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27 BAB II PEMBAHASAN Fenomena Korean Wave Telah Menghasilkan BAB II PEMBAHASAN Fenomena korean wave telah menghasilkan dampak yang berbeda-beda pada tingkat lintas-nasional dan internasional. Budaya modern Korea ini hadir pada seluruh lapisan masyarakat pun datang dengan bentuk dan proses yang berbeda- beda. Salah satunya dengan mengembangkan industri kecantikan sebagai kepopuleran baru dalam korean wave. Konsep kecantikan dinilai sebagai faktor utama dalam terbentuknya citra negara, karena kecantikan yang berkembang di Korea telah menciptakan standarisasi baru dalam dunia kecantikan Asia. Untuk mendukung terpenuhnya data, dalam bab ini akan mendeskripsikan tentang bagaimana fenomena korean wave mampu mendorong identitas kecantikan Korea hingga berkembang menjadi sebuah industri. 2.1 Sejarah Korean Wave Fenomena globalisasi Korea Selatan pertama kali populer di Tiongkok hingga saat ini dikenal dengan sebutan hallyu atau dalam istilah hal (韓) + lyu (流 ), kata dari “lyu” sendiri bukan hanya menunjukkan pada tren budaya tetapi juga bergerak dari sebuah ideologi politik-ekonomi sederhana kedalam paradigma budaya Korea pasca perang. Fenomena ini juga didukung penuh oleh pemerintah Korea Selatan sebagai budaya baru demi mendorong perekonomian negara yang pada zaman dahulu telah mengalami krisis pasca perang saudara antara Korea Utara dan Korea Selatan. Dalam perkembangannya, korean wave terbagi atas beberapa 27 periode yang menggambarkan tentang penciptaan baru terhadap fenomena global, dimulai dari hallyu periode 1.0 di tahun 1995, hingga hallyu 4.0.1 Pada periode hallyu 1.0, menggambarkan bagaimana proses munculnya pertama kali fenomena globalisasi ini hadir di Korea Selatan dan kemudian dikemukakan menjadi sebuah istilah yang dikenal sebagai hallyu atau korean wave. Fenomena tersebut hadir pada pertengahan tahun 1990-an, dan menjadi kekuatan budaya paling penting di Asia Timur hingga saat ini. Korean wave merupakan sebuah istilah yang diberikan oleh seorang wartawan Beijing pada tahun 1999, yang mana pada saat itu wartawan tersebut terkejut dengan pertumbuhan popularitas dunia hiburan dan budaya Korea yang berkembang kian pesat di Tiongkok. Dalam bidang entertainment popularitas musik pop Korea dan opera sabun yang ada di Tiongkok dan Taiwan memunculkan kehadiran gelombang Korea lain di beberapa negara-negara.2 Fenomena ini hadir pertama kali di bulan Juni 1997, tayangan Korea yang berjudul “What Is Love” pada layanan CCTV dan disiarkan secara nasional pemerintah Tiongkok mampu menarik perhatian masyarakat melihat siaran drama ini dengan kandungan cerita yang dibawakan pada freewheeling dan lifestyle modern orang Korea. Drama ini menjadi populer dan memperoleh peringkat kedua tertinggi dengan rating 15% untuk program asing di Tiongkok. Disisi lain, drama 1 Prof. Kim Bok-Rae, Past, Present, and Future of Hallyu (Korean Wave), American International Journal of Contemporary, Research Vol. 5 No. 5, 2015. South Korea: Andong National University, Hal 155. 2 William Tuk, The Korean Wave: Who Are Behind The Success Of Korean Popular Culture?, Holland: Leiden University, diakses dalam https://openaccess.leidenuniv.nl/bitstream/handle/1887/20142/hallyu%20version%207.pdf (1/12/2018, pukul 16:00 WIB). 