Korean HISTORIES Korean Histories

Total Page:16

File Type:pdf, Size:1020Kb

Korean HISTORIES Korean Histories 2.1 2010 Korean HISTORIES Korean Histories 2.1 2010 THE IDEA OF STAGNATION IN KOREAN HISTORIOGRAPHY: 3 FROM FUKUDA TOKUZO¯ TO THE NEW RIGHT – Owen Miller WHEN HISTORY IS MADE: HISTORY, MEMORY AND THE POLITICS 13 OF REMEMBRANCE IN CONTEMPORARY KOREA – Koen De Ceuster KEEP YOUR ENEMIES CLOSER: PROTECTING KOREA’S POP CULTURE 34 IN CHINA – Roald Maliangkay A SEARCH FOR NEW APPROACHES TO RESEARCH ON KOREAN 45 BUDDHIST HISTORY – Jongmyung Kim WRITING HISTORY IN KORYO:˘ SOME EARLY KORYO˘ WORKS 57 RECONSIDERED – Remco E. Breuker KAIBARA EKIKEN’S PREFACE TO ChINGBIROK: A JAPANESE EDITION 85 OF THE BOOK OF CORRECTIONS – W.J. Boot LIST OF CONTRIBUTORS 90 COLOPHON 91 Owen Miller The idea of stagnation in Korean historiography FROM FUKUDA TOKUZO¯ TO THE NEW RIGHT INTRODUCTION In the twentieth century the concepts of progress and The idea of a stagnant past giving rise to a backward stagnation became deeply embedded in the conscious- present is by no means unique to the study of Korean ness of people everywhere, but perhaps especially so in history. This idea was almost universal in the approach of the minds of those living in the late developing countries colonizing European nations to the subjects of their impe- like (South) Korea, who are constantly reminded of the rial domination, from at least the late eighteenth century need to ‘catch up’ or to eliminate any vestiges of the ‘stag- onward. Perry Anderson has given an excellent overview nant’ past. of the genesis and development of the ideas of ‘Asiatic’ However, in the academic world the concept of stagna- stagnation and despotism as employed by thinkers as tion cannot be reduced simply to a matter of Eurocentric diverse as Machiavelli, Bacon, Montesquieu, Hegel, John ideology or a tool of imperialism, since it often forms a Stuart Mill and Adam Smith. He has also analysed the part of serious scholarly attempts to analyse the history way in which Marx and Engels absorbed many of these of particular countries and reflects, however imperfectly, ideas in the mid-nineteenth century in the formation of the real geographical and temporal unevenness of human their views on Asia, giving some parts of Marxist theory historical development. When it comes to the politically a distinctly ‘Orientalist’ slant.1 The concept of stagnation ambiguous nature of the concept of stagnation, Korea is itself can be understood as an inversion of the concept of a case in point. In the historiography of Korea, stagna- linear progress, invented in the course of the most recent tion was first used as a justification for Japanese colonial- world-historical transition from pre-capitalist to capi- ism and later adopted by Marxists seeking revolutionary talist societies. This dichotomy between past and future social transformation; the concept is still today causing was something novel, replacing the prevailing cyclical or controversy among Korean historians who line up on messianic conceptions of time. As Shlomo Sand has writ- either side of the debate over ‘internal development’ ver- ten recently, sus ‘colonial modernity.’ The rupture caused by modernization detached human- This article will introduce themes that will be developed ity from its recent past. The mobility created by industri- further in an upcoming monograph-length study of Marx- alization and urbanization shattered not only the rigid ist historiography in Korea and East Asia. The planned social ladder but also the traditional, cyclic continuity monograph will address the recurring dichotomies of between past, present and future.2 stagnation/progress and particular/universal in the East 1 Perry Anderson, Lineages of the Absolutist State (London: Verso, 1979), pp. 462-483. For further discussions of Eurocentrism and the origins of the Euro- centric view of history see Samir Amin, Eurocentrism (London: Zed Books, 1989); Eric Wolf, Europe and the People Without History (Berkeley: University of California Press, 1982). 