Korean Wave As Republic of Korea's Cultural Diplomacy in Indonesia

POPULAR CULTURE IN CULTURAL DIPLOMACY: KOREAN WAVE AS REPUBLIC OF KOREA’S CULTURAL DIPLOMACY IN INDONESIA (2002-2012)

By RINA SAVITRI 016200900033

A thesis presented to the Faculty of Business and International Relations President University In partial fulfillment of the requirements for Bachelor Degree in International Relations Major in Strategic and Defense Studies

January 2013

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THESIS ADVISER RECOMMENDATION LETTER

This thesis entitled “Popular Culture in Cultural Diplomacy: Korean Wave as Republic of Korea’s Cultural Diplomacy in Indonesia (2002-2012)” prepared and submitted by Rina Savitri in partial fulfillment of the requirements for the degree of Bachelor in the Faculty of Business and International Relations has been reviewed and found to have satisfied the requirements for a thesis fit to be examined. I therefore recommend this thesis for Oral Defense.

Cikarang, Indonesia, January 25, 2013

Prof. Anak Agung Banyu Perwita, Ph.D

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DECLARATION OF ORIGINALITY

I declare that this thesis, entitled “Popular Culture in Cultural Diplomacy: Korean Wave as Republic of Korea’s Cultural Diplomacy towards Indonesia (2002-2012)” is, to the best of my knowledge and belief, an original piece of work that has not been submitted, either in whole or in part, to another university to obtain a degree.

Cikarang, Indonesia, January 25, 2013

Rina Savitri

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PANEL OF EXAMINER APPROVAL SHEET

The Panel of Examiners declare that the thesis entitled “Popular Culture in Cultural Diplomacy: Korean Wave as Republic of Korea’s Cultural Diplomacy in Indonesia (2002-2012)” that was submitted by Rina Savitri majoring in International Relations from the Faculty of Business and International Relations was assessed and approved to have passed the Oral Examinations on February 18th, 2013.

Prof. Anak Agung Banyu Perwita, Ph.D.

Teuku Rezasyah, Ph.D

Hendra Manurung, MA. iv

ABSTRAK

Name : Rina Savitri Major : International Relations Faculty : Faculty of Business and International Relations ID Student : 016200900033

“Popular Culture in Cultural Diplomacy: Korean Wave as Republic of Korea’s Cultural Diplomacy in Indonesia (2002-2012)”

Skripsi ini bertujuan untuk membahas keberadaan Korean Wave sebagai budaya popular Korea Selatan sebagai bagian dari diplomasi budaya Korea di Indonesia yang dibatasi dalam periode 2002-2012, dimana pada tahun 2002 adalah kali pertama drama Korea ditanyangkan dan menjadi awal perkembangan Korean Wave di Indonesia. Penelitian dalam skripsi ini menggunakan metode penelitian kualitatif yang kemudian dijabarkan secara deskriptif mengenai kebijakan pemerintah Korea dalam mewujudkan penggunaan Korean Wave dalam aktifitas diplomasinya. Melalui analisa atas kebijakan tersebut, penulis mendapati bahwa Korean Wave sebagai dipomasi budaya Korea berkontribusi dalam menyebarluaskan pengaruh budaya Korea Selatan melalui kegiatan diplomasi yang dilakukan oleh Pemerintah Korea, korporasi (broadcasting station), dan individu (Hallyu Stars) di Indonesia. Hal ini di dukung dengan beberapa temuan mengenai peran Korean Wave tersebut melalui keberadaan penggemar dan komunitas penggemar Korean Wave, mendorong untuk belajar bahasa Korea, mendorong untuk mengkonsumsi produk budaya Korea lainnya, dan menarik minat masyarakat Indonesia untuk berkunjung ke Korea. Temuan peran Korean Wave tersebut didukung oleh dua faktor yakni Korean Wave sebagai budaya popular itu sendiri dan kejelian serta komitmen pemerintah Korea dalam menggunakan Korean Wave dalam aktivitas diplomasi budayanya.

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ABSTRACT

Name : Rina Savitri Major : International Relations Faculty : Faculty of Business and International Relations ID Student : 016200900033

“Popular Culture in Cultural Diplomacy: Korean Wave as Republic of Korea’s Cultural Diplomacy in Indonesia (2002-2012)”

This research aims to discuss the presence of Korean Wave as Republic of Korea’s popular culture as a part of Korea’s cultural diplomacy in Indonesia that limited in the period of 2002-2012, in which in 2002 is the first time Korean drama broadcasted and embarked the development of Korean Wave in Indonesia. This research is used qualitative research method then explained descriptively related with Korean government’s policy in realizing the use of Korean Wave on its diplomacy activities. Through the analysis towards that policy, the researcher found out that Korean Wave as Korea’s cultural diplomacy contributes in expanding Korea’s cultural influence through diplomacy activities conducted by Korean government, corporation (broadcasting stations), and individual (Hallyu stars) in Indonesia. It is supported with some findings related to Korean Wave’s role through the existence of Korean Wave’s fans and fans community, encourage learning Korean language, encourage consuming other Korean cultural content products, and attracting Indonesians to visit Korea. Those findings supported by two factors which are Korean Wave as popular culture itself and the foresight and commitment of Korean government in using Korean Wave in its cultural diplomacy activities.

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ACKNOWLEDGEMENT

Allhamdulillahirabbilalamin I already finish my thesis. This thesis would not have been possible without the ability and the strength that Allah SWT always gives to me despite all the hardness and my constitution wanting to give up. I would like to thank my parents and my lovely brother, Ibu, Bapak, and Rian, for all their unconditional love and endless support that always triggered me to always do my best. I also could not to finish my thesis without priceless contribution and valuable assistance of several wonderful individuals. First of all I would like address my biggest gratitude for the advice and guidance of Prof. Anak Agung Banyu Perwita as my advisor who has guided me patiently. Secondly I would like to thank Wibowo Joko from SONEID, Amie of CNBLUE4INA, Dikka Kartika, Reni Oktafiani, Achmad Faizal, Ivan Xu for being my interviewees and share their thought to support my research. Thirdly, I would like acknowledge my deepest thanks to my beloved Ikhwan Budihono for always be my side to send his warm support, unconditional caring and love. In this occasion, I would like to address my gratitude to Bayu, Dendi, and Sita for their time during the thesis writing to be my discussion partners. Last but not least, I would like to thank “Hans’ Fams” –all CNBLUE4INA admins, my beloved IR friends and those who I cannot mention them all for the cheer and countless warm support.

Cikarang, January 25, 2013

Rina Savitri

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Table of Contents

Thesis Adviser Recommendation Letter ...... ii Declaration of Authority ...... iii Panel Examiners Approval Sheet ...... iv Abstrak ...... v Abstract ...... vi Acknowledgment ...... vii Table of Contents ...... viii List of Tables ...... xi List of Figures ...... xi List of Schemes ...... xi List of Acronyms ...... xii

CHAPTER I - INTRODUCTION 1.1 Background of Study ...... 1 1.2 Problem Identification ...... 4 1.3 Statement of the Problem ...... 6 1.4 Research Objectives ...... 6 1.5 Significance of the Study ...... 6 1.6 Conceptual Framework ...... 7 1.7 Scope and Limitations of the Study ...... 10 1.8 Assumptions ...... 11 1.9 Research Methodology ...... 11 1.10 Literature Review ...... 13 1.11 Thesis Outline ...... 18

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CHAPTER II – INTERNATIONAL RELATIONS: PUBLIC DIPLOMACY, CULTURAL DIPLOMACY AND POPULAR CUTLURE 2.1 International Relations Theory ...... 20 2.1.1 Globalization Theory ...... 25 2.1.2 Public Diplomacy Theory...... 28 2.1.3 Cultural Diplomacy Theory ...... 31 2.1.4 Popular Culture Theory ...... 35

CHAPTER III – REPUBLIC OF KOREA’S CULTURAL ACTIVITIES AND CULTURAL DIPLOMACY 3.1 Korean Popular Culture ...... 40 3.1.1 Korean Wave as Pop Culture ...... 41 3.1.1 The Development of Korean Wave ...... 43 3.2 Korean Cultural Policy ...... 56 3.2.1 Korean Cultural Policy and Cultural Diplomacy in Kim Dae Jung Era..... 57 3.2.1 Korean Cultural Policy and Cultural Diplomacy in Lee Myung Bak Era .. 60 3.3 Korean Wave in Korea’s Cultural Diplomacy ...... 64 3.3.1 Korean Wave in Cultural Diplomacy through Government Institutions’ Activities ...... 65 3.3.1.1 Ministry of Foreign Affairs and Trade ...... 65 3.3.1.2 Ministry of Culture, Sport, and Tourism ...... 70 3.3.2 Korean Wave in Korea’s Cultural Diplomacy through Non-Government Actors’ Activities...... 77 3.3.2.1 Hallyu Stars: Non-official diplomat ...... 78 3.3.2.2 Broadcasting Stations ...... 81 3.4 Summary...... 84

CHAPTER IV – KOREAN WAVE AS REPUBLIC OF KOREA’S CULTURAL DIPLOMACY IN INDONESIA FROM 2000 - 2012

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4.1 Republic of Korea-Indonesia Diplomatic Relations ...... 89 4.2 Korean Wave in Indonesia ...... 93 4.2.1 Korean Drama in Indonesia ...... 95 4.2.2 K-Pop in Indonesia ...... 101 4.3 Korean Wave as Korea’s Cultural Diplomacy contributes in Expanding Korea’s Cultural Influence towards Indonesia ...... 106 4.3.1 Korean Wave as Korea’s Cultural Diplomacy in Korean Government Institution’s activities in Indonesia ...... 107 4.3.1.1 Korean Embassy Jakarta ...... 108 4.3.1.2 KCC Jakarta Office ...... 115 4.3.1.3 KTO Jakarta Office ...... 118 4.3.2 Korean Wave as Korea’s Cultural Diplomacy in Non-government actors’ activities ...... 120 4.3.2.1 Korea’s Broadcasting Station (s) ...... 121 4.3.2.2 Hallyu Stars ...... 123 4.3.3 Korean Wave Contributions as Korea’s Cultural Diplomacy in Expanding Korea’s Cultural Influence in Indonesia ...... 125 4.3.3.1 The Existence of Korean Wave’s Fans and Fans Community ...... 125 4..3.3.2 Encourage Learning Korean Language...... 129 4..3.3.3 Encourage Consuming Other Korean Cultural Content Products ... 130 4.3.3.2 Attracting Indonesians to Visit Korea ...... 131 4.4 Summary ...... 132

CHAPTER V – CONCLUSION ...... 138 APPENDIX ...... 147

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List of Tables 3.1 Shifted Korean Cultural Policy during President Kim Dae Jung and President Lee Myung Bak’s eras ...... 86 3.2 Korea’s Cultural Diplomacy Actors’ Activities ...... 88 4.1 Korean Dramas has been Broadcasted in Indonesia ...... 98 4.2 Koreans Broadcasting Stations’ Dramas Aired in Indonesia ...... 121 4.3 K-Pop Artists’ Solo or Family Concert in Indonesia ...... 124 4.4 Korean Government and Non-government Actors’ Activities ...... 134

List of Figures 1.1 Conceptual Framework ...... 7 2.1 Concepts and Definitions of Culture ...... 36 2.2 Globalization, Public Diplomacy, Cultural Diplomacy and Popular culture .... 39 3.1 Major Countries Airing Jewel in the Palace ...... 46 3.2 Korean Drama sales 2000-2010 ...... 49 3.3 The World Watching K-drama ...... 49 3.4 The Spread of K-Pop via YouTube ...... 55 3.5 CNBLUE’s Tweet about Their Activity Translated to Bahasa ...... 79 3.6 YoonA, Yuri, and Taeyon of SNSD Wearing Hanbok to Celebrate the Chuseok Day ...... 80 4.1 Figure 4.1 ...... 100 4.2 Figure 4.2 ...... 102

