high as desired, and has many weaknesses. way it is perceived internationally, with an aim of Regarding foreign markets, especially non-Asian better understanding how non-Asian publics are ones, previous research seems lacking. For this receiving not only the musical part, but the whole reason, the current study was conducted, in order to manifest in general. K-Pop, as defined by the Korean provide a starting point for future research about Ministry of Culture, Sports and Tourism in 2011, targeted overseas markets. As the results show, there represents “Korean pop music sung and performed are many aspects that require attention and by Korean artists and received positively by improvements. The aim of this paper is to explain international fans”iv. Also, in order to not leave any where those weaknesses occur, and, if combined with room for confusions, a clear distinction between the other aspects, how things can be improved in order concepts of ‘Hallyu’ and ‘K-pop’ has been made to better promote K-Pop and Hallyu in general. while conducting the study. As the possibility that the two may be known individually, but without any Key words: Hallyu, Korean Wave, K-Pop, Korean relation to the other has been taken into music, culture exchange, overseas markets consideration, the concepts have be treated differently as research questions, in order to 1. Introduction determine if and how respondents relate them. The study will be analyzing foreign consumers’ attitudes towards K-Pop and the Korean wave. The purpose is The Korean Wave is probably one of the most to provide information on foreign markets, so that important cultural manifests related to South Korea. the manifest can be improved if necessary. It has managed to make the country famous in Also, as Chang and Park well observed, “the various aspects in international lands. The Korean major reason that Hallyu has been popularized even Wave itself is a complicated concept that includes in places farther away from Korea, like Europe and several cultural issues; according to Kim (2007) “the Latin America, is that creators and users can easily term ‘Korean wave’ as used in today’s Korean share their creations and feedback in the virtual society, generally refers to the exports of local i space of the Internet […] the Internet plays a cultural products to overseas markets” . Regarding significant role in connecting fans and Hallyu”v. This what exactly is included in the concept, Chang and makes Internet the main ‘tool’ for reaching potential Park (2012) provide a more specific definition, foreign consumers, not only for immediate stating that “the Korean wave or Hallyu refers to promotion of Hallyu, but also for study in the matter, Korean music, drama, film, and even fashion and in order to contribute to better strategies for long- cuisine that have swept the world since the late ii term objectives of the movement. Thus, researchers 1990s” . should keep in mind the existence and importance of As Chang and Park have already mentioned, the the Internet as a connecting channel between manifest found its way outside national borders producers and publics, and use it to its full potential starting with the late 1990s, which makes it not only when conducting analyses related to the Korean a recent issue, but also explains the continuously Wave and everything that it implies, from music and growing attention that it receives in present days. film, to fashion and traditions. Still, as Kim mentions, Hallyu is somehow restricted to Asian markets, representing “the popularity of Korean in the Asian region, led by countries like China, Taiwan and Japan”iii. For this