2 Shlomo Sand, The Invention of the Jewish People (London: Verso, 2009), pp. 62-3. KOREAN HISTORIES 2.1 2010 OWEN MILLER THE IDEA OF STAGNATION IN KOREAN HISTORIOGRAPHY Asian historical debates of the twentieth century. As part are more complex and can only be transcended with a of that broader project, this article will focus on how the more fundamental re-evaluation of the progress/stagna- concept of stagnation or backwardness has been applied tion dichotomy. to Korean history, from the beginning of the twentieth century up until the present day, looking at three scholars FUKUDA TOKUZO’S¯ STAGNATION THEORY who have worked within this paradigm.3 We will begin The first figure that looms large in the history of stag- with the Japanese economist Fukuda Tokuzō 福田德三 nation theory in Korea is that of the Japanese economic in the early years of the twentieth century, then look at thinker Fukuda Tokuzō (1874-1930). Fukuda was born in the mid-century work of Korean Marxist historian Chŏn Tokyo in 1874 and after a precocious academic career at Sŏktam 全錫談, before concluding with an overview of Hitotsubashi University (then called Tokyo Higher Com- some of the ideas of Rhee Younghoon 李榮薰, the con- mercial School 東京高等商業学校), he went in 1898 to temporary Seoul National University study for a doctorate in Germany economic historian. under Karl Bücher and Lujo Bren- Although previous scholarship tano, both scholars of the German has paid attention to stagnation Historical School of Economics.4 theory, this attention has gener- In Japan, Fukuda is known as an ally consisted of a rather formulaic anti-Marxist liberal economic thinker denunciation of Japanese colonial who was keenly interested in social historiography. In this scheme, stag- policy and sought to theorize ‘wel- nation theory is simply one element fare economics.’ In Korea, though, of Japanese colonial domination that Fukuda is known almost exclusively had to be overcome by the theories of as the author of the original stagna- internal development developed by tion theory that would become one North and South Korean scholars in of the perennial ideological props of the post-liberation period. Whatever Japanese colonial rule on the penin- the intrinsic problems of stagnation sula. Shortly after receiving his doc- theory itself, this article aims to show torate in Germany and returning to that such an approach to the concept Fukuda Tokuzō Japan in 1901, Fukuda Tokuzō visited is far too simplistic. The three schol- Korea. It was this visit that inspired ars examined here have offered quite different concep- the 1904 essay that has given Fukuda such an infamous tions of stagnation in Korean history and differing expla- role in Korean historiography, entitled “The economic nations of its causes. The political and historical contexts organizations and economic units of Korea” (“Kankoku in which they have approached the problem of stagna- no keizai soshiki to keizai tani” 韓國の經濟組織と經濟單 tion have varied greatly and their political motivations 位).5 Here he made an explicit contrast between the nor- for applying the concept have occupied opposite ends of mal, developmental path of Japan which, in his doctoral the spectrum, stretching from revolutionary socialism to thesis of four years earlier, he had described as similar conservative neoliberalism and colonial apologism. Con- to that of Germany, and the abnormal development of trary to the general assumption of nationalist historians Korea.6 in Korea that stagnation theory was simply a tool of colo- For Fukuda one of the main symptoms of Korea’s back- nial ideology that had to be ‘overcome’ in the postcolonial wardness that he had observed during his visit was the era, this article will show that the politics of stagnation underdevelopment of private ownership in land. Accord- 3 While I do not argue that these three scholars exhaust the history of stagnation theory in Korea, they are, I believe, representative of the three distinct forms that stagnation theory has taken over the last century. 4 For more on the life and ideas of Fukuda Tokuzō, see Inoue Takutoshi and Yagi Kiichiro, “Two Inquirers on the Divide: Tokuzo Fukuda and Hajime Kawakami,” http://www.econ.kyoto-u.ac.jp/~yagi/FUkkawiy.html (accessed 8/7/2010); Tessa Morris-Suzuki, A History of Japanese Economic Thought (London: Routledge, 1989). 