List of Schemes 3.1 The Korean Entertainment Agencies Star Development Process ...... 54 3.2 MCST’s Activities Target ...... 72 xi

4.1 Scheme of Research Findings ...... 137

List of Acronyms

AFKN Armed Forces Korea Network AOA Ace of Angeles (Korean girlband) CCTV China Central Television Station CD Cultural Diplomacy CNBLUE Code Name Blue (Korean rock band) H.O.T High-five Of Teenagers (Korean boyband) ICT Information Communication Technology IKFA Indonesia Korea Foundation Association IR International Relations ITU International Telecommunication Union KBS Korean Broadcasting System KCC Korean Cultural Center KIFA Korea Indonesia Foundation Association KOCCA Korea Creative Content Agency KOCIS Korean Culture and Information Service KOFICE Korean Foundation for International Cultural Exchange KTO Korean Tourism Organization MBC Munhwa Broadcasting Corporation MCST Ministry of Culture, Sport and Tourism MCT Ministry of Culture and Tourism MOFAT Ministry of Foreign Affairs and Trade NHK Nippon Hoso Kyokai (Japan Broadcasting Corporations) RCTI Rajawali Citra Televisi Indonesia RI Republic of Indonesia

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ROK Republic of Korea SBS Seoul Broadcasting System SCTV Surya Citra Televisi SNS Social Network Service SNSD So Nyeo Shi Dae (Korean girlband) SUJU Super Junior (Korean boyband) TVRI Televisi Republik Indonesia TVXQ (DBSK) Dong Bang Shin Ki (Korean boyband) UNESCO United Nations Educational, Scientific and Cultural Organization WWI World War I WWII World War II

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CHAPTER I

INTRODUCTION

1.1. Background of studies

The dynamic of international relations shown by the many phenomena happened in international arena. The world has shifted from bipolar system during Cold War era to the multi-polar system where the relations among countries become borderless and interdependence; or from the trend of hard power to the trend of soft power, and the phenomenon known as globalization. The rise of soft power makes globalization brings other issues –the non-traditional issues- which before seen as the subsidiary to now as the significant one, such as culture and social. Television, radio and internet are the examples of the development of communication technology that speeding the process of globalization and it enables people to reach the world farther, faster, deeper and cheaper1. The trend of soft power influences the country both in terms of their interests yet their strategy in pursuing them through diplomacy. Culture is one example of the soft power that recently used by many countries. Culture itself defines as “the system of shared beliefs, values, customs, behaviors, and artifacts that the members of society use to interact with their world and with one another”2. Thus, culture cannot be separated from individuals’ life and so does to a country as the actors in

1 Thomas L. Friedman, The Lexus and the Olive Tree (Farrar Strauss Giroux 1999), p. 7 and 9 cited in Feigenbaum, Harvey B., CENTER FOR ARTS AND CULTURE Art, Culture & the National Agenda Issue Paper. Globalization and Cultural Diplomacy (2001), p. 8 and 9. 2 The National Institute of Urban School Improvement, Understanding Culture (2005) The U.S. Department of Education. Retrieved 27 September 2012 from http://www.urbanschools.org/pdf/understanding.culture.LETTER.pdf

1 international relations. It makes culture has significant roles in IR discipline, which are to open the door of diplomacy, keep the door open, and re-open the diplomacy. Culture can be used as a forum for unofficial political relationship-building where cultural experiences allow individuals to engage intellectually and emotionally and can provide personal connections that can outlive or override immediate political disagreements3. Besides, culture also one of the ways a country to projects its identity (Bound, Briggs, Holden, & Jones, 2007). The soft power of culture enables it to foster understanding among peoples is especially true in the area of educational exchange and cultural diplomacy4. The capacity of culture in fostering understanding of people brings possibility of the continuity of diplomacy and even able to help renegotiate the diplomatic relationship for changing times.5 The American political scientist and author, Milton C. Cummings defines cultural diplomacy as “the exchange of the ideas, information, values, systems, traditions, beliefs, and other aspects of culture, with the intention of fostering mutual understanding”6. The cultural diplomacy cannot be separated from the role of public diplomacy at all, since the exchange of culture happens because there is an interaction among the people and culture diplomacy is a part of public diplomacy itself. An expert of public diplomacy Jian Wang suggests three levels of public diplomacy along with the actors: promoting a country’s national goals and policies (primarily national actors); communicating a nation’s ideas and ideals, beliefs and values (national and sub-national actors); and building common understanding and

3 Bound, K., Briggs, R., Holden, J., & Jones, S. (2007). Cultural Diplomacy: Culture is a central component of international relations. It's time to unlock its full potential. London: Demos 4 Feigenbaum, Harvey B., CENTER FOR ARTS AND CULTURE Art, Culture & the National Agenda Issue Paper. Globalization and Cultural Diplomacy (2001), p. 25 5 Bound, K., Briggs, R., Holden, J., & Jones, S. (2007). Cultural Diplomacy: Culture is a central component of international relations. It's time to unlock its full potential. London: Demos 6 Cummings, M. C., Cultural Diplomacy and the United States Government: A Survey (Washington, D.C: 2003) Center for Arts and Culture cited also in Institute of Cultural Diplomacy Report 2011, www.cultural-diplomacy-report.org 2 relationship (primarily sub-national actors)7. Culture operates on all three levels. The soft power of cultural diplomacy is able to do what the diplomats cannot do, which is to persuade and foster public understanding about the country. Besides, nation- branding is another benefits or roles of culture as a particular salience of cultural diplomacy in action (Institute of Cultural Diplomacy, 2011). Moreover, the understanding of the culture brought by the exchange, will lead the people to acknowledge the product of the culture itself. Music, sports, dance, films, literature, tourism, and traditional heritage are some of the cultural products acknowledged from the culture exchange. Since the interaction engaged the state and non-state actors, the exchange of culture becomes more widen and even deeper. Recently, Korean Wave or Hallyu (hereinafter referred to Korean Wave) in Korean becomes a phenomenon that sounding all over the world. The terms Korean Wave at the first time is used by Chinese press refers to the popularity of Republic of Korea’s (hereinafter referred to as Korea) pop culture in the country back in late 1990’s. The wave is not only invading the neighborhood countries in Asia, but it has been reach Middle East, Africa, Europe, and America that makes Korea becomes a new center of transnational pop culture8. At first, the wave led by K-drama (an abbreviation for Korean drama) that aired in some Asian countries such What is Love that aired in China in 1997 and Winter Sonata that aired in Indonesia in 2002, which was the beginning of Korean Wave in the countries. The popularity of K-drama does not stop in Asian region only, drama titled Jewel in the Palace (Daejanggeum) brought the wave beyond Asia which sold to 87 countries by May 20119. The Korean Wave is not entirely about K-Drama, but there is also Korean pop music or known as K-POP. The popularity of K-POP also has swept the world. If in the late 1990’s

7 Wang, Localising public diplomacy. Also cited in journal of Cultural diplomacy by Demos think tank (Bound, Briggs, Holden, & Jones, 2007) 8 Korean Culture and Information Service, The Korean Wave: A New Pop culture Phenomenon (Republic of Korea: 2011), Korean Culture and Information Service – Ministry of Culture, Sports and Tourism, p. 11. 9 Korean Culture and Information Service, K-Drama: A New Genre of Global Appeal (Republic of Korea: 2011), Korean Culture and Information Service – Ministry of Culture, Sports and Tourism 3

H.O.T became popular in China, start from 2000 up until now, there are Super Junior, TVXQ, Girls Generation, and Big Bang are some of many K-POP groups who lead the K-POP wave and gain a fame in Asia and even Europe and America10. The wave gains strong as the Korean government give much attention in order to strengthen the wave. That is because Korean government realizes the important yet significant role of Korean Wave to gain world’s understanding upon their culture which will lead them to gain another advantageous from this Hallyu phenomenon. Promoting Korean culture through the Korean Wave becomes a major agenda of Korean Ministry of Culture, Sport, and Tourism. Korean Culture Minister, Choe Kwang Shin said “Going into these Games, our focus is not entirely on the medal count as before. We are as committed to informing the world that Korea is not just an emerging economy, but a nation of rich tradition and history” regarding with the ministry’s agenda to hold the Korean cultural festival during the London Olympic Games from July 27th till August 12th 201211. In the same article, Mr. Choe also said that he (and Korean in generally) hopes to see the perspective towards them to change since in Europe people still associate Republic of Korea with Korean War (1950-1953) or with The Democratic People Republic of Korea (North Korea)12. It shows that, Korean government wants to change world’s view for then understanding who Republic of Korea is, and Korean Wave is the effective tools to do so.

1.2. Problem Identification

Take a look back to 10 years before, 2002, “Korea” word was not plenty to be found or to be heard in Indonesia but not for today. Recently, in television, radio, and newspapers the word “Korea” is easily to find. That is not because of the conflict

10 Korean Culture and Information Service, K-POP: A New Force in Pop Music (Republic of Korea: 2011), Korean Culture and Information Service – Ministry of Culture, Sports and Tourism 11 Je-Hae, Do (2012). Sustaining, Expanding Korean Wave. Retrieved September 15, 2012 from http://www.koreatimes.co.kr/www/news/nation/2012/09/386_110961.html 12 Ibid. 4 between Republic of Korea and North Korea, nor the Korea’s economic performance. It is because of the hype of Korean Wave that sweeps Indonesia, instead. Start from Korean dramas that aired in some local channels for almost every day, even two-three times a day. Then, Korean artists’ songs also become less alien to be heard since many music stores, either in malls or in pedestrian, play the K-Pop songs. The recent one is there are lots of Korean groups who hold their concert in Indonesia, such as SM Town World Tour Live in Jakarta on last September. The hype does not stop on that, youth or adults, women or men start to follow the fashion style that they saw in dramas or wore by the K-Pop artists. The numerous fans of Korean artists also shows how high the hype of this Korean Wave. The fans are gathered together and form such a group, community or fanbase to not only sharing to each other about their favorite artist but also try to do some dance cover or cover the artists’ song. The presence of many Indonesian rookie groups inspired by Korean boyband and girlband also has to be noted regarding with the Korean fever. However, Korean Wave is good to portray the dynamic process of cultural diplomacy a nation has. Korean government realizes that it is important for country’s nation-branding which is basically the part of cultural diplomacy. The current President Lee Myung-bak has created a Presidential Council on Nation Branding as prolonged of one of top his priorities to upgrade Korea’s image13. Thus, in January 2009 Korean government announced its 10-points of nation-branding and adopting the “Korean Wave” is one of the 10-points14. The benefit from the nation branding does not stop on nation’s image, but further to promote and support the spread of nation’s cultural influence. The hype of Korean Wave in Indonesia and the awareness of Korean government upon the significance of it lead the researcher to observe Korean Wave

13 National brand committee plans to uplift to the 15th ranking within 5 years; Korean.net, March 2009; http://eng.korean.net/wcms/view.jsp?bID=27273&pageID=01085266. Cited in Kim, Regina (2011) Republic of Korean Cultural diplomacy and Efforts to Promote the RoK’s Brand Image in the United and Around the World, http://www.stanford.edu/group/sjeaa/journal111/Korea2.pdf 14 Brand Korea 10-point Action Plan Unveiled. Retrieved September 16, 2012 from http://nation- branding.info/2009/03/25/brand-korea-10-point-action-plan-unveiled/ 5 as the cultural diplomacy. Korean Wave has seen as a new phenomenon either in the view of culture as the pop-culture and as the product of culture; and in the view of a country’s diplomacy style. The research is aimed to analyze the contribution of Korean Wave as the part of Korea’s cultural diplomacy through the policy and the activity conduct by government, corporate and individuals in order to expand Korean culture’s influence.

1.3. Statement of Problem

This research is about to examine the presence of pop-culture in this case is Korean Wave as part of Korea’s cultural diplomacy done by Korean government, corporate and individuals in Indonesia. Based on what have been identified above, the statement of problems of this research as following: How does Korean Wave, as a part of Republic of Korea’s cultural diplomacy, contribute in expanding Korea’s cultural influence in Indonesia?