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2. Literature review Another issue with K-Pop and attempted ‘mixtures’ comes with the songs’ lyrics, where most Due to the lack of previous research on this exact producers do their best to combine the main Korean topic, the starting point for this paper is represented lyrics with English expressions, in an attempt to by other means of studying the relation between K- better reach foreign consumers. The usage of English pop and the Hallyu. in Korean songs does have its benefits and might Firstly, since the manifest has been growing lead to a better reception by foreigners; as Yang well states, “for the recent ascendancy of K-pop to rapidly in recent years, it is interesting to observe xi how the original meaning behind it has transformed continue, the use of English lyrics is inevitable” , into a business, especially in the case of K-Pop, since but the ways in which those words or expressions are this is the most popular part of the Korean Wave used is equally important, if not more important. In overseas. Supporting this idea, Park and Lee (2014) this sense, problems occur with changes in English language when English language is utilized under give a ‘business’ definition of the term while stating “ the rules of the Korean structure xii, and, probably that “K-pop music is considered to be planned ” products through a very comprehensive systematic more troublesome, the low intelligibility that vi producers manage to create in relation to their production by major entertainment companies” . As a result, the Korean Government has started English ‘preferences’, as “the familiarity of the single words is the main factor for local involving itself in the development and promotion of xiii the manifest in overseas markets; the purposes are of intelligibility” ; the result of this method (using economic nature, making Hallyu into an instrument English words while considering only locals’ perspectives) is, Yang continues, that when those that causes the government to start “collaborating “ vii single words conform to Korean structure, the with the business sector” . Thus, in order to obtain intelligibility of the lyrics to Korean people is high these financial benefits, “the Korean government xiv picked up on this phenomenon fairly quickly and however international intelligibility is low” . All in went on a nationalistic campaign to promote Hallyu all, as Yang concludes, applying the Korean structure in different ways. However, there is some concern to English language, even in short, one-word that, in doing so, it is threatening to hinder the situations, can lead to serious comprehension issues viii mostly for foreigners, but, sometimes, even for locals. potential of the movement” . As a result of this Originally, Hallyu s main purpose was that of ‘premature’ and ‘profitable’ involvement of the ’ government, the manifest itself might meet some making South Korea known to the whole world by obstacles while penetrating foreign markets, and, it “focusing on enhancing cultural exchanges with other countries xv (Kwon and Chai, 2005). Problems the worst case, it might actually lead to its ‘death’ by ” putting too much financial pressure on a movement started to occur ever since the products of the that is meant to be mainly cultural. movement have been given what Kwon and Chai call But the economic aspect of the matter seems to “stereotyped stories” and “uniformed contents”; this be only one of the problems encountered by K-Pop resulted in issues with foreign publics, as they began and the Korean Wave in general. As Unger (2015) giving more value to “the characteristics and marks of the format xvi , simply because they cannot well observes, “K-pop emulates this girl group ” aesthetics from Western pop music videos, but then actually understand the language; this applies to K- adds its own Korean cultural femininity to the Pop more than anything, because we are talking about music, where the content is the most representations it embraces creating what I call “K- important; foreigners do not comprehend the lyrics, pop pastiche”. Thus, these videos are also a site of so it is normal that they form their opinions about the “transnational cultural exchange” of hybridity, everything based on the format, the only aspect they whereby “they may be consumed in transnational or trans-Asian markets, but their production is can observe, analyze, and relate to. Neglecting the ix content in favor of a format that is meant to raise the nationally branded” . For example, in the case of popularity of Korean products and culture overseas ‘sexy’ choreography with Western roots that K-Pop tends to approach when constructing its may backfire in the end and affect the movement in a negative manner. performances’ strategies, by applying Korean cultural traits to it and changing it to national It is clear that Hallyu is now representative for x South Korea, but the reasons behind its creation and standards, the effect is “a hybridity of styles” that are presented as a national during promotion, the constant pursue of overseas popularity may but that might bring along various disadvantages, in actually reveal more about what this movement the sense that the mix of cultural aspects in the styles means to the Korean people in general. In relation to does not appeal in the same way to foreign publics; this aspect, Cho (2012) considers that “just as and, at the same time, local publics might find them industrialization, democratization and the popular just as unappealing because of the same lack of culture of South Korea came about in the light and synchronization with local culture. shadow of rapid growth, global sympathy toward the Korean wave came about in the same context. The