5 Fukuda Tokuzō, “Kankoku no keizai soshiki to keizai tani.” 6 Yi Ch’ŏlsŏng, “Shingminji shigi yŏksa inshik-kwa yŏksa sŏsul,” Han’guksa 23 (Seoul: Han’gilsa, 1994): pp. 150-151. KOREAN HISTORIES 2.1 2010 OWEN MILLER THE IDEA OF STAGNATION IN KOREAN HISTORIOGRAPHY ing to him even state or royal ownership of land was schaft a society had to go through the stage of Stadtwirt- essentially a fiction, and the yangban 兩班 ruling class schaft, which in Europe and Japan was equated with the had social privileges rather than landed estates. Another feudal political system. This belief then translated into sign of backwardness could be found in human relation- Fukuda’s central explanation of Korean historical back- ships, where relations of obedience between commoners wardness: the contention that the country had lacked and yangban prevailed and relations between free indi- a feudal stage in its history.11 It was this stage that had viduals were lacking. Likewise, in the Korean villages the made it possible for countries like Germany and Japan to clan system predominated, meaning that there was no achieve modernity, even if they lagged behind some other concept of the individual, no independent small family European countries. Lack of a feudal stage, according
Recommended publications
  • “PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju
    TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE by Eun-Young Jung M.A. in Ethnomusicology, Arizona State University, 2001 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Eun-Young Jung It was defended on April 30, 2007 and approved by Richard Smethurst, Professor, Department of History Mathew Rosenblum, Professor, Department of Music Andrew Weintraub, Associate Professor, Department of Music Dissertation Advisor: Bell Yung, Professor, Department of Music ii Copyright © by Eun-Young Jung 2007 iii TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE Eun-Young Jung, PhD University of Pittsburgh, 2007 Korea’s nationalistic antagonism towards Japan and “things Japanese” has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government’s official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea’s Open- Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan’s quintessentially postmodern popular culture, despite lingering resentments towards Japan.
    [Show full text]
  • Songliste Koreanisch (Juli 2018) Sortiert Nach Interpreten
    Songliste Koreanisch (Juli 2018) Sortiert nach Interpreten SONGCODETITEL Interpret 534916 그저 널 바라본것 뿐 1730 534541 널 바라본것 뿐 1730 533552 MY WAY - 533564 기도 - 534823 사과배 따는 처녀 - 533613 사랑 - 533630 안녕 - 533554 애모 - 533928 그의 비밀 015B 534619 수필과 자동차 015B 534622 신인류의 사랑 015B 533643 연인 015B 975331 나 같은 놈 100% 533674 착각 11월 975481 LOVE IS OVER 1AGAIN 980998 WHAT TO DO 1N1 974208 LOVE IS OVER 1SAGAIN 970863기억을 지워주는 병원2 1SAGAIN/FATDOO 979496 HEY YOU 24K 972702 I WONDER IF YOU HURT LIKE ME 2AM 975815 ONE SPRING DAY 2AM 575030 죽어도 못 보내 2AM 974209 24 HOUR 2BIC 97530224소시간 2BIC 970865 2LOVE 2BORAM 980594 COME BACK HOME 2NE1 980780 DO YOU LOVE ME 2NE1 975116 DON'T STOP THE MUSIC 2NE1 575031 FIRE 2NE1 980915 HAPPY 2NE1 980593 HELLO BITCHES 2NE1 575032 I DON'T CARE 2NE1 973123 I LOVE YOU 2NE1 975236 I LOVE YOU 2NE1 980779 MISSING YOU 2NE1 976267 UGLY 2NE1 575632 날 따라 해봐요 2NE1 972369 AGAIN & AGAIN 2PM Seite 1 von 58 SONGCODETITEL Interpret 972191 GIVE IT TO ME 2PM 970151 HANDS UP 2PM 575395 HEARTBEAT 2PM 972192 HOT 2PM 972193 I'LL BE BACK 2PM 972194 MY COLOR 2PM 972368 NORI FOR U 2PM 972364 TAKE OFF 2PM 972366 THANK YOU 2PM 980781 WINTER GAMES 2PM 972365 CABI SONG 2PM/GIRLS GENERATION 972367 CANDIES NEAR MY EAR 2PM/백지영 980782 24 7 2YOON 970868 LOVE TONIGHT 4MEN 980913 YOU'R MY HOME 4MEN 975105 너의 웃음 고마워 4MEN 974215 안녕 나야 4MEN 970867 그 남자 그 여자 4MEN/MI 980342 COLD RAIN 4MINUTE 980341 CRAZY 4MINUTE 981005 HATE 4MINUTE 970870 HEART TO HEART 4MINUTE 977178 IS IT POPPIN 4MINUTE 975346 LOVE TENSION 4MINUTE 575399 MUZIK 4MINUTE 972705 VOLUME UP 4MINUTE 975332 WELCOME
    [Show full text]
  • Diversity of K-Pop: a Focus on Race, Language, and Musical Genre