1.4. Research Objectives

According to the statement of problems above, the main objectives of this thesis are: a) To prove the significance and the role of cultural diplomacy of Korea in Indonesia. b) To explain the relationship of Korean Wave as part of cultural diplomacy in international relations

1.5. Significance of the Study

The significance of the study in the case of the topic chosen here stated as follows:

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a) To know in depth, observing at closer point of views on the role of cultural diplomacy. b) To improve the knowledge and conceptual tools in understanding the method being conducted by Korean government, individuals and corporations in carrying on Korean Wave as the cultural diplomacy. c) To encourage further research and study regard to cultural diplomacy as non- traditional style of diplomacy.

1.6. Conceptual Framework

Figure 1.1

Conceptual Framework

International Relations

Home State (State & Non-state Actors)

CD CD International

Cooperation

Host State (s) Global Public CD Globalization

There are many events or phenomenon happen in international relations that makes the transnational cooperation becomes more complicated alongside with the development of the world and the interest of the actors. If before, the interaction 7 among nations were more likely to use their hard power which associated with military force in pursuing the interest. Hard power in the new era seems turns to be “powerless” than before. Economic interdependence, transnational actors, nationalism in weak states, the spread of technology and changing political issues are the trends that contribute to the diffusion of power according to Nye15 16. These trends are somewhat make it will be hard for country to apply hard power, and it have shifted the trend of power from hard to the soft one. Thus, in the new era of world the significant actor is not merely the state but there are other actors too. The shifted power is not only change the actors but also the strategies of the actors. The 28th President of United States, Woodrow Wilson was introduced the term of new diplomacy which he called it as “open treaties, openly arrived at” immediately after World War I17. As the reaction towards the old diplomacy (also known as secret of French) of the great Europe power as the nation with great powers that would carry more weight in deciding world’s problems, Wilson thought that it was responsible for the outbreak of the war as it was a devious and dishonest business resulting in secret treaties and opposing alliances (Toma, 1991). In the practice of new diplomacy, the negotiation process in which remains as a central feature of diplomacy will be exposed to the public with media will observe each of the process (Toma, 1991). However, the new diplomacy practiced by Wilson seen as a mean of propaganda rather than the problem solving. In the next periods, many

15 Nye Jr., Joseph S., Soft Power, retrieved 22 September 2012 from http://faculty.maxwell.syr.edu/rdenever/PPA-730-27/Nye%201990.pdf 16 The term of ‘soft power’ was first coined by Joseph S. Nye, Jr. on his writing “The misleading metaphor of decline” n 1990. He wrote, “..but if the United States were to follow policies that cut domestic consumption by the two percent of GNP by which it rose in the past decade, the richest country in the world could afford both better education at home and the international influence that comes from an effective aid and information program abroad. What is needed is increased investment in "soft power," the complex machinery of interdependence, rather than in "hard power" — that is, expensive new weapons systems.” Retrieved from http://www.wordspy.com/words/softpower.asp at 24 October 2012. 17 Toma, Peter A. and Robert F. Gorman, International Relations: Understanding Global Issues (California: Wadsworth, Inc., 1991), p. 164. 8 governments conduct their diplomacy in quite different form from the old diplomacy and the new diplomacy referred by Wilson. Referring to the idea of Wilson’s new diplomacy, there are some instruments to underline: public and media. Recently, many nations-states input these two instruments in doing their new form of diplomacy. If before, public was a second level in the diplomacy process (since public only receive the result of the negotiation and/or bargaining between the nation-states as the first level in the process), public might be placed in the first level as the nation-states in the negotiation and bargaining process. The scheme of negotiations might be: government-to-government; government-to-public; public-to-government; and public-to-public. Not to forget, there is also corporation as the actor in the negotiation and bargaining process. The negotiation and bargaining between nation-states and public involves media to facilitate their communication. The using of public and media as aspects of diplomacy become more significant because of globalization. Public and media also become main points in the phenomenon of globalization, as globalization engaged all kind of actors with the help of media to interlink them all. Realized or not, globalization as a phenomenon and all aspects of it has influenced the diplomacy (as mentioned earlier about ‘public’ and ‘media’ role in the new diplomacy). Thus, recently there are sounded new (unconventional) diplomacies such as cultural diplomacy and public diplomacy which have not sounded before. All those kind of diplomacy are referring to the “public” (object) and the “media”. Start from defines the interest first, then it leads to the “public” as the object to share the interest and what media suitable to interlink the subject’s interest with its object; then a new diplomacy is formed. The Figure 1.1 illustrates the scheme of diplomatic relations between the countries as the main area that will be observed in this research. International Relations, as the biggest frame where the concept does occur, in simply way defines as the interaction among the countries (home state and host state). The way the countries interact each other influenced by factors that; first, coming from inside the

9 country itself which is national interest; and the second factor is coming outside of the countries such situation surrounding it or global situation like globalization. Globalization, however, enables the non-governmental actors like public to play their role in IR. Alongside with the development of communication and technology, globalization uses media to ease up the communication between the governments of the countries. In the other hand, by using media, globalization interlinks the government and public of home state with public of host state. Thus, it leads globalization to make the non-traditional issues to be more significant to the extent of the birth of new diplomacy. However, it is not the non-traditional diplomacy replaces the role of traditional diplomacy. It is rather an alternative of diplomacy action of countries to take instead, which they run hand in hand. Cultural diplomacy, as shown in the figure, is the example of how the traditional and non-traditional diplomacy of a country that run simultaneously. Traditionally, the cultural diplomacy practice happens in the government-to-government level where it generates an agreement or policy related to the cultural issues. Once in the home state’s government and non- government actors with host state’s public level, as what American political scientist and author Milton C. Cumming defines about it, the cultural diplomacy practice happens through the cultural exchange among them in order to foster the mutual understanding. As for the cultural diplomacy practice in the level of host country’s government and public happens as the government becomes a medium whom facilitates the cultural exchange between the home state with the host state as they already have the agreement on cultural cooperation. The further explanation will be elaborated in Chapter II (Theoretical Framework).

1.7. Scope and Limitations of the Study

Specifically, the scope and limitation regard to the problems and the purposes of this research as following limitation below:

10 a. This work will mainly focus on the roles and contributions of Korean Wave as cultural diplomacy in expanding the influence of Korean culture in Indonesia. The timeframe of the study will be within 2002-2012, since the first ever K- drama aired in 2000s becomes the beginning of Korean Wave in Indonesia. b. The main object that will be observed is the presence and the influence of Korean Wave in Indonesia.

1.8. Assumptions

Assumptions regarding with the problems of this research as the following below: a. The dynamic of the world demands the relation among countries to become more dynamic, in which the diplomatic relations is not only engaged state actors but also non-state actors. b. Government will pay attention to non-traditional diplomacy style as an alternative for them sharing the understanding of country in generally and to promote their interest as specifically. c. Culture seen as not only a subsidiary towards country policy or diplomacy, rather as a significant factor that will affect the other field.

1.9. Research Methodology

The researcher prefers to use the qualitative research method in analyzing the phenomenon in this study. As Dobbs (1982, p.32) indicates that the notion of quality is essential to the nature things18. This method, thus, is effectively in obtaining

18 Berg, Bruce L. Qualitative Research Methods for the Social Sciences Frouth Edition (Allyn & Bacon , 2001). p.2 11 culturally specific information about values, opinions, behavior, and social contents of particular population regarding with the phenomenon19. Besides, quality also refers to what, how, when and where about a thing which enables the researcher to be more flexible in analyzing the phenomenon20. The flexibility in analyzing the phenomenon is needed for the researcher, since the phenomenon of this Korea Wave relates with culture which basically have a dynamic dimension. The researcher considers this study as descriptive study because it lets the researcher to explore the relationship of the theory(s) and the data (Berg, 2001). As the researcher chooses the case study, the researcher is able to explore the study from multiple theories by using the multiple data (Berg, 2001).

The action research process of this study involves four stages: (1) identifying the research question(s), (2) gathering the information to answer the question(s), (3) analyzing and interpreting the information, and (4) sharing the results with the participants21. As the researcher has done in identifying the research question (stated in point Statement of problem in this chapter), then the researcher will go the data collective process. In gathering the information (or data collective process), the researcher will use two data collective methods: document analysis and interview. As Robert C. Bodgan and Kari Knopp Biklen stated that document is another form of data, the scholars categorized the document into three parts: (1) personal document, (2) official documents, and (3) popular culture documents22. In this research, the researcher will use the official documents and popular culture documents. The official documents refer to the publication got from Korean government websites. While the popular culture documents sourced from electric articles, magazines, press released and such. The second method in gathering the information is through

19 Retrieved 4 October 2012 from http://www.fhi360.org/nr/rdonlyres/etl7vogszehu5s4stpzb3tyqlpp7rojv4waq37elpbyei3tgmc4ty6dunb ccfzxtaj2rvbaubzmz4f/overview1.pdf 20 Ibid 21 Berg, Bruce L. Qualitative Research Methods for the Social Sciences Fourth Edition (Allyn & Bacon , 2001). p.180 22Bogdan, R. C., & Biklen, S. K. (2007). Qualitative Research for Education: An Introduction to Theories and Methods. Boston: Pearson Education, Inc.p.133-138. 12 interview. The subjects of the interview are those who direct or indirectly involved with the object of the research, which are the fans of the Korean Wave (individuals) and groups/ fanbase/ communities of Korean Wave’s fans, in Indonesia. In analyzing and interpreting the information or the data, the data are sorted by categories, identifying similar phrases, patters, relationships and commonalities or disparities23.

1.10. Literature Review

Recently, world know Korea not only because of it is as emerging country but also because of the phenomenon of its pop culture known as Korean Wave or Hallyu in Korean language. The wave of the phenomenon has been sweep many Asian countries, and even across the Asia region. This phenomenon eventually attracts scholars or academies to give their analyses regarding with it. The number of these analyses comes hand in hand as the development of significant and roles of Korean Wave itself. Here are some of the analyses regarding with Korean Wave that the researcher collected for them to be used as a comparison and supported data for this research. The hype of Korean Wave happened in Indonesia, inspires some scholars to analyze it like Nesya Amellita on her research titled Kebudayaan Populer Korea: Hallyu dan Perkembangannya di Indonesia. The research focuses on expansion of film and serial Korean drama, according to Nesya it is able to be a reason of the entry and the blooming of Korean Wave phenomenon in Indonesia24. The serial dramas usually carry on romance story, friendship and colossal packed in modernity which makes it is be favored by youth and older women (Amellita, 2010). It is supported by voiceover technology and dual-language program enables Indonesian viewers to

23 Ibid. p. 240 24 Amellita, Nesya. Kebudayaan Populer Korea: Hallyu dan Perkembangannya di Indonesia. (Universitas Indonesia, Depok: 2010) 13 enjoy the drama (Amellita, 2010). Thus, the number of K-Dramas aired in Indonesia is growing significantly. The influences of Hallyu’s popularity can be seen through the improvement of people’s interest towards Korean fashion, cuisine, tourism, and social interaction with Koreans; the improvement of Indonesians’ (especially youth) curiosity to learn Korean language; and the improvement of demands towards Korean products in Indonesia (Amellita, 2010). The number of Korean fans communities, the existence of websites relates with Korean pop culture, and VCDs and/or DVDs of K-Drama and Korean film are the other proof of the spread of Hallyu influences in Indonesia (Amellita, 2010). The Korean fans communities or fandoms and Hallyu-related websites as the backbone of the phenomenon K-Pop, according to Sun Jung on her research K-Pop, Indonesian Fandom, and Social Media25, has also gained a recognition in Indonesia (Jung, 2011). Sun focuses particularly on three visible aspects of online fan practices: performing immediate transculturations, embodying K-pop, and building intimacies26. The development of technology of communication and social live in the country in post-Suharto era enables Indonesians youth to enjoy the social networking sites (Jung, 2011). Regarding with the K-Pop phenomenon, the youth groups through their practices in the social networking sites enables them to cross regional, cultural and to some extent sexual boundaries (Jung, 2011). Besides, their practices in social networking sites are symptomatic of the changing global cultural industry environment that suggesting that field of pop cultural consumption is opening up well beyond the traditional US/European-dominated pop scene (Jung, 2011). These two analyses tell about the fame of Korean Wave through the spread of K-drama and film (Amellita, 2010) and Indonesian K-Pop Fandom (Jung, 2011). Yet,

