The Hallyu Influence. K-POP on Foreign Lands

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The Hallyu Influence. K-POP on Foreign Lands 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, Seoul, South Korea Abstract : The Korean Wave, 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 South Korea. 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 determine if and how respondents relate them. The 1. Introduction 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 popular culture in the Asian region, led by countries like China, Taiwan and Japan”iii. For this Imperial Journal of Interdisciplinary Research (IJIR) Page 295 Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-1, 2017 ISSN: 2454-1362, http://www.onlinejournal.in 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.
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