    DIVERSITY OF K-POP: A FOCUS ON RACE, LANGUAGE, AND MUSICAL GENRE Wonseok Lee A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2018 Wonseok Lee All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Since the end of the 1990s, Korean popular culture, known as Hallyu, has spread to the world. As the most significant part of Hallyu, Korean popular music, K-pop, captivates global audiences. From a typical K-pop artist, Psy, to a recent sensation of global popular music, BTS, K-pop enthusiasts all around the world prove that K-pop is an ongoing global cultural flow. Despite the fact that the term K-pop explicitly indicates a certain ethnicity and language, as K- pop expanded and became influential to the world, it developed distinct features that did not exist in it before. This thesis examines these distinct features of K-pop focusing on race, language, and musical genre: it reveals how K-pop groups today consist of non-Korean musicians, what makes K-pop groups consisting of all Korean musicians sing in non-Korean languages, what kind of diverse musical genres exists in the K-pop field with two case studies, and what these features mean in terms of the discourse of K-pop today. By looking at the diversity of K-pop, I emphasize that K-pop is not merely a dance- oriented musical genre sung by Koreans in the Korean language.
    [Show full text]
  • Chocolate, Mustard and a Fox a and Mustard Chocolate, Rånes Nebb Christer Brian
    Chocolate, Mustard and a Fox a and Mustard Chocolate, Rånes Nebb Christer Brian NTNU Norwegian University of Science and Technology Master’s thesis Faculty of Humanities Department of Music Performance and ItsProduction K-Pop, Norwegian andaFox Mustard Chocolate, NebbRånes Brian Christer Trondheim, autumn2014 Trondheim, thesis Master’s in Musicology Brian Christer Nebb Rånes Chocolate, Mustard and a Fox Norwegian K-Pop, Its Production and Performance Master’s Thesis in Musicology Trondheim, November 2014 Norwegian University of Science and Technology Faculty of Humanities Department of Music CONTENTS Contents .......................................................................................................... iii Abstract ............................................................................................................ v Acknowledgements ..................................................................................... vii Introduction ................................................................................................... xi Chapter One: A Deliberate Globalization Strategy ................................ 1 Cultural Technology, Hybridization and the Creation of a “World Culture” ........................... 1 Chapter Two: Catering to the Global Market ........................................ 23 Globalization of Content in Crayon Pop’s “Bar Bar Bar” ........................................................ 23 “The Fox Say ‘Bar Bar Bar’” .....................................................................................................
    [Show full text]
  • The Senses As Strategy in the South Korean Family Bonnie R. Tilland A
    Hateful and Heartwarming Bonds: The Senses as Strategy in the South Korean Family Bonnie R. Tilland A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Ann Anagnost, Chair Clark Sorensen Sasha Welland Program Authorized to Offer Degree: Anthropology © Copyright 2015 Bonnie R. Tilland University of Washington Abstract Hateful and Heartwarming Bonds: The Senses as Strategy in the South Korean Family Bonnie R. Tilland Chair of the Supervisory Committee: Professor Ann Anagnost Department of Anthropology This dissertation investigates women’s strategizing around the senses in South Korea, tracing the ways that women move between sensory experience as an ideal and as an object to put into motion. I argue that the language of the sensory is invoked to stand up to state or societal pressures regarding family-making, child-rearing, and maternal subjectivity. The senses, affect, and emotions are employed to carve out space for individual and family well-being within neoliberal logics of productivity, but these new areas of sensory possibility are too often colonized by the same neoliberal logics. Utilizing multi-sited ethnography, media analysis, and an interdisciplinary feminist perspective, I followed the language of sensory development and sensory experience in practice through participant-observation at community spaces, and through ethnographic interviews. The main issues of this dissertation include: first, the ways that the extended family in South Korea is structured through visual culture and watching/being seen, resulting in ambivalence, particularly in the mother-in-law and daughter-in-law relationship. Second, how touch and other senses are conceived of as avenues for emotional and psychological fortification for young children, and how this cultivation of sensory education is extended not just to the mother-child bond, but also to national healing.