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20th century was an era of horrific violence and 3. Research proposal unlimited change. Because we went through the miserable history of colonialism and division, we Thus, as proper inquiries with targeted foreign are now emanating a cultural energy of empathy. It is publics seem to be inexistent, the current study was our task to make this startling cultural wave into a xvii conducted with the purpose of bringing other sustainable cultural movement” . Thus, despite its contributions to the already existing information on obvious economic value and the opportunity for the topic, and, hopefully, help in better culture exchange, the Korean Wave may have a understanding where improvements need to be made. deeper meaning for Korean people, who seem to be As mentioned in the beginning of this paper, the trying to let the world know what they have gone Internet is the main channel that connects producers through in history and survived, only to become the to their foreign publics. important economic and cultural power they are Considering these two aspects, a survey seemed today. The same author considers that the tendencies to be the most efficient as a research method. Thus, a to globalize Korean styles can be beneficial for convenience sample was chosen, and a short promoting overseas, that “there is plenty of evidence questionnaire was given to foreign online users of a that the Korean wave has only taken its first steps well-known social media platform. It is important to and that its potential for future development is xviii mention the fact that, because the Korean Wave as massive” ; still, the author considers that an international movement has been promoted more intellectuals play a main role in the proper and also better received in Asian markets, the current development and promotion of the movement, and study focuses more on non-Asian publics that do not that they should be the ones leading the way in the have a direct contact with Hallyu and/or K-Pop; thus, spread of the Korean Wave. though Asian participants were not completely Previous literature that was interested in this excluded, Korean respondents were avoided, and, topic has also studied means of better promoting also, K-Pop-niched individuals were not taken into Hallyu and, more specifically, K-Pop, since it seems consideration when shaping the participant sample. to be the easiest to promote overseas. In that sense, For the objectives settled, a series of five Jung (2013) has proposed the usage of 4D research questions revolving around specific issues technologies in K-Pop performances, and has asked of the topic were developed, as following: the opinions of entertainment professionals in regard to this aspect. As the results showed, experts believe RQ1. Is Hallyu (Korean Wave) known in that, though 4D technology could be helpful in the foreign markets? promotion of K-Pop overseas, “4D performance RQ2. Is K-pop (Korean music) known in stage can cause adverse effect if it too much focuses xix foreign markets? on technology, rather than contents” , and that RQ3. What gender (male/female) is dominantly “artists individual change and development is more xx popular in relation to Korean music? important” . Instead, rather than relying on RQ4. What promoting concepts are preferred? technological development for raising popularity RQ5. What type of music is preferred levels in foreign markets, interviewed entertainment (Korean/non-Korean) by foreign professionals stated that “unless they find ways to consumers? enhance variety and quality, K-POP cannot but be stultified”xxi. Previous research on the topic is helpful in 4. Method understanding how specific issues may influence the popularity of K-Pop in overseas markets, but are not As mentioned, in order to avoid influencing enough to give a perspective on what needs to be factors, the respondents were chosen to be of non- changed. Thus, as the problems of enhancing Korean origins and to not have any deep knowledge popularity seem to be related to several aspects, it and/or attachment to K-pop (K-pop groups and K- may be more useful to actually ask potential foreign pop-oriented individuals were avoided). The consumers about what they think in regard to Hallyu questionnaire was formed of ten simple, multiple- and K-Pop, and what music preferences they have. choice questions; the aim was to make the survey as That way, we might get a better understanding of easy as possible in order to persuade more their expectations, what they like, what they dislike, individuals to participate. and use that information to improve the movement A number of 215 people were asked to participate promoting strategies for overseas (more importantly, in the survey, out of which 99 responded to the non-Asian) markets. request. Respondents were between 18 and 45 years old (~72% were between 26-35 years), out of which approximately 64% were female. The majority were of Caucasian provenance (~59%), followed by

Imperial Journal of Interdisciplinary Research (IJIR) Page 297 Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-1, 2017 ISSN: 2454-1362, http://www.onlinejournal.in respondents of Asian provenance (~32%); the information is represented in Figures 1, 2, and 3.

When asked if they know about the existence of The survey was sent on the 1st of June 2015, and th Hallyu and what it meant, a slight majority (with an answers were accepted until the 26 of June 2015. approximate 10% difference) answered negatively in The 99 responses have been received in the period 1 th both situations, as shown in Figures 7 and 8. Still, – 12 of June. The research was conducted online, when asked the same questions, but about K-Pop, the on a famous social media platform, and the respondents gave positive answers with relatively big participants were chosen in a convenient manner, differences between the two possible answers among the researcher’s friend list members, with the (Figure 9 and 10). This shows that foreign targets of specification that individuals of Korean origins and Hallyu may not necessarily relate K-Pop to it, which K-Pop ‘literate’ people were intentionally avoided, in brings up the issue of Korean music becoming an order to exclude the occurrence of an influencing individual movement, rather than part of the Korean factor on the results. Wave.

5. Results

If analyzed from a general perspective, only in regards to the topic of each question, respondents have the tendency to listen to music on a regular basis, 75.8% (Figure 4), and their preferences in that sense are diverse, though a slight majority seems to be in favor of Pop music, 28.3% (Figure 5). Also, most respondents go towards American or European music, 39.4%, respectively 32.3%, as it is shown in Figure 6, with only a few having preferences for music of another provenance. These results express foreigners’ low interest in Asian music and, as we In regards to their specific preferences when it can understand from this, in K-Pop and the Korean comes to K-Pop artists, in first place came mixed Wave as a whole. groups (male + female), closely followed by male solo artists, and male groups (Figure 11). Though the majority of respondents were female, which might explain the preference for male artists, it is interesting to observe that male respondents too tend towards male artists, since the other options for this specific question have been chosen only a few times, and cannot possibly sum up to equal the number of male participants. Thus, it becomes clear that foreign consumers prefer either mixed groups or male artists, meaning that something in the ‘female side’ of K- Pop is not right and might need some improvements.