28 Korea “Wish Upon A Star” yang disiarkan pertama pada TV Phoenix Hongkong di tahun 1999 juga menjadi populer. Adapun aktor yang memainkan peran dalam drama tersebut menjadi selebriti besar di Tiongkok. Hal ini membuat ketertarikan terhadap negara Korea berlangsung bertambah seiring trend.3 Kesuksesan tersebut berpengaruh pada populernya penyanyi asal Korea yang mulia memasuki pasar Tiongkok, Hongkong, dan Taiwan. Gambar 2. 1 Poster K-Drama Gambar 2. 2 Boyband K-Pop yang ‘What Is Love’ (1997) Populer: Bigbang Sumber : kknews.cc5 Sumber : cine21.com4 Kemudian pada periode kedua merupakan kombinasi dari media sosial dan praktik dalam pengembangan teknologi digital. 6 Hallyu pada periode ini juga disebut sebagai neo-hallyu atau neologisme hallyu 2.0.7 Istilah dalam periode ini digunakan pertama kali oleh media Jepang yang mana dilaporkan secara luas pada 3 Korean Culture and Information Service, 2011, The Korean Wave: A New Pop Culture Phenomenon (1st Published), Republic of Korea: Ministry of Culture, Sports, and Tourism. 4 Diakses dari http://www.cine21.com/db/tv/info/?tv_id=272 5 Diakses dari https://kknews.cc/zh-sg/entertainment/8myboq.html 6 Dal Yong-Jin, Fall 2012, Hallyu 2.0: The New Korean Wave in the Creative Industry, International Institute Journal Vol. 2 Issue 1, US: University of Michigan, diakses dari http://hdl.handle.net/2027/spo.11645653.0002.102 (17/05/2020, 13:17 WIB) 7 Prof. Kim Bok-Rae, Loc. Cit., hal 157 29 penampilan grup musik Girls Generations yang meliris single digital pertama mereka di Tokyo. 8 Hingga berlanjut pada kesuksesan korean wave yang berorientasi pada Korean Star lainnya. Di tahun 2006, grup musik sangat populer dikalangan masyarakat Korea yang disajikan dalam kalangan antara kelompok perempuan dan laki-laki seperti; Girl Generations, Big Bang, 2PM, Kara, Shinee, dll. Selain itu, game online dan k-pop telah menjadi dua genre budaya yang paling signifikan pada industri kreatif Korea Selatan hingga akhir tahun 2007. Para fandom menggunaan akses media sosial untuk menikmati budaya populer setempat, karena teknologi digital telah mempengaruhi produksi dan distribusi budaya populer domestik dan memiliki peran utama dalam menyebarkan fenomena tersebut. Hallyu 2.0 dipaparkan pada penafsiran makna industri keratif yang baru dan menjadi salah satu aspek paling signifikan dalam fenomena korean wave baru.9 Adapun industri tersebut mengarah pada dimensi budaya lainnya seperti; makanan (hansik), pakaian (hanbok), perumahan tradisional Korea (hanok), kecantikan (k- beauty), dan beberapa perawatan medis. Dengan ini, upaya dari penyebaran hallyu dapat dilihat secara sistematis dan semakin memperkuat kecintaan masyarakat terhadap budaya Korea Selatan.10 Untuk periode hallyu 3.0 diketahui memiliki waktu yang relatif singkat hingga kemudian dilanjutkan pada periode hallyu 4.0. 11 Hallyu 3.0 lebih berorientasi pada bintang idol dan penciptaan suatu brand dari budaya Korea. Peran 8 Loc. Cit. 9 Dal Yong-Jin, Loc. Cit. 10 Kim Mi-Jung, 03 Maret 2018, Serious Turn for ‘Hallyu 3.0’, artikel dalam Korea Times, diakses dari https://www.koreatimes.co.kr/www/news/opinon/2012/12/355_116574.html (17/05/2020, 15:20 WIB) 11 Prof. Kim Bok-Rae, Loc. Cit. 30 dari para kelompok penggemar, disebut fandom, dari beberapa idola ternama mereka membuat sebuah perkumpulan besar yang hadir diseluruh kalangan publik, dan dari beberapa bintang idol tersebut digunakan sebagai ambassador dalam pembentukan sebuah brand sebagai strategi komunikasi secara tidak langsung kepada masyarakat. 