    [Show full text]
  • Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts1
    ACTA KOR ANA VOL. 16, NO. 2, DECEMBER 2013: 329–365 JUVENILE PROTECTION AND SEXUAL OBJECTIFICATION: ANALYSIS OF THE PERFORMANCE FRAME IN KOREAN 1 MUSIC TELEVISION BROADCASTS By CEDARBOUGH T. SAEJI2 The wide-spread sexual objectification of women in Korean popular music performance subconsciously teaches men and boys that women and girls are sexual objects that exist to please them. Simultaneously sexual objectification disempowers girls and women by emphasizing superficial beauty. Although many decisions related to K- pop choreography, costumes, or lyrics may be attributed to music management companies, this article analyzes how music television programs Inkigayo (Seoul Broadcasting System) and Music Core (Munhwa Broadcasting Company) contribute to the sexual objectification of women through the ways that emcees frame performances and the ways the camera draws attention to sexualized body parts. In August 2012 racy performances by the girl group Kara raised public debate and spurred calls for amendments to the Juvenile Protection Law. At that time commentary focused on the impact of sexually provocative performances on young people. The law places responsibility for monitoring content onto the content producers and broadcasters, yet frame analysis of Kara’s performances, compared with performances in early 2013, demonstrated that neither Inkigayo nor Music Core had changed the sexually objectifying performance frame on their shows. The final version of the revised law, 1 This research was supported by Hankuk University of Foreign Studies Research Fund of 2013. 2 Author’s Note: Thank you to the editor and enormously helpful anonymous reviewers at Acta Koreana as well as friends and colleagues with whom I discussed aspects of this paper: my gratitude to Logan Clark, Timothy Gitzen, Meredith Perry, Jungwon Kim, Jisoo Hyun, Thea Suh, Go Gwanyeong, and the audience for my presentation at the 2013 International Association for the Study of Popular Music conference.
    [Show full text]
  • Super Junior
    Super Junior From Wikipedia, the free encyclopedia For the professional wrestling tournament, see Best of the Super Juniors. Super Junior Super Junior performing at SMTown Live '08 in Bangkok,Thailand Background information Origin Seoul, South Korea Genres Pop, R&B, dance, electropop, electronica,dance-pop, rock, e lectro, hip-hop, bubblegum pop Years active 2005–present Labels S.M. Entertainment (South Korea) Avex Group (Japan) Associated SM Town, Super Junior-K.R.Y., Super Junior-T,Super acts Junior-M, Super Junior-Happy, S.M. The Ballad, M&D Website superjunior.smtown.com,facebook.com/superjunior Members Leeteuk Heechul Han Geng Yesung Kangin Shindong Sungmin Eunhyuk Donghae Siwon Ryeowook Kibum Kyuhyun Korean name Hangul 슈퍼주니어 Revised Romanization Syupeojunieo McCune–Reischauer Syupŏjuniŏ This article contains Koreantext. Without proper rendering support, you may see question marks, boxes, or other symbolsinstead of Hangul or Hanja. This article contains Chinesetext. Without proper rendering support, you may see question marks, boxes, or other symbolsinstead of Chinese characters. This article contains Japanesetext. Without proper rendering support, you may see question marks, boxes, or other symbolsinstead of kanji and kana. Super Junior (Korean: 슈퍼주니어; Japanese: スーパージュニア) is a South Korean boy band from formed by S.M. Entertainment in 2005. The group debuted with 12 members: Leeteuk (leader), Heechul, Han Geng, Yesung, Kangin, Shindong, Sungmin, Eunhyuk, Donghae, Siwon,Ryeowook, Kibum and later added a 13th member named Kyuhyun; they are one of the largest boy bands in the world. As of September 2011, eight members are currently active,[1] due to Han Geng's lawsuit with S.M.