25 Jung, Sun. K-pop, Indonesian Fandom, and Social Media (Victoria University. Melbourne; 2011). In "Race and Ethnicity in Fandom," edited by Robin Anne Reid and Sarah Gatson, special issue, Transformative Works and Cultures,no. 8. Retrieved 5 October 2012 from http://journal.transformativeworks.org/index.php/twc/article/view/289/219 26 Ibid 14 they do not explain the significant role of both Korean and Indonesian governments’ diplomatic relations into Korean Wave27. There are others perspective towards the phenomenon of Korean Wave which is its role in diplomatic activity. A research titled Budaya Populer Sebagai Alat Diplomasi Publik: Analisa Peran Korean Wave Dalam Diplomasi Publik Korea Periode 2005-201028 by Adina Dwirezanti who examines the role of Korean Wave in Korean public diplomacy through tourism and culture exchange activities conducted by government institutions under Ministry of Culture, Sport and Tourism (MCST) – KTO and KOFICE as two-ways diplomacy. Korean Wave in public diplomacy through tourism program of Korean Tourism Organization (KTO) engaged Korean artists acted as an ambassador of certain city or island or as performer on the event in those tourism programs, and thereafter the artists involved directly in promoting Korean local cuisine as well as the famous attractions (Dwirezanti, 2012). On her research, it is explained KOFICE’s (Korea Foundation for International Cultural Exchange) effort in spreading and sharing the understanding towards Korean culture by using Korean Wave as an instrument on its activity such as in education and international cultural exchange. In education field, KOFICE conducts three activities: conference in Asian television drama, Hallyu forum, and Asia Music Industry Leaders’ forums29. Hallyu forums discuss about the recent condition of Korean Wave, the effect of Korean Wave and the future plan in exploring Korean Wave30. Whereas, the conference in Asian television drama aims to discuss condition of local

27 Nesya have only discussed Korean government’s commitment in the development of Hallyu on her research but she does not explain the role of Korean and Indonesian government diplomatic relations which influence the spread of Korean Wave in Indonesia (Amellita, 2010). While Sun more focus on the role of Indonesian K-Pop fandom through its practice in social networking sites as the socio- cultural change in Indonesian society in the post-Soeharto era (Jung, 2011). 28 Dwirezanti, Adina. Budaya Populer Sebagai Alat Diplomasi Publik: Analisa Peran Korean Wave Dalam Diplomasi Publik Korea Periode 2005-2010 (Universitas Indonesia. Depok: 2012). Retrieved 18 September 2012 from http://lontar.ui.ac.id/file?file=digital/20285083-S-Adina%20Dwirezanti.pdf 29 Dwirezanti, Adina. Budaya Populer Sebagai Alat Diplomasi Publik: Analisa Peran Korean Wave Dalam Diplomasi Publik Korea Periode 2005-2010 (Universitas Indonesia. Depok: 2012). Retrieved 18 September 2012 from http://lontar.ui.ac.id/file?file=digital/20285083-S-Adina%20Dwirezanti.pdf pg. 61 30 Ibid. pg. 61-64 15 drama in the (Asian) countries, analyze the similarities and differences among the countries’ dramas, and find solution with regards to improve it31 it remains the same with the Asia Music Industry Leaders’ forum which aims to discuss the recent progress music industry and the solution to improve it32 . In this research is explained that through international cultural exchange, as communication tool for Korea through festivals, the export of visual content such as drama, film and documentation, and invited media to introduce them about Korean culture, KOFICE is able to spread the fame of Korean Wave33. These programs are conducted by Korean government (particularly by KTO and KOFICE) are one of the three factors of Korean Wave’s role in Korean public diplomacy, where the rest are the fame of Korean Wave and information about the Korean Wave itself34. These three factors is the key that enables Korean Wave to play it roles in order to gaining foreign’ interest to come to the country, improve Korean image, triggering advancement of other sectors, and triggering cooperation with other countries35.

Other research that discusses the role of Korean Wave as a tool of Korea’s diplomacy is Gunjoo Jang and Won. K. Paik on their research titled Korean Wave as Tool for Korea’s New Diplomacy. They explain the past and present of Korean Wave which started with Korean Dramas aired in some neighborhood countries to the K- Pop as a new instrument in Korean Wave spreads by the help of social network services36. They explore behind the popularity of Korean popular culture that can and has served as the cultural resources for then the Korean government use it as a policy

31 Ibid. pg. 64 32 Ibid. pg. 64 33 Ibid. pg. 64-68 34 Dwirezanti, Adina. Budaya Populer Sebagai Alat Diplomasi Publik: Analisa Peran Korean Wave Dalam Diplomasi Publik Korea Periode 2005-2010 (Universitas Indonesia. Depok: 2012). Retrieved 18 September 2012 from http://lontar.ui.ac.id/file?file=digital/20285083-S-Adina%20Dwirezanti.pdf pg. 91-100

35 Ibid. pg. 78-91 36 Jang, G. & Paik, W. Korean Wave as Tool for Korea’s New Cultural Diplomacy (2012). Advances in Applied Sociology, Vol. 2, No.3. doi: 10.4236/aasoci.2012.23026. Retreived 9 October 2012 from http://www.scirp.org/journal/PaperInformation.aspx?paperID=22229 pg. 198-199 16 tool to improve cultural and public diplomacy is the characteristic of Korean Wave itself, which according to them they are: 1) the Korean Wave is not a true “Korean” Wave, rather it is a hybrid of the traditional Korean cultures and western cultures, particularly American; 2) the spread of the Korean Wave has produced different impact at the cross-national level; 3) There have been significant “anti-Korean Wave” movement and slogans in some Asian countries, indicated both success of the Korean Wave and an uneasiness of non-reciprocal cross-cultural exchanges37. There are two events which vastly changed the landscape for Republic of Korea and the future of Korean Wave explained in this research, which are The Olympics Games hosted in Seoul and Hollywood movies allowed to enter the country in 1988 and the Asian financial crisis in 1997. The Olympics event conducted in 1988 back then enables world to recognized Republic of Korea’s brand products, forged international partnership and boost up the nation image38. At the same year, Hollywood movies allowed to be aired in the local theaters. Though at the first time it harmed the local movies, but it was able to inspire them of the same way as how the economy could benefit from the culture industry, as the report from Presidential Advisory Board on Science and Technology discussed about it based on the premise of Hollywood movie which is Jurassic Park could earn as much as selling 1.5 billion Hyundai cars39. However, through the relationship between government and Chaebol (Korean conglomerate group), Korea got more money flowed form Chaebol into their media sectors producing cultural products, in the effort of it to repair the financial sectors that harmed because of the Asian financial crisis back then in 1997 (Paik, 2012). It is resulted with the increase in both investment and consumption of Korean cultural products in East Asia, then to other regions (Paik, 2012).

37Ibid. pg. 200-201 38 Jang, G. & Paik, W. Korean Wave as Tool for Korea’s New Cultural Diplomacy (2012). Advances in Applied Sociology, Vol. 2, No.3. doi: 10.4236/aasoci.2012.23026. Retreived 9 October 2012 from http://www.scirp.org/journal/PaperInformation.aspx?paperID=22229 pg 200 39 Ibid pg. 200 17

The four analyses above have explained about Korean Wave as the cultural product, the spread of it by/ via fandom and social network, Korean Wave as diplomacy tool and government’s role behind it. However, those researches just explain each role of individual (e.g. fandom) and government separately, while there is interconnection of them into the spread of Korean Wave. In non-traditional diplomacy, in this regard is cultural diplomacy, the actor involved is not only the state actor but also the non-state actors which are individuals and corporate. All the actors are interconnected each other and make the cultural diplomacy becomes complex, but this diplomacy practice is able to lead the country to achieve the best result. Therefore, in this research the researcher will explore the instrument of Korean Wave, the role of all actors (government, corporate, and individuals of Korea and Indonesia), and the diplomacy activity done in the level of government-to- government, government-to-public, and public-to-public relations to examine the role of Korean Wave as cultural diplomacy to expand Korean cultural influence in the Indonesia.

1.11. Thesis Outlines

This thesis consists of five chapters; start from Introduction, then followed by Theoretical Framework, Korean Cultural Policy and Activity regarding with Korean Wave, Korean Wave in Indonesia as Cultural Diplomacy from 2000 – 2012, and Conclusion.

Chapter I: Introduction This chapter will discuss the background of the pop culture’s roles as cultural diplomacy in order to expand its influence. The study comes with the identification of the problem which the analysis of the problem boxed into the conceptual framework, the scope plus limitations are given, and followed by the research

18 method. In addition, the chapter also contains literature review as the comparison and supportive data for this research.

Chapter II: International Relations: Public Diplomacy, Cultural Diplomacy and Popular Culture The explanation of the theoretical framework used in this research will be explained in this chapter. It also includes the exploration of the relation of the theories.

Chapter III: Republic of Korea’s Cultural Activities and Cultural Diplomacy This chapter starts with the definition of the Korean Wave itself as well as the development of it. Here, the researcher will explore the Korean government cultural policy; and the Korean Wave as cultural diplomacy in government’s institution and non-government actors (individuals and corporate) activities.

Chapter IV: Korean Wave as Republic of Korea’s Cultural Diplomacy in Indonesia from 2002-2012 The chapter will explain the Korea-Indonesia diplomatic relations in terms of culture at first. Followed by the explanation of all data analysis explores the development of Korean Wave in Indonesia and the role of it as cultural diplomacy in within the country.

Chapter V: Conclusion As the last chapter in this research, this chapter explains the conclusion of the roles of Korean Wave as cultural diplomacy of Korea in expanding its cultural influence particularly in Indonesia.

19

CHAPTER II International Relations: Public Diplomacy, Cultural Diplomacy, and Popular Culture

2.1 International Relations Theory

The development of global interactions makes International Relations becomes one of the major issues to discuss or deal with. Peter A. Toma and Robert F. Gorman define International Relations as:

“International Relations flow form contacts and interactions among countries, such as political interactions among governments, such as wars, alliances, diplomatic relations, negotiations, and threats of military force”40

The interaction among the countries considers as diplomatic relations through diplomacy practice none then else it is to promote the interest of the appointed state41. The aim of diplomacy practice in promoting the state’s interest is as the essence of it seen through three dimensions: communication, representation and reproduction of international society42. Communication is vital to diplomacy as Christer Jönsson and Martin Hall quoted on their book,

“Communication is to diplomacy as blood is to the human body. Whenever communication ceases, the body of international politics, the process of diplomacy, is dead, and the result is violent conflict or atrophy”43

40 Toma, Peter A. and Robert F. Gorman, International Relations: Understanding Global Issues (California: Wadsworth, Inc., 1991), p. 12. 41 Ibid., p. 158 42 Jönsson, Christer and Martin Hall, Essence of Diplomacy (Palgrave Macmillan. Great Britain: 2005) p. 37 43 Ibid. Pg. 67. Quoted from V.D Tran, Communication and Diplomacy in Changing World (Norwood, NJ: Ablex, 1987), p. 8 20

It becomes vital as the result of the diplomacy process remains important for the appointed state, yet to the diplomatic relations between the states. The importance of communication in diplomacy process as negotiation seen as a core of it44, demands the diplomat, in this regard, to be a good communicator in negotiating the interest45. However, in the representation dimension it can be seen through the roles of diplomat which are as he plays an important symbol role to represent the interest of sending state, plays the legal representation function, diplomats (especially consular officer) performs economic functions, and perform important political and information-gathering functions46. In order to understanding diplomacy in the reproduction of the international society dimension, recognition and socialization are the mechanisms to be recognized. Diplomatic recognition has contributed to the shaping and the reproduction of international society in terms of homogeneity/heterogeneity and inclusiveness/exclusiveness (Hall, 2005). In modern diplomacy international society being exclusive compare to the Ancient Greek era, only recognized states are legitimate as the participants in IR (Hall, 2005). Being recognized means that they are accepted by the others and that is the prerequisite for reciprocal exchanges in IR47. That is states’ interests that interpreted through their diplomacy practice which contributes in shaping and socialize the heterogeneity or homogeneity world. The United Nations and other intergovernmental organizations have served as important socializing factors in this exclusive and homogeneous society of states (Hall, 2005).