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preferred solo male artists, 26-35 year olds opted for mixed groups, and 36-45 year olds chose male groups, female groups, and mixed groups in an equal percentage. As for promoting concepts, both 18-25 and 26-35’s opted for the cute style, but, as age became higher (36-45 years), responses went In matter of promoting concept (style) for K-Pop towards other promotional concepts not mentioned in artists, respondents mostly chose the cute concept; the main option list. still, not far behind and without too much of a As we can observe, not only is K-Pop more difference in percentage, this was followed by sexy, popular than Hallyu, but we can also assume that serious, and subtle/hidden message-based concepts foreign individuals may not even relate the two (Figure 12). Seeing the diversity in choices, and concepts. Also, as a general conclusion, though taking into consideration the already existing people may opt for Pop music, the origins of those diversity in promoted concepts, we may assume that preferences are non-Asian, meaning that the the industry is going in the right direction in this movement has a long way to go if it wants to raise its case; though improvements can still be made, it popularity to a global level. might not be too hard to accomplish them.  GENDER-based analysis As Figure 1 shows, most participants were female (63.6%), while the percentage of male respondents was of 36.4%. In this case as well, the majority stated that they often listen to music, and they also preferred Pop as a dominant genre. Differences came in regards to music origins, where males chose European music, while females opted for American music. Just like in the previous age-based analysis, the On the other hand, if grouped by age, gender, majority of respondents did not hear about Hallyu, and ethnicity, the results give a clearer perspective nor did they know what it meant, but they had heard on foreign consumers’ preferences in regards to K- of K-Pop and knew its meaning; again, the two Pop. This type of analysis is useful for recognizing concepts are not perceived in relation to each other specific issues, and understanding what changes can by foreign individuals. As preferred artists, females be made and where they are needed, in order to equally opted for male solo artists and mixed groups; improve the movement’s receptivity in overseas an interesting result came from male respondents, markets and raise its popularity. who, contrary to the researcher’s expectations, mostly chose solo male artists as their main  AGE-based analysis preference; this raises questions in relation to the Though several age groups were targeted at first, ‘efficiency’ of female K-Pop artists and their as Figure 2 above clearly shows, the respondents potential for attracting foreign publics. As belonged to only three of them, 18-25 years (23.2%), promotional concepts, male respondents went for the 26-35 years (71.7%), respectively, 36-45 years sexy style, while females chose the cute style as (5.1%). This aspect makes the research applicable favorite. mostly to younger . The majority of Again, as the results show, though people know respondents stated that they listen to music on a about K-Pop, they do not really know or associate it regular basis (often/everyday), both 18-25 and 26-35 to the Korean Wave. Also, despite their knowledge age groups preferred Pop music (while the 36-45 and preferences in regards to K-Pop, the majority group expressed preferences for other styles), and the still tend to listen to non-Korean music, with origins dominant music origin for two of the groups was in either Europe or America. American, while the 26-35 respondents opted mostly for European music; as a reminder, over 70% of the  ETHNICITY-based analysis whole number of respondents were part of the 26-35 In this case, the differences in participants’ age group. characteristics are huge, with 58.6% being Apart from 18-25 respondents who had heard of White/Caucasian, and 32.3% being Asian. The other Hallyu and also knew what it meant, others had 4%, 3%, and 2% of the respondents were negative answers regarding this specific issue. Still, Hispanic/Latino, from other ethnicities that were not this did not apply to the case of K-Pop, where all age included in the main option list, and, respectively, of groups had heard about it and also knew what it was Black/African-American heritage. Most of the about. When asked about artists, all three age groups respondents stated that they listen to music often, gave different answers, as following: 18-25 year olds with a difference in the case of the Black/African-