    [Show full text]
  • MRS Fall 2019 Final Author Index (PDF)
    Abolhasani, Mohammad Mahdi, EL02.09.11 Adler, Manfred, *EL02.08.04 A Abou-Ali, Aliaa, SB01.03.07 Adler, Michelle, SB09.02.09 Aagesen, Larry, EN17.08.02 Abouali, Sara, EN03.08.14 Adorf, Carl Simon, FF03.15.02, MT03.10.15 Aarts, Mark, Abou-Ras, Daniel, EN08.02.03 Adschiri, Tadafumi, FF03.10.01 FF04.05.04, FF04.07.03, MT06.18.04 Abrahamsson, Tobias, EN04.09.09 Adusumilli, Hima, MT03.03.04 Abaci, Hasan, SB02.11.15 Abram, Tim, EN17.02.01 Advincula, Abigail, EN12.15.19 Abate, Antonio, EN08.06.27, EN08.11.05 Abramof, Eduardo, EL04.09.02 Advincula, Abate, Yohannes, EL01.11.05, FF01.07.06 Abramovich, Lihi, SB04.06.01 Rigoberto, EL01.11.01, *SB10.02.05 Abbas, Ghulam, EN03.04.03 Abrams, Tyler, EN17.09.19, FF05.12.11 Aellen, Marianne, EN10.18.01 Abbas, Walaa, EN16.03.18, SB08.03.08 Abruña, Héctor, EN05.12.06 Aeppli, Gabriel, MQ02.08.07 Abbasi, Akram, EN16.04.02 Abtahi, Ashkan, Aernouts, Tom, EN08.09.21, EN08.16.03, Abbaspourrad, Alireza, *SB11.06.04 EN08.09.36, EN12.15.21, EN13.12.06, *EN11.05.01 Abdel Aziz, Ilaria, SB05.01.04 EN13.12.07 Afikuzzaman, Mohammad, MS04.04.02 Abdel Fattah, Abdel Rahman, SB06.04.11 Abu Ali, Taher, *EL02.08.04 Afkhami, Zahra, SB01.06.34 Abdelhafiz, Ali, EN06.04.08, FF01.06.19 Abu Al-Rub, Rashid K., FF01.21.34, Afriat, Aaron, FF06.09.03 Abdelhafiz, Loay, EN14.04.05 SB01.03.07 Afshar, Arman, MS01.02.09 Abdelkarim, Omar, EN07.06.02 Abudula, Tuerdimaimaiti, SB01.09.47 Aftenieva, OIha, EL01.05.12 Abdelkefi, Abdessattar, *MS01.07.03 Abuhelaiqa, Mousa, EN08.03.37 Agapios, A., EN16.05.07 Abdel-Latif, Kameel, EN09.03.07, Abu-Lail,
    [Show full text]
  • Stuart A. Kallen Featuring Quirky Horse-Riding Dance Moves and an Infectious Electronic Beat, an Unlikely Music Video and Its Leading Man Made History in 2012
    Stuart A. Kallen Featuring quirky horse-riding dance moves and an infectious electronic beat, an unlikely music video and its leading man made history in 2012. In December of that year, “Gangnam Style” reached one billion hits on YouTube—the most views ever. Seemingly overnight, the South Korean pop star behind the hit—Psy (Park Jae-sang)—became a household name. But Psy is just part of the story. Other South Korean pop sensations such as Girls’ Generation, 2NE1, and BigBang are part of a global sensation called Hallyu, or the Korean Wave. South Korean bands are performing to sold out arenas all over the world, and fans can’t get enough of South Korean music, films, television, food, and manhwa (cartoons). K-Pop: Korea’s Musical Explosion traces the journey of South Korean pop music, from the early influences of American rock ‘n’ roll in the 1950s to the success of a tiger-eyed sensation called Rain, who wowed American audiences in the early 2000s. Discover how this Korean Justin Timberlake, and those who came after him, rose through South Korea’s star-making system through grueling hard work to seduce international audiences with their tight choreographies, irresistible beats, outrageous outfits, and exciting stage shows. You’ll become part of the K-Pop fandom world too! REINFORCED BINDING Stuart A. Kallen TWENTY-FIRST CENTURY BOOKS / MINNEAPOLIS To all those fans of K-Pop and Hallyu all over the world. Keep on poppin’! —S.K. Copyright © 2014 by Stuart A. Kallen All rights reserved. International copyright secured. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means— electronic, mechanical, photocopying, recording, or otherwise—without the prior written permission of Lerner Publishing Group, Inc., except for the inclusion of brief quotations in an acknowledged review.
    [Show full text]
  • Ssen-Unniin K-Pop: the Makings of “Strong Sisters” in South Korea
    Korea Journal, vol. 60, no. 1 (spring 2020): 17–39. doi: 10.25024/kj.2020.60.1.17 © The Academy of Korean Studies, 2020 Ssen-Unni in K-Pop: The Makings of “Strong Sisters” in South Korea Jieun LEE and Hyangsoon YI Abstract From the highest points of Psy’s and BTS’s popularity, K-pop fans worldwide have continued to experience the Korean Wave through different media, contexts, and perspectives. In search of the intersections between the Hallyu phenomenon and femininity, this article investigates K-pop women singers’ media presentations and performances that are critical in understanding women’s positionality in contemporary South Korea. In this paper, we will focus particularly on the recent configuration ofssen- unni (strong sister) that evokes a feeling of empowerment in young women K-pop fans. Examining how the diverse and often contradictory messages of women’s liberation and freedom have been produced, disseminated, and consumed, using the strong femininity implied by the notion of ssen-unni before and after Hallyu, we argue that the contemporary representations of femininity by women artists in the K-pop world reveal not only limitations, but also potentials in the changing cultural topography of Korean society. Keywords: K-pop, ssen-unni, Hallyu, Korean Wave, femininity, performance, Korean women singers Jieun LEE is assistant professor of women’s, gender, and sexuality studies at Wake Forest University. E-mail: [email protected]. Hyangsoon YI is professor of comparative literature at the University of Georgia. E-mail: [email protected]. 18 KOREA JOURNAL / SPRING 2020 Introduction In 2018, the all-female K-pop group BLACKPINK released their music video titled “DDU-DU DDU-DU” in which all four members (Jennie, Jisoo, Rosé, and Lisa) performed their own individual segments and also as a group.
    [Show full text]
  • The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, Or Other?
    The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other? The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Gardner, Hyniea. 2019. The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other?. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42004187 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other? Hyniea (Niea) Gardner A Thesis in the Field of Anthropology and Archaeology for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2019 © May 2019 Hyniea (Niea) Gardner Abstract In 2016 the Korea Creative Content Agency (KOCCA) reported that the Korean music industry saw an overseas revenue of ₩5.3 trillion ($4.7 billion) in concert tickets, streaming music, compact discs (CDs), and related services and merchandise such as fan meetings and purchases of music artist apparel and accessories (Kim 2017 and Erudite Risk Business Intelligence 2017). Korean popular music (K-Pop) is a billion-dollar industry. Known for its energetic beats, synchronized choreography, and a sound that can be an amalgamation of electronica, blues, hip-hop, rock, and R&B all mixed together to create something that fans argue is “uniquely K-Pop.” However, further examination reveals that producers and songwriters – both Korean and the American and European specialists contracted by agencies – tend to base the foundation of the K-Pop sound in hip-hop and R&B, which has strong ties to African-American musical traditions.
    [Show full text]
  • Copyright by Chuyun Oh 2015
    Copyright by Chuyun Oh 2015 The Dissertation Committee for Chuyun Oh Certifies that this is the approved version of the following dissertation: K-popscape: Gender Fluidity and Racial Hybridity in Transnational Korean Pop Dance Committee: Rebecca Rossen, Supervisor Omi Osun Joni L. Jones Paul Bonin-Rodriguez Cherise Smith Heather Hindman Youjeong Oh K-popscape: Gender Fluidity and Racial Hybridity in Transnational Korean Pop Dance by Chuyun Oh, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2015 Acknowledgements I would like to extend my thanks to PPP faculty members whose advice and help significantly contributed to my dissertation. I offer the deepest appreciations to my academic advisor, Rebecca Rossen, for supporting my dissertation and academic progress for the last five years with great enthusiasm, insight, and mentorship. I am also thankful to Omi Osun Joni L. Jones and Paul Bonin for their generous help and inspiring scholarship. I want to thank each member of my committee, Cherise Smith, Heather Hindman, and Youjeong Oh, for the time to read and respond to my work with advice. I also offer thanks to my colleagues, friends, and Theatre and Dance faculty members whose artistic and scholarly endeavors have significantly inspired my work. Lastly, I express my sincere gratitude and love to my family members and loved one. Without their help, care, love, and patience, everthing I have achieved would not have been possible.
    [Show full text]