44 Jönsson, Christer and Martin Hall, Essence of Diplomacy (Palgrave Macmillan. Great Britain: 2005) p.82 45 “G.R. Berridge elaborate definition of diplomacy is the conduct of international relations by negotiation rather than by force, propaganda, or recourse to law and by other peaceful means (such as gathering information and engendering goodwill) which are either directly r indirectly designed to promote negotiation.” Berridge, Diplomacy, p. 1 cited from Jönsson, Christer and Martin Hall, Essence of Diplomacy (Palgrave Macmillan. Great Britain: 2005) p.82 46 Toma, Peter A. and Robert F. Gorman, International Relations: Understanding Global Issues (California: Wadsworth, Inc., 1991), p. 159-162 47 Jönsson, Christer and Martin Hall (2005), Essence of Diplomacy. Great Britain: Palgrave Macmillan. p.119- 121 21

Meanwhile, the nature and agenda of diplomacy practice has been changed along with the change of the world. The “old diplomacy” that was advanced by French, has a notion of the great Europe power as the nation with great powers that would carry more weight in deciding world’s problems. The ‘high politics’ (politics, military and security) and ‘low politics’ (trade, finance, monetary-exchange and others) becomes the agenda of diplomacy practice previously. As the response to this old diplomacy concept, the 28th President of United States, Woodrow Wilson was introduced the term of new diplomacy which he called it as “open treaties, openly arrived at” immediately after World War I48. He argued that in the practice of new diplomacy, the negotiation process in which remains as a central feature of diplomacy will be exposed to the public with media will observe each of the process (Toma, 1991). Though this new diplomacy practices by Wilson seen as the mean of propaganda, the emerging of it is being concern as the rising of various new issues in IR. These new issues not only reflected the wider interests and responsibilities of government but also narrowly focused interests of non-state actors49. All the practices of diplomacy, as mentioned earlier, are aiming to pursue the interest of the appointed state. Essentially, the national interest represents a state’s collective goals which are to maintain the political independence, economic stability, territorial preservation, and social stability50. The national interest is not somewhat unchanging thing, instead it must be considered and reflected both domestic and foreign changes51.The interest of them does not stop on the politic and economy interest only but also the other sectors such as socio-cultural. Regarding with the various interest of the state, International Relations as a discipline also has

48 Toma, Peter A. and Robert F. Gorman, International Relations: Understanding Global Issues (California: Wadsworth, Inc., 1991), p. 164. 49 Islam, S. M. Tariqul (2005). Changing Nature and Agenda of Diplomacy: A Critical Analysis. In Asian Affairs, Vol. 27, No. 1 (pp. 56-71). CDRB Publication. Retrieved at 24 October 2012 from http://www.cdrb.org/journal/2005/1/asian-4.pdf p. 58 50 Ibid. p 30 51 Morgenthau, Hans, Politics Among Nations, p. 5 -8. Cited from Toma, Peter A. and Robert F. Gorman, International Relations: Understanding Global Issues (California: Wadsworth, Inc., 1991), p. 30 22 heterogeneous area of study such economic, cultural, religious, racial and ethnic ties and relations between people living in separately organized states52. As McClelland suggest about relations between people living in separately organized states, it shows that the actors that involved in International Relations are not mere the state actors, but also the non-state actors such as business enterprises and the individual, play a significant role to the diplomatic relations between the countries. Talking about the needed (national interest) and the way of pursuing it (diplomacy) it will be related to the power of the state itself. If during the World War One, World War Two and the Cold War the countries seemed to use more their hard power which is military forces. Yet, the world has been shifted from that era of hard power to the soft power, started after the end of Cold War era. Economic interdependence, transnational actors, nationalism in weak states, the spread of technology and changing political issues are the trends that contribute to the diffusion of power according to Nye53. Soft power itself is “based on intangible or indirect influences such as culture, values, and ideology”54. According to Nye, power defines as “the ability to influence the behavior of others to get the outcomes one wants”55. And that is soft power which has the notion to attract and persuade56, able to influence the others’ behavior. Thus, the country is working hard to maximize their soft power as the hard power seems turns to be ‘powerless’ in this era. It is the era where the states are negotiating by using their soft power as it is hoped to be more

52 Charles McClelland, Theory and the International System (New York: Macmillan, 1966), p. 17. 53 Nye Jr., Joseph S., Soft Power, retrieved 22 September 2012 from http://faculty.maxwell.syr.edu/rdenever/PPA-730-27/Nye%201990.pdf 54 Accessed on 24 October 2012 from http://www.wordspy.com/words/softpower.asp. Cited also on Snow, N. (2009). Rethinking Public Diplomacy (Ed). In N. S. Taylor, Routledge Handbook of Public Diplomacy (pp. 3-11). New York: Routledge. p.3 55 Nye Jr., Joseph S., “The misleading metaphor of decline,” The Atlantic Monthly, March 1990. Cited on Snow, N. (2009). Rethinking Public Diplomacy (Ed). In N. S. Taylor, Routledge Handbook of Public Diplomacy (pp. 3-11). New York: Routledge. p.3 56 Bound, K., Briggs, R., Holden, J., & Jones, S. (2007). Cultural Diplomacy: Culture is a central component of international relations. It's time to unlock its full potential. London: Demos. p. 23 23 persuaded, and it is culture as the example of soft power that recently used by many countries to do so. Prior to the using of culture as soft power, it has been a long discussion regarding with the culture in the International Relations discipline, which is Julie Reeves (2004) tried to explore it on her book titled Culture and International Relations: Narrative, natives, and tourists. It is started with the word of ‘culture’ as the Italian term ‘cultura’, which is founded on references literatures of 13th and 14th century57. Culture itself defines as “the system of shared beliefs, values, customs, behaviors, and artifacts that the members of society use to interact with their world and with one another”58. Matthew Arnold argued that if people became more cultured, then they would change their habits and behavior; this would mean that they would become more civilized, which would, if all went to plan, affect the nature of international relations59. What Arnold argued shows how culture as it influences the way people (individuals specifically and a state generally) behave might affect the international relations. It might affect how the actors to define their country’s interests and forming its foreign policy, as well as the way they execute the policy through their diplomacy practice. Julie Reeves explored that the diplomatic exchange of gifts as, probably, one of the oldest tool in international relations box. The gifts, as she took examples of the Hungarian ambassador’s carpets gifts to Turkey or the British Prime Minister, Edward Heath received two pandas from the government of the People’s Republic of China as its ‘friendly’ furry ambassadors in 197460. These gifts exchange is a form of cultural exchange or cultural internationalism in Akira Iriye’s term. Iriye

57 Reeves, Julie, Culture and International Relations: Narratives, natives, and tourists (Oxford shire: Routledge, 2004), p. 14 58 The National Institute of Urban School Improvement, Understanding Culture (2005) The U.S. Department of Education. Retrieved 27 September 2012 from http://www.urbanschools.org/pdf/understanding.culture.LETTER.pdf 59 Arnold, Matthew, Culture and Anarchy, Samuel Lipman (ed), (New Haven and London: Yale University Press, 1869/1994). Cited on Julie Reeves, Culture and International Relations: Narratives, natives, and tourists (Oxford shire: Routledge, 2004), p. 41 60 Julie Reeves, Culture and International Relations: Narratives, natives, and tourists (Oxford shire: Routledge, 2004), p. 42 24 argued that culture came to be considered as an important non-aggressive tool in international politics during the inter-war period61, shows soft power of culture. As a non-aggressive tool, the cultural exchange will lead the people to acknowledge and understand the others through their culture, about the similarities and the differences of them, for then they will find a way in dealing with it.

2.1.1 Globalization Theory

Harry Potter and the Deathly Hallows Part II: It All Ends that released back then in 29 July 2011 in Indonesia was one of the most waited films of the year back then. It is proven, although the movie released on Friday, there were a long queue of viewers who ordered the ticket since two days earlier for Friday until Sunday’s shows in some theaters in Jakarta62. Harry Potter (start from the first sequel up to the latest one) is one of Hollywood movies which got a huge attention from the Indonesian viewers and of course worldwide. It cannot be denied that, Hollywood movies such Harry Potter got a huge profit from its number of total viewers worldwide63. It is not only because of the success of the novel version of it in which J.K Rowling’s seven series of Harry Potter succeed to be sold around 400 million copies and translated into 67 languages64, or the popularity of Daniel Radcliffe, Rupert Grint and Emma Watson as the three main actors play the roles of

61 Iriye, Akira, Cultural Internationalism and World Order (Baltimore and London: The Johns Hopkins University Press, 1997). Cited from Julie Reeves, Culture and International Relations: Narratives, natives, and tourists (Oxford shire: Routledge, 2004), p. 41-42 62 Sudarmanto, Teguh Prayoga. Cinema: Penonton Buru Karcis “Harry Potter”(2011) Retrieved from Entertainment rubric at Kompas.com at 22 October 2012 http://entertainment.kompas.com/read/2011/07/28/13302581/Penonton.Buru.Karcis.Harry.Potter. 63 According to Box Office Mojo’s (http://www.boxofficemojo.com/alltime/world/) All-time Box Office Worldwide Grosses, all of the seven series (in the movie version it becomes eight series since the last series made into two parts) ranked in the top 40. Harry Potter and the Deathly Hallows Part II ranked in #4 with $ 1,328.1 while Harry Potter and the Prisoner of Azkaban ranked in #36 with total $796.7. 64 Rowling ‘Makes £5 Every Second’ (2008). Retrieved from BBC News at 22 October 2012 http://news.bbc.co.uk/2/hi/entertainment/7649962.stm 25

Harry Potter, Ron Weasley and Hermione Granger in the movie. That is also because the influence of globalization which enables it to be succeeding likes that. Globalization is being familiar to be heard, as this phenomenon influences the world in the level of individuals to government of nation-states and in all aspect from social life to political practices. It has been a long discussion about the definition as well as the presence of globalization itself which represents both positive and negative opinions towards it. According to Anthony McGrew’s definition:

“Globalization is a process which involves much more than simply growing connections or interdependence between states. It can be defined as: a historical process involving a fundamental shift or transformation in the spatial scale of human social organization that links distant communities and expands the reach of power relations across regions and continents”65.