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Americans, who all said that they listen only general public, or if it has no significant relevance in sometimes. As preferred genres, the options chosen that sense, targeting only specific, already formed include rock, hip-hop, pop, dance, r’n’b, and other audiences. Also, as results indicate, the gap between unlisted genres. Both Caucasian and Asian groups Hallyu and K-Pop as concepts is still big; for this opted for American music, Hispanic and other reason, future research should focus on finding ways ethnicities tended towards European music, while to connect the two and make them known as related African-Americans all went for African music. to each other; this is so that K-Pop doesn’t end up The interesting differences appear in regards to ‘consuming’ the general manifest, and, by it, Hallyu and what it means, where, apart from the affecting the cultural exchange objective of Hallyu – Caucasian group, the others all answered positively. one should take into consideration the fact that music But, the same does not apply for K-Pop, in relation is not enough to express all aspects of a culture, and, to which all groups gave affirmative answers; this also, given the financial benefits that it brings, it may proves, once again, that Hallyu and K-Pop are not often go as far as to neglect cultural importance in perceived as connected to each other in most cases. favor of economic objectives. As favorite artists, all groups opted for male groups, 7. Discussion solo male artists, or mixed groups, by this expressing a general dislike towards female K-Pop artists. The most interesting aspect discovered was the Preferred concepts varied from cute, sexy, serious, difference between Hallyu knowledge in comparison and subtle/hidden message, to parody and other to K-Pop; though a bit more than half of the styles not included in the main list. respondents did not know about the existence of the The research can be considered somehow biased Korean Wave and what it meant, an astonishing if taking into account the huge differences in majority had heard of K-pop and knew what it was participant numbers when it comes to ethnic about. This indicates, indeed, the fact that K-pop and diversity. Still, it can provide valuable information Hallyu are not necessarily perceived in relation to on Caucasian and Asian consumers, while giving a each other. Also, the preferences for male artists and starting point for future research about other mixed groups raise questions about the quality of K- ethnicities. Pop female artists as perceived by foreign publics. Another issue comes in regard to the origins of 6. Limitations and future research foreign individuals’ music preferences; despite the fact that they are open to various genres and pop is The current study, though it provides valuable generally preferred (this representing very good information about foreign individuals’ impressions, news for K-Pop, since it seems to ‘fit the demands’), knowledge, and preferences for K-Pop, it is still it is worrisome to observe that people prefer limited in many ways and, thus, requires future American or European music, even in the case of development. Asian respondents; this means that K-Pop has yet to For starters, due to the convenience sample efficiently penetrate foreign markets, Asian or non- chosen to participate in the survey, the results are Asian. limited mostly to the range of 26 to 35 years old, and A positive result of the research is people’s are not representative for other age groups. Also, openness to diversity in the case of K-Pop concepts, ethnicities were not properly divided, the majority of which, even at the present moment, seems to be the participants being either of Caucasian or Asian best developed area of K-Pop, giving options for all provenance. Though the results are interesting, the types of preferences and personalities. Still, this general number of responses obtained, and the alone is not enough to raise the popularity of K-Pop subjects’ characteristics as well are not enough to overseas. make certain statements, but rather are meant to give As a final conclusion, it can be assumed that some first impressions on the subject and ‘instigate’ changes and improvements are needed in certain to the development of further studies on the same areas for K-Pop to be made more popular; also, it is topic. As a result, future research with a better important to work on making a visible connection defined participation is advised. between K-Pop and Hallyu, or else the manifest risks For other researches in the same direction, a to be dominated and, eventually, ‘consumed’ by its content analysis of news related to Korean music and musical side. addressed to foreign publics may also be appropriate. As previous research suggests, there are many Along with this, research on foreign fandoms would aspects to be taken into consideration when working be helpful to better understand how the specific area on the development of Hallyu internationally. Since is received in foreign markets, and how it should be K-Pop seems to be the most popular out of all ‘parts’ promoted in the future. These research proposals included in the Korean Wave, one can assume that could provide important data in relation to the spread improvements should be done starting from that of the Korean Wave (Hallyu), if it reaches the point. Also, since the objective is to address foreign