12 Disisi lain, pembentukan k-beauty semakin populer disebabkan oleh pembawaan pada idol dan brand ambassador tersebut, serta meningkatkan pertumbuhan pasar kosmetik di Korea Selatan dari beberapa pengembangan inovasi yang dilakukan oleh perusahaan kecantikan sebelumnya dalam memanfaatkan kecanggihan teknologi.13 Adapun pandangan publik terhadap kehadiran korean wave dianggap terlalu mainstream, karena budaya Korea yang serta-merta yang telah terindikasi pada kehidupan sehari-hari.14 Pada hallyu periode 4.0 memiliki orientasi pada gaya hidup seperti makanan, pakaian, dan tempat tinggal di Korea Selatan dan juga pada beberapa industri kreatif lainnya. Selain itu hak publisitas tentang Korea Selatan semakin erat kaitannya dengan identitas negara yang dikenal secara komersial. Karena kemampuan hallyu 4.0 dilihat pada bagaimana penggunaan dan melindungi hak publisitas yang ditampilkan oleh bintang hallyu hingga para penggemar tertarik pada gaya hidup. Distorsi terhadap hallyu disebabkan pada beberapa tayangan iklan atau komersialisme, intervensi negara, dan etnosentrisme di Korea Selatan yang terbentuk dan didorong pada media massa, pemerintah, wirausaha bisnis, dan 12 Martin Roll, 2015, Asian Brand Strategy: Building & Sustaining Strong Global Brands in Asia, Ed. Revisi, UK: Palgrave Macmillan, ISBN 978-1-137-35917-9 (eBook),. Hal 87. 13 The Korean Foundation, 2018, K-Beauty: Perkembangan Industri dan Estetika Korea (Terj. ID), Artikel dalam Koreana Seni & Budaya Korea Vol. 7 No. 4, diakses dari http://ebook.kf.or.kr/contentsPdf.jsp?book_id=1830 (02/05/2020, 21:44 WIB) 14 Prof. Kim Bok-Rae, Loc. Cit. 31 orientasi dari suatu kebijakan. 15 Dalam hal ini jangkauan kemampuan atau direktifitas hallyu 4.0 dipercaya karena adanya sugesti dan ketertarikan pada suatu produk, dilihat dari bentuk pengemasan yang berkualitas tinggi. Para peneliti menjelaskan bahwa hallyu pada periode sebelumnya telah memiliki dampak positif bagi ekspor produk budaya Korea Selatan, dan untuk hallyu 4.0 lebih mengutamakan pada peningkatan pariwisata.16 Tabel 2.1 Past, Present, and Future of Hallyu The Past, Present, and Future of Hallyu Hallyu 1.0 Hallyu 2.0 Hallyu 3.0 Hallyu 4.0 Periode 1995 – 2005 2006 – 2009 2010 - ~ - Wilayah Asia (China, Asia, Seluruh - Sebaran Taiwan, Jepang) Amerika dunia Utara, dan Eropa Target Media content K-Pop Idol Orientasi Gaya Hidup (K-drama dan (Orientasi pada bintang di Korea film) K-Stars) idol dan (Orientasi penciptaan pada brand dari makanan, budaya pakaian, dan Korea tempat tinggal di Korea) Produk K-Drama: “What K-Pop: K-Idol: - Terkenal is Love?” (1992), Girl’s Ambassador “My Sassy Girl Generation, Brand (2001)”, “Jewel Kara, K-beauty: In Palace (2003- Shinee, Amore 2004),” 2PM, PSY, Pacific Korean Star: dan Big Group HOT (band), Boa Bang. (Laneige, (singer). Innisfree, Mamonde, 15 Prof. Kim Bok-Rae, Loc. Cit. 16 Nguyen
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