There are some points might be highlighted form McGrew’s definition of globalization: (inter)connection, interdependence, and social changes. Those points then consider as the characteristics of globalization, and communication technology, borderless and global culture might be added. Interdependent of the states gains much highlight as if it compares to the relations of the countries during the war era (WWI, WWII, and Cold War) in which they use more their military force in doing their ‘relationship’ as their hard power in fulfilling their interest, yet it seems hard to be applied in this recent. It is the era of the states to be more ‘softer’ while they have to attract the others and persuade them. Building up the diplomatic relations, maintaining it and keep it lasting is how nation-states relationships in recent. It is not only the governments of nation-states who interconnected each other, it happened to individuals as well. Communication technology development plays the important roles to make it more possible. The presence of internet from it was only used by handful of people in its early development in 1960s to recently use by many

65McGrew, A. (2008). Globalization and Global Politics. In S. S. John Baylis, The Globalization of World Politics: An Introduction to International Relations (4 ed) (pp. 14-33). New York: Oxford University Press. p.19 26 people, enables people from distant place to have an instant connection to around the world by simply visiting the World Wide Web at their home. In this regard, globalization through the communication technology creates borderless interconnection. Television, radio and internet are the examples of the development of communication technology that speeding the process of globalization and it enables people to reach the world farther, faster, deeper and cheaper66. As what McGrew defines about globalization, it is not merely about the growing connections or interdependence states; it is more likely about the fundamental shift in the spatial of human social or in the other word the world has changed. The world has changed from its fundamental level in which globalization effects on people and the societies. Take an example the using chopsticks as cutlery which is used to be used by Asians such as Chinese, Koreans, and Japanese. These days, it is not strange while seeing the Europeans or Americans who use chopsticks while they eat noodles or sushi in Chinese or Japanese restaurants. The presence of those Chinese and Japanese restaurants is another example of the phenomenon of globalization, while in this regard it shows how the connection of the local people with those foreign restaurants enables the local people to acknowledge the culture of Chinese and Japanese people to use chopsticks to eat, then it influence them to learn how to use it. All in all, globalization as the phenomenon in international relations has been ‘shrinking’ the world since it makes the nation-states to be interdependent to each other, enables the interconnectedness of the people, time and space seems to be collapsing and change the social life helped by the communication technology development. Cynthia Stohl on her Globalization Theory described the globalization from four views:

66 Thomas L. Friedman, The Lexus and the Olive Tree (Farrar Strauss Giroux 1999), p. 7 and 9 cited in Feigenbaum, Harvey B., CENTER FOR ARTS AND CULTURE Art, Culture & the National Agenda Issue Paper. Globalization and Cultural Diplomacy (2001), p. 8 and 9. 27

When globalization is viewed as an economic phenomenon, the means of production, exchange, distribution, and consumption are highlighted, neoliberalism ideology is seen to permeate society, the world market dominates, and transnational links often transcend and supplant nation-states. When globalization is viewed as a political phenomenon, the exercise of power, coercion, surveillance, and control over people and territories is paramount. When it is conceived as a cultural phenomenon, symbolic exchange through rituals, every day practices, mass media, face-to-face communication, and cultural performances are central. The intensification of global consciousness, reflexivity, perceptions of risk, the struggle for identity, and community are overriding features of this approach.67

2.1.2 Public Diplomacy

Along with the changes of world from the trend of hard power to the trend of using the soft power which is more attracted and persuaded, in which it is not entirely hierarchal state-centric as the state actors plays the main roles in the international relations, but there is an emerging non-states actors who plays the important roles as well. As explained earlier in this chapter, all of the phenomena happened in the international arena affects the way state do their diplomacy practices. The states do not just practice their traditional diplomacy that engaged just small number elites, but they are also thinking much and put an effort as well to conduct their non-traditional diplomacy practices by engaging more parties aiming to maximize the result as what public diplomacy is able to do, in which consider as one of the key instruments of soft power. One British expert argued that: “Public Diplomacy is based on premise that the image and reputation of the country are public goods which can create either enabling or disabling environment for individual transactions.”68 The term of public diplomacy is coined to Dean Edmund Gullion of the Fletcher School of Law and Diplomacy at Tufts University. It was created with the establishment at Fletcher of

67 Stohl, Cynthia. Globalization Theory. Retrieved 22 October 2012 from http://www.juergensmeyer.com/files/C.Stohl%20Globalization%20Theory.pdf 68 www.en.articlesgratuits.com/gastro-diplomacy-101-id411.php cited on c 28 the Edward R. Murrow Center for Public Diplomacy. The Murrow Center, in one of its earlier brochures, described public diplomacy as follows:

"Public diplomacy . . . deals with the influence of public attitudes on the formation and execution of foreign policies. It encompasses dimensions of international relations beyond traditional diplomacy; the cultivation by governments of public opinion in other countries; the interaction of private groups and interests in one country with those of another; the reporting of foreign affairs and its impact on policy; communication between those whose job is communication, as between diplomats and foreign correspondents; and the processes of inter-cultural communications.”69

Public diplomacy has become one of the diplomacy practices done by the diplomats. Yet, the traditional practices of it have differences with the recent public diplomacy practice. In the traditional public diplomacy, the practitioners are merely the government (or represented by the diplomats) whom ‘talking’ to the global public in order to change their perception70 including the efforts of informing, influencing, and engaging them to support the national objectives and foreign policy71. Whereas, in the recent practice of public diplomacy, it involves both the government and private individuals and groups’ influence direct or indirectly those publics attitudes and opinions that bear directly on another governments foreign policy decision72, as what Carter Review in 2006 marked an important shift from the public diplomacy aims to change perceptions to the notion that it should also seek to change behavior73.

69 Retrieved at September 22, 2012 from http://publicdiplomacy.org/pages/index.php?page=about- public-diplomacy 70 The review marked an important shift in approaches in the UK regard with the introduction of a new definition of public diplomacy by Carter Review in 2006. It argued that public diplomacy is: “work aiming to inform and engage individuals and organizations overseas, in order to improve understanding of and influence for the United Kingdom in a manner consistent with governmental medium and long-term goals.” (Bound, Briggs, Holden, & Jones, 2007) p.23 71 Snow, N. (2009). Rethinking Public Diplomacy (Ed). In N. S. Taylor, Routledge Handbook of Public Diplomac (pp. 3-11). New York: Routledge. p.6 72 Ibid. p. 6 73 Bound, K., Briggs, R., Holden, J., & Jones, S. (2007). Cultural Diplomacy: Culture is a central component of international relations. It's time to unlock its full potential. London: Demos. p. 23 29

Regarding with the presence of public diplomacy either in changing the perceptions of behavior of global public, there are three concepts come along with the discussion on public diplomacy: propaganda, nation-branding, and cultural relations74. Public diplomacy is often seen as the mean of propaganda, as what people seen to the Wilson’s new diplomacy practice, since both of them is aiming to influence opinions of the audiences. Yet, there is a fundamental difference between the two in which lies in the pattern of communication. Public diplomacy operates the ‘two-way’ communication where it is not only to persuade people what to think, as what propaganda aims to do, but also listens to what people have to say75. Frequently, public diplomacy is connected to nation-branding. Well, the two are yes have a similarity in which to project the identity of the country, but there is fundamental difference between the two prior to the identity projection (Melissen, 2005). At first, public diplomacy is all about promoting and maintaining the relationship among the countries76. Meanwhile, cultural relations have been more familiar with the recent trend of public diplomacy as the measure of it overlaps with what diplomats do (in the case of new public diplomacy) (Melissen, 2005). Both the concept is aiming to winning the ‘hearts and minds’ of foreign audience, engaging with more foreign audiences in order to establish the long-last stable relationship with the state actors as well the society77. Public diplomacy has a new trend in this twenty-first century more or less got influenced by globalization. The interconnectedness brought by the globalization, indeed influences the practice of public diplomacy to not only engage the elites but the civil society as well, thanks to the development of communication technology which ease the process. In this age, nation-states are more likely to interpret their

74 Melissen, J. (2005). The New Public Diplomacy: Between Theory and Practice. In J. Melissen, The New Public Diplomacy: Soft Power in International Relations (pp. 3-27). New York: Palgrave Macmillan. p. 16 75 Melissen, J. (2005). The New Public Diplomacy: Between Theory and Practice. In J. Melissen, The New Public Diplomacy: Soft Power in International Relations (pp. 3-27). New York: Palgrave Macmillan. p. 16-18 76 Ibid. p. 20 77 Ibid. p. 21-22 30 public diplomacy as not only change the perceptions of the global public, instead maintain it to change the behavior of the global public as a long-term approaches. In this regard, Mark Leonard outlined the four purposes of public diplomacy in twenty- first century: increasing familiarity, increasing appreciation, engaging people, and influencing people’s behavior78. In doing so, Leonard continues to argue, public diplomacy needs to operate in three dimensions. The first is communication on day- to-day issues which requires them to align diplomacy with the news cycle. The second one is strategic communication in order to manage all the perceptions towards one country. The third is the development of develop lasting relationships with key individuals through scholarships, exchanges, seminars and the like79.

2.1.3 Cultural Diplomacy

“…There has been a small eruption in work on cultural diplomacy and the cultural policy of specific states and particular periods. Arguably, the recognition that the Cold War had a cultural dimension has contributed to the awakening of interest in this area.” Julie Reeves – Culture and International Relations: Narratives, Natives and Tourists

Besides public diplomacy, cultural diplomacy is another new diplomacy in which many countries are paying attention to. The American political scientist and author, Milton C. Cummings defines cultural diplomacy as “the exchange of the ideas, information, values, systems, traditions, beliefs, and other aspects of culture, with the intention of fostering mutual understanding”80. The intention of fostering

78 Leonard, Mark. “Diplomacy by Other Means”. Foreign Policy. 132 (2002) 50. Cited in, K., Briggs, R., Holden, J., & Jones, S. (2007). Cultural Diplomacy: Culture is a central component of international relations. It's time to unlock its full potential. London: Demos. p. 24 79 Leonard, Mark. “Diplomacy by Other Means”. Foreign Policy. 132 (2002) 50. Cited in Jönsson, Christer and Martin Hall, Essence of Diplomacy (Palgrave Macmillan. Great Britain: 2005) p.90 80 Cummings, M. C., Cultural Diplomacy and the United States Government: A Survey (Washington, D.C: 2003) Center for Arts and Culture cited also in Institute of Cultural Diplomacy Report 2011, www.cultural-diplomacy-report.org 31 mutual understanding, in Cummings definition, is one of the importances of culture that makes cultural diplomacy becomes essential. Culture can be used as a forum for unofficial political relationship-building where cultural experiences allow individuals to engage intellectually and emotionally and can provide personal connections that can outlive or override immediate political disagreements is another point of the importance of culture81. Besides, culture also one of the ways a country to projects its identity (Bound, Briggs, Holden, & Jones, 2007). The soft power of culture enables it to foster understanding among peoples is especially true in the area of educational exchange and cultural diplomacy82. The capacity of culture in fostering understanding of people brings possibility of the continuity of diplomacy and even able to help renegotiate the diplomatic relationship for changing times.83 Fine arts, music, literature, cinema, and immigration are domains that usually used by cultural diplomacy. A fine art, like painting, is a form of exchange of artistic techniques between countries. Music as the universal language is a non-linguistic communication that understood everywhere. Harry Potter (novel) is an example of literature, as well as a movie which becomes a tool of communication which spreads cultural realities. People exchange or immigration helps incoming people to be integrated (Gerome). In sharing those cultural diplomacy’s domains, the government is not alone to do so since there are also contribution of non-government actors’ activities. An expert of public diplomacy Jian Wang suggests three levels of public diplomacy along with the actors: promoting a country’s national goals and policies (primarily national actors); communicating a nation’s ideas and ideals, beliefs and values (national and sub-national actors); and building common understanding and