Imperial Journal of Interdisciplinary Research (IJIR) Page 300 Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-1, 2017 ISSN: 2454-1362, http://www.onlinejournal.in consumers, it might be wise to begin with asking Videos in South Korea”, Journal of Popular Music Studies, about their preferences, see where these collide with XXVII, No. 1 (2015), pp. 25-47 the already established characteristics of K-Pop, and, according to this, start making changes where needed. [8] Yang, S., “Linguistic Analysis of Korean-English The aspects underlined by previous research on the Code-Switching in K-Pop Lyrics”, 언어학연구, XVII, No. topic bring valuable understanding on how improvements can be managed; still, if neglecting 1 (2012), pp. 137-160 foreign publics’ opinions, the possibility of failing while redesigning promotional strategies is very high. i Kim H., “The Korean Wave, Culture Content, and Cultural Thus, researches as this one, by providing Informatics”, 인문콘텐츠 , 10, p.107 (2007) information on individuals’ preferences, have the ii Chang, W. J., & Park, S. E., “Hallyu, the Korean Wave: purpose of exposing existing weaknesses, and are of Cultivating a Global Fandom”, 문화예술경영학연구 , (2)5, p. 90 vital importance for the well-development of K-Pop (2012) and Hallyu. iii Kim, loc. cit. 8. Acknowledgements iv Yang, S., “Linguistic Analysis of Korean-English Code- Switching in K-Pop Lyrics”, 언어학연구 , (1)17, p. 144 (2012) v Chang, & Park, loc. cit., p. 96 This paper has been done under the guidance of vi Park, K., & Lee, J. Y., “Development of the Local Pop Music professors Yong- Won and Yong-Soo Kim, Mass Online Archive System – A Case Study of K-Pop”, International Communication Department of Sogang University, Journal of Software Engineering and Its Applications, (11)8, p. 155 (2014) Seoul, South Korea. The author would like to vii Chang & Park, loc. cit., p. 94 express their deepest gratitude to professors Yong- viii Ibid., p. 91 Jin Won and Yong-Soo Kim for the support given ix Unger, M. A., “The Aporia of Presentation: Deconstructing the during the paper’s process of creation. Genre of K-pop Girl Group Music Videos in South Korea”, Journal of Popular Music Studies, (1)27, p. 27 (2015) x Ibid., p. 41 9. References xi Yang, loc. cit., p. 158 xii Ibid., p. 147 xiii Ibid., p. 152 [1] Chang, W. J., & Park, S. E., “Hallyu, the Korean xiv Ibid. xv Wave: Cultivating a Global Fandom”, Kwon, H., & Chai, W., “The Diffusion of Korean Wave (Hallyu) as a Cultural Exchange”, 2005 Proceeding of the 문화예술경영학연구, V, No. 2 (2012), pp. 89-106 International Conference of Seoul Association for Public Administration (SAPA), 전자저널, 2005 xvi [2] Cho, W. S., “Riding the Korean Wave From ‘Gangnam Ibid. xvii Style’ To Global Recognition”, Global Asia, VII, No. 3 Cho, W. S., “Riding the Korean Wave From ‘Gangnam Style’ To Global Recognition”, Global Asia, 7(3), p. 39, (2012) (2012), pp. 35-39 xviii Ibid., p. 38 xix Jung, H. K., “An Exploratory Study on the Impact of 4D rd [3] Jung, H. K., “An Exploratory Study of the Impact of Concert of K-POP and the Korean Wave”, The 3 International rd Conference on Convergence Technology 2013 (2013), p. 723 4D Concert of K-POP and the Korean Wave”, The 3 xx Ibid. International Conference on Convergence Technology, xxi Ibid. 2013, pp. 722-724

[4] Kim, H., “The Korean Wave, Culture Content, and Cultural Informatics”, 인문콘탠츠, VII, 2007, pp. 105-122

[5] Kwon, H., Chai, W., “The Diffusion of Korean Wave (Hallyu) as a Cultural Exchange”, 2005 Proceeding of the International Conference of Seoul Association for Public Administration (SAPA), 전자저널, 2005, pp. 1-20

[6] Park, K., & Lee, J. Y., “Development of the Local Pop Music Online Archive System – A Case Study of K-Pop”, International Journal of Software Engineering and Its Applications, VIII, No. 11 (2014), pp. 155-164

[7] Unger, M. A., “The Aporia of Presentation: Deconstructing the Genre of K-pop Girl Group Music

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