81 Bound, K., Briggs, R., Holden, J., & Jones, S. (2007). Cultural Diplomacy: Culture is a central component of international relations. It's time to unlock its full potential. London: Demos 82 Feigenbaum, Harvey B., CENTER FOR ARTS AND CULTURE Art, Culture & the National Agenda Issue Paper. Globalization and Cultural Diplomacy (2001), p. 25 83 Bound, K., Briggs, R., Holden, J., & Jones, S. (2007). Cultural Diplomacy: Culture is a central component of international relations. It's time to unlock its full potential. London: Demos 32 relationship (primarily sub-national actors)84. Culture operates on all three levels. Thus, it shows that cultural diplomacy is the example of how the traditional and non- traditional diplomacy of a country run simultaneously. The exchange of this culture’s aspects happened in the level government-to-government (primarily national actors meant by Wang) generates an agreement or policy regarding with culture between the two. The exchange also happened in the government-to-public and public-to-public level (sub-national actors) where there is also happen so called public diplomacy as the public involved onto the process. However, cultural diplomacy is a part of public diplomacy. “A number of emerging trends in global relations and communication suggest that culture become the most important tool for public diplomacy practitioners”85. The importances of culture discussed earlier are the reasons of culture diplomacy can help public diplomacy in changing the perception as well as the behavior of foreign public. That is because cultural diplomacy can negotiate to them by ‘showing’ them rather only ‘tell’ them. At first, cultural diplomacy was a tool of propaganda (like the propaganda concept connected to public diplomacy) and cultural assimilation. Afterward, cultural diplomacy became the means of exchange and cooperation (Gerome). Lately, cultural diplomacy practice has a purpose to: 1) promoting one’s culture in another country; 2) fostering mutual understanding; 3) and establishing, re- establish and maintaining relationship between countries. Cultural diplomacy is able to show the foreign public about one country’s culture, in which it is an effort to promote or projecting its identity. That is because of the nature of every culture as “a system of behaviors and attitudes that shape and justify the nature of collective and individual identity” (Agostineli, 2012). According to the UNESCO’s Mexico City Declaration on Cultural Policies (1982):

84 Wang, Localising public diplomacy. Also cited in journal of Cultural diplomacy by Demos think tank (Bound, Briggs, Holden, & Jones, 2007) 85 K., Briggs, R., Holden, J., & Jones, S. (2007). Cultural Diplomacy: Culture is a central component of international relations. It's time to unlock its full potential. London: Demos. p. 25 33

“Culture includes not only the arts and letters, but also modes of life, the fundamental rights of the human being, value systems, traditions and beliefs; that it is culture that gives man the ability to reflect upon himself… It is through culture that man expresses himself, becomes aware of himself… seeks untiringly for new meanings and creates works through which he transcends his limitations.”86

That is right that culture as a system of behavior that shape the nature of individuals’ identity and it is influences the individuals to behave as they express themselves. So then, through culture people able to understand about the other. People will understand that in Korea, that is their culture to respect the older through the way they call the older people with hyung, onnie, sunbaenim87 and use the formal language while talk to them. The Duke and Duchess of Cambridge, Prince William and Kate Middleton show their respect as Kate wore a hijab (headscarf wore by Muslim women) and both of them took their shoes off while entering the Assyakirin Mosque in the center of Kuala Lumpur during their visit to Malaysia couples month before88. The respect that shown by the couples portrays that they acknowledge and understand, although it is only a few, about the culture in Malaysia as one of Muslim countries particularly when they entering the mosque. These are few of examples of how culture is able to projects one’s identity to foster the understanding. Thus, it will be resulted, or at least affect on the establishment, re-establishment, or maintaining the relationships. The examples of Prince William and Kate Middleton’s respect

86 Cited on Agostinelli, Margarita Alexandra Coppi. The International Conference on Cultural Diplomacy & the UN: Culural Diplomacy and the Concept of the Other (New York & Washington D.C: Institute of Cultural Diplomacy. 2012) p. 7. Retrieved at 24 October 2012 from http://www.culturaldiplomacy.org/culturaldiplomacynews/content/articles/participantpapers/2012-02- unccd/Cultural_diplomacy_and_the_concept_of_the_Other- __Margarita_Alexandra_Coppi_Agostinelli.pdf 87 Hyung is the how a guy in Korean to call his older brother or a guy older than him. Onnie used by a girl to call her older sister or women older than her. Sunbaenim means senior. 88 Retrieved at 6 November 2012 from http://www.dailymail.co.uk/news/article-2203059/Kate- Middleton-makes-visit-mosque--wears-veil-attire-like-Princess-Diana-did.html 34 towards Muslim culture is not a simply as personal respect about other culture, but there is deepest meaning in which as they represent the royal family of United Kingdom aim to maintain the relations with Malaysia in particularly and towards Muslim world in generally. As it influences the practice of public diplomacy, globalization also contributes in the rising of cultural diplomacy practice. Again, the development in communication technology eases the process of cultural exchange.

2.1.4 Popular Culture

Popular culture is one of the theories or issues in the cultural studies which get much attention moreover in this globalization era. Greece and Rome played an important role in the idea of ‘popular culture’ (sometimes it called as pop culture) ever since the terms was coined by Herder89. It has been in long history of popular culture in which it claimed as the American culture that operates under the term ‘Americanization’, since America beings a country with the biggest popular culture goods production. In defining the definition of popular culture, the meaning or the use of ‘popular’ term remains important. Raymond Williams suggests four meanings regarding with the term ‘popular’ in popular culture: ‘well liked by many people’; ‘inferior kinds of work’; ‘work deliberately setting out to win favour with the people’; and ‘culture actually made by the people for themselves’90. John Storey suggests six definitions of popular culture, “popular culture is simply that is widely favoured or well liked by many people”91; “popular culture is to suggest that it is the

89 Johann Gottfried Herder. Ideen zur Philosophie der Geschichte der Menschheit (Riga and Leipzig: Hartknoch, 1784), II, 39. Cited in Holt N. Parker (2011). Toward A Definition of Popular Culture. Retrieved at 10 November 2012 from http://www.academia.edu/709858/Toward_a_Definition_of_Popular_Culture 90 Raymond Williams (1983), Keywords, London: Fontana. Cited in John Storey (5th Ed). Cultural Theory and Popular Culture: An Introduction Pearson Longman. 91 John Storey (5th Ed). Cultural Theory and Popular Culture: An Introduction. Pearson Longman p. 5 35 culture that is left over after we decided what is high culture”92; “popular culture is as ‘mass culture’”93, “popular culture is the culture that originates from ‘the people’”94; “popular culture in the concept of hegemony”95; and “the relationship of popular culture and postmodernism”96.

Table 2.1 Concepts and Definitions of Culture

Folk Culture High Culture Popular Culture

Mass culture, sometimes called popular culture or low High culture refers to culture, refers to cultural Folk culture is the culture cultural products seen to be of products produced for sale to created by local communities lasting artistic or literary the mass of ordinary people. and is rooted in the value, which are particularly These involve mass- experiences, customs and admired and approved of by produced, standardized, short- beliefs of the everyday life of elites and the upper middle lived products of no lasting ordinary people. class. value, which are seen to demand little critical thought, analysis or discussion.

Source: http://politybooks.com/browne/downloads/sample-chapter_2.pdf

The above meanings and definitions show that “people” remains vital in popular culture. In this context, the term ‘popular’ in popular culture closely relates with people, either as a subject or an object of it. Thus, popular culture often called as ‘culture of the people’ since it is determined by the interaction among them in their everyday activities97. Besides, the term popular is also indicated the role of mass media who inform that culture then to make it popular98. Regarding with the quantitative dimension, popular culture is somewhat looked as mass culture and as an

92 Ibid. p.6 93 Ibid. p. 8 94 Ibid. p. 9 95 Ibid. p.10 96 Ibid. p.11 97 Retrieved at 10 November 2012 from http://philosophynow.org/issues/64/Pop_Culture_An_Overview 98 Retrieved at 10 November 2012 from http://philosophynow.org/issues/64/Pop_Culture_An_Overview 36 opposite of the high culture, yet it also differ from folk culture (see Figure 2.1). Popular culture engage huge number of people while high culture refers only to the elites which means it is engaged a small number people. The notion of exclusiveness brought by high culture is the reason of the difference between the two. Yet, in the concept of postmodernism, “there is no longer recognized the distinction between high culture and popular culture”99. It is supported by Dominic Strinati’s statement (Strinati, 1995, 2004) that “elements of high culture have now become a part of popular culture, and elements of popular culture have been incorporated into high culture, and that there is therefore no longer any real distinction between high and popular culture, and it is ever more difficult for any one set of ideas of what is 100 worthwhile culture to dominate in society” . Those high cultural products, such as paintings which are previously enjoyed by the small number of elites, recently it is able to be enjoyed by many people. People all over the world are able to see the world’s most famous work of art “Mona Lisa” of Leoardo da Vinchi which is listed as one of the French Royal Collections through internet101 and even the Mona Lisa paintings featured as a cover book of Dan Brown’s The Da Vinci Code102 as well as in its movie adaptation in 2006. This means that the development of communication technology brings a space for media such as internet and theater to spread the culture, as well as the cultural product such as movie and novel. Popular culture is one of the cultural contents in the construction of national identity yet it is one of the ways in performing the national identity. As the fundamental understanding upon culture as it relates to the beliefs, values, and behaviors of people, popular culture projects the ‘modern’ identity of certain groups

99 John Storey (5th Ed). Cultural Theory and Popular Culture: An Introduction. Pearson Longman. p. 12 100 Dominic Strinati (1995, 2004). An Introduction of Theories of Popular Culture. New York: Routledge. Cited on http://politybooks.com/browne/downloads/sample-chapter_2.pdf 101 Retrieved at 11 November 2012 from http://www.louvre.fr/en/oeuvre-notices/mona-lisa- %E2%80%93-portrait-lisa-gherardini-wife-francesco-del-giocondo 102 Retrieved at 11 November 2012 from http://brandsandfilms.com/2010/06/summer-brandspotting- %E2%80%93-the-da-vinci-code/ 37

(states). Tim Edensor argued that “culture is not fixed but negotiated, the subject of dialogue and creativity, influenced by the contexts in which it is produced and used”103. Thus, as culture is dynamic and possibly to change, “a sense of national identity then is not a once and for all thing but is dynamic and logic” as well104. Since popular culture is able to project the identity of certain country, the case of Americanization of America’s cultural product is one example that it has another dimension which is ideology. Storey (2009) argued that popular culture is more than a simple discussion of entertainment and such, but it has political dimension in it. That is because of the concept of ‘ideology’ remains crucial in the study (Storey, 2009), and even in the practice, of popular culture. Popular culture is able to project an idea articulated by a particular group of people as the understanding of ideology (Storey, 2009). Through television fiction, pop songs and other form of texts, popular culture is presented a particular image (ideology) of that certain groups (Storey, 2009). Storey continued with the understanding of ideology in which it is encountered in the practices of everyday life, as a bunch of youth are listening to numerous American pop music in almost their everyday life. All dimensions that popular culture has are, undoubtedly, attracted states such as America with its Hollywood, Japan’s J-Pop, and lately Republic of Korea’s Korean Wave to use their popular culture in diplomacy practice. As it characteristic to engage the numerous numbers of people, popular culture is often being an instrument in cultural diplomacy or public diplomacy. Its ‘soft power’ enables it to ‘negotiate’ with the foreign people via many websites on the internet. That is true

103 Tim Edensor (2002). National Identity, Popular Culture, and Everyday Life. Oxford: Berg. p. 17 104 Strinati argued that “certain features that the term ‘popular’ conveys to show how the cultural ingredients of national identity are increasingly mediated, polysemic, contested and subject to change. If we concentrate on those cultural elements commonly ascribed as popular, it will be clear that formations of national identity utilize a huge and proliferating resource that has emerged with the decent ring of official, ‘high’ culture, so that cultural guardianship is no longer such an important feature of national culture (and it was never as important as has been claimed). For culture is not fixed but negotiated, the subject of dialogue and creativity, influenced by the contexts in which it is produced and used. A sense of national identity then is not a once and for all thing, but is dynamic and dialogic, found in the constellations of a huge cultural matrix of images, ideas, spaces, things, discourses and practices” (Strinati, 1995, 2004) p. 17 38 that mass media such as television, radio, newspaper and social media such as facebook, twitter, and youtube have significant role in spreading the popular culture, its product, as well helping it as an instrument of diplomacy.

Summary

Table 2.2

Globalization, Public Diplomacy, Cultural Diplomacy, Popular Culture

Globalization Public Diplomacy Cultural Diplomacy Popular Culture Soft power as an The trend of using instrument in Culture as soft power Being a soft power ‘soft power’ diplomacy practice Public as the actor to Public remains ‘Culture of People’. The involvement of do the diplomacy as important in the ‘People’ remains non-state actors well as the object of practice important. it The development of communication The using of mass The using of mass The using of mass technology as one of media media media the main characteristics Source: compile by the researcher

39

CHAPTER III Republic of Korea’s Cultural Activities and Cultural Diplomacy

Chapter III in this research discusses about Republic of Korea’s cultural activities regards with Korean popular culture. The discussion starts from the explanation of Korean popular culture and Korean Wave as its popular culture: the instrumental component of Korean Wave as well its development. Then, the discussion will be followed by the Korean cultural policy under two regimes: former President Kim Dae Jung and current President Lee Myung Bak. These explanations lead to the discussion about Korean Wave in Korean Culture Diplomacy, where both governmental institutions and the non-state actors have significant role upon it.

3.1 Korean Popular Culture

Dramas, movies, pop music, and TV programs are the examples of Korean popular culture. Recently, Korean popular culture is sounding and being popular not only within its country but also in neighboring Asian countries even in Europe and America. Korean popular culture is, eventually, a hybrid of local culture and the western culture. Cai (2011) noted that “Korean pop culture is the combination of Confucianism and Western industrial culture. Korean pop culture has borrowed the best Western popular culture and recreated it according to Korean tastes”105. In this regard, the cultural interaction between Korea and Western, America, is the best example to portray that cultures are meeting and they are ‘negotiating’. 1988 is being a turning moment as for Korea, it was back then the year the country was chosen to

105 Cai, J. (2011). The first Taste of Korean Wave in China. URL (last checked 15 October 2011). journeyeast.tripod.com. Cited in Gungjoo Jang & Won K. Paik (2012). Korean Wave as Tool for Korea’s New Cultural Diplomacy. Advances in Applied Sociology, Vol. 2, No.3. Scientific Research. doi: 10.4236/aasoci.2012.23026. Retrieved 9 October 2012 from http://www.scirp.org/journal/PaperInformation.aspx?paperID=22229 pg. 197 40 be hosted The Olympics Games and at the same year it was the beginning of the Hollywood movies allowed to enter the local market106. At first, Korea had to experience the bad effect brought by globalization when the Hollywood movies harmed the local movies since it was dominated the local theaters around that time. Before foreign movies entered into the country, in 1984 it was about 81 of local movies and 25 for foreign movies. Four years after it changed to 87 and 175 in 1988 and in 1993 the local movies decreased to be 63 while the foreign movies had a significant increase to 347107. However, it is what in Indonesian phrase said “ada hikmah dibalik musibah”108, Korean government was able to look at the lesson of the ‘invasion’ of Hollywood movies. As the report from Presidential Advisory Board on Science and Technology discussed about it based on the premise of Hollywood movie which is Jurassic Park could earn as much as selling 1.5 billion Hyundai cars109. It was inspired the Korean government to do as what Hollywood movies can do through their popular culture, known as Korean Wave.

3.1.1 Korean Wave as Korean Popular Culture

The terms Korean Wave at the first time is used by Chinese press refers to the popularity of Korean pop culture in the country back in late 1990s. The wave is not only invading the neighborhood countries in Asia, but it has been reach Middle East, Africa, Europe, and America that makes Korea becomes a new center of

106 Gungjoo Jang & Won K. Paik (2012). Korean Wave as Tool for Korea’s New Cultural Diplomacy. Advances in Applied Sociology, Vol. 2, No.3. doi: 10.4236/aasoci.2012.23026. Retrieved 9 October 2012 from http://www.scirp.org/journal/PaperInformation.aspx?paperID=22229 pg 200 107Cited in Shim, D. (2008). The Growth of Korean Cultural Industries and the Korean Wave. In C. B. Iwabuchi, East Asian Pop Culture: Analysing the Korean Wave (pp. 15-32). Hong Kong: Hong Kong University Press. Access at 12 November 2012 from http://books.google.co.id/books?id=edH5Aeb- epgC&printsec=frontcover#v=onepage&q&f=false 108 It means that “there is wisdom behind the disaster” there is a good thing, good lesson from a bad experience. 109 Ibid pg. 200 41 transnational pop culture110. As explained earlier, Korean pop culture is a hybrid culture of local culture with the western or foreign culture. Korea has long been used to import and open minded to foreign products, Confucian teachings and Chinese traditions, American lifestyles and education, European philosophies, and Japan modernity111. The cultural exchange did happen as well because of the interaction of Korean soldiers with foreigners when they were doing their duties during Korean War and war in Vietnam who brought the popular and modern culture of other countries back to the country (KOCIS, 2011a). A bad experience regarding with Hollywood movies dominated the local theaters at that time, brought a fundamental moment of the beginning of Korean Wave in which there was transformation regarding with the government’s policy towards culture112. There are, at least, two Korean Variety Show instrumental components of Korean Wave which are Korean drama (K-drama) and Korean pop music (K-Pop). K-drama was the first instrument that led this wave abroad. It is according to the term Hallyu firstly coined to The variety show Show Show Show, which ran on Korean TV for 19 years from 1964 to 1983. The show was extremely popular for introducing the Western the China press referring to variety show format to Korea. Source: the popularity of What is Korean Culture and Information Service

110 Korean Culture and Information Service, The Korean Wave: A New Pop culture Phenomenon (Republic of Korea: 2011), Korean Culture and Information Service – Ministry of Culture, Sports and Tourism, p. 11. 111 Korean Culture and Information Service, The Korean Wave: A New Pop culture Phenomenon (Republic of Korea: 2011), Korean Culture and Information Service – Ministry of Culture, Sports and Tourism, p. 17-18 112 Ju Young Kim (2007). Rethinking Media Flow under Globalization: Rising Korean Wave and Korean TV and Film Policy since 1980s. Retrieved at 20 October 2012 from http://wrap.warwick.ac.uk/1153/1/WRAP_THESIS_Kim_2007.pdf 42

Love aired in China in 1997. The success of Korean Wave, particularly K-drama to be accepted by the Asian countries such as China that is because there is a common value they shared, which is about Confucianism (Cai, 2011). Besides, the eastern values that Korean has and its interpretation into the drama enable it to gain more popularity from other non-Confucian countries. The Korean Wave is not entirely about K-Drama, but there is also Korean pop music or known as K-POP. The popularity of K-POP also has swept the world. If in the late 1990’s Korean group H.O.T became popular in China, start from 2000 up until now, there are Super Junior, TVXQ, Girls Generation, and Big Bang are some of many K-POP groups who lead the K-POP wave and gain a fame in Asia even in Europe and America (KOCIS, 2011a). Regards with the ‘culture’ in Korean Wave, Gungjoo and Won (2012) argued that the basic foundation of Korean Wave has the strong affinity from Korean cultural characteristic which is dance and music113. This means that, the characteristic of Korean artists, single or in groups, who dance while singing originates from the Korean cultural characteristic itself. Yet, it is packaged in much more modern way as it is resulted from the western pop culture’s influence.

3.1.2 The Development of Korean Wave

There are several factors underlying the development of Korean Wave to gain fame even across the region: cultural values, versatility of Korean stars, well- packaged performance, shifted cultural policy, the role of Chaebol and entertainment companies, and media. China’s values such as Buddhism and its tradition as well Confucian have been adopted by Korean even from the ancient times. Thus, these values has been rooted in Korean culture and clearly interpreted in Korean daily life

113 They continue with that music and dance are being part of Korean folk culture, while in such festival or ceremony people are being used to dance and sing to express themselves. There are , at least, three ways in singing in folk culture: lead and follow, conversational, and solo. The lead and follow way of singing recently being practiced by K-Pop groups, while the leader will start to sing at first and followed by the fellow members. (Paik, 2012) 43 activities and influenced their cultural products. The family-based as the Confucian values projects in the dramas succeed to grab the attention of Chinese viewers, and it goes for the other Confucian-countries. It is supported by the artists who are well- round multi talented. It is not surprising thing when found out that Rain as Raizo in Hollywood martial art movie Ninja Assassin is a famous actor, singer and good in dancing in Korea. It is a kind of ‘culture’ in Korean entertainment where the artists have to go through years training prior to their debut. Rain as Lee Young-jae in Korean “Korean entertainers famous drama series Full House (upper left), his roles as Raizo in Ninja undergo rigorous Assassin (right), and his performance in training and are required the closing ceremony Guanzhou 2010 Asian Games (below left). not only to receive voice and dance training in a variety of genres, but to pursue studies in acting, language, and different cultures”114. All the cultural products such as K-drama and K-Pop (performance or their albums) are all well-packaged. The using of high technology to produce high quality of drama, the fancy music videos and CD albums, and spectacular concert are another point to be highlighted. Korean government’s cultural policy (will be more explore in other points in this chapter) is another factor to the expanding of Korean Wave to be more relaxed. Korean conglomerates groups, Chaebol, give their contribution to the development of Korean Wave. Has been badly affected because of the Asian financial crisis in 1997 in which it affected the cultural

114 Korean Culture and Information Service (2011). The Korean Wave: A New Pop Culture Phenomenon. Republic of Korea: Korean Culture and Information Service – Ministry of Culture, Sports and Tourism, p. 64 44 industries, Korean government works hand in hand with Chaebols in order to improve the export of country’s cultural products. CJ Groups is an example of Chaebol in entertainment industries as its contribution to manufacture, produce or distribute the cultural products (Album or conducting concert). As times goes by, the presence of entertainment companies such as the “Big Three”: SM Entertainment, YG Entertainment, and JYP Entertainment are behind the success of Korean artist either in K-Pop or K-Drama scenes to expand their career worldwide. The world- wide popularity of Korean Wave is undoubtedly speeded up through the mass media such as radio, television, or magazine; or social media such as Twitter, Facebook and YoutTube. The development of Korean Wave can be seen through the various genres of drama or the various presences of idol groups to the sale or export of it and world- wide concerts.

Korean Drama

Korean drama has quite long history from the era of non-colored television to the era where Koreans were able to watch it colorfully in 1980s (KOCIS, 2011b). 1990s became an era for K-drama to more develop since it was the time for technology change in Korean broadcasting industry. During these years, the Korean broadcasting industry utilized new technology and interactive cable systems (1996 was the debut of cable television in the country), which allowed Korea to participate fully in the information society115. The genre of trendy dramas during these years was more relied on smart dialogue and visual appeal reached a new peak116. Drama such Jealous which featured young characters that more stylish and it described urban life more realistic, while drama such as Sundglass interpreted tragedy history

115 Korean Culture and Information Service (2011). K-Drama: A New TV Genre with Global Appeal. Republic of Korea: Korean Culture and Information Service – Ministry of Culture, Sports and Tourism, p. 65 - 66 116 Ibid. p. 67 45 of “Gwangju Democratization Movement” 117. 1990s is the era for the beginning of Korean popular culture to be enjoyed by foreign market. It was What is Love, a family-centered Korean drama that grabbed much attention from Chinese viewer on its airing time in 1997 on Chinese’s China Central Television (CCTV). The using of technology into broadcasting industry in the 1990s made K- drama to have more fancy looks, yet, alongside with the advancement of information and communication technologies brings K-drama to enter another success page of its history. “The Big Three” national channels – KBS, MBC, and SBS are the national channels that productively to air numerous K-dramas. Winter Sonata is one of the most popular of K-dramas worldwide, and became a breakthrough for Korean dramas in the 2000s. It was aired in 2002 in Korea through KBS channel, and

Figure 3.1 became a big hit in Japan in which started to be aired in 2004 through NHK’s satellite channel (it succeed to exceed the ratings of Japanese local drama during that time)118 . That is Jewel in the Palace (Daejanggeum), the first K-drama that succeeds to surpass

Source: Korean Culture and Information Service beyond Asia market. A drama aired first on MBC in the country in 2003, tells about the tale of orphaned

117 Korean Culture and Information Service (2011). K-Drama: A New TV Genre with Global Appeal. Republic of Korea: Korean Culture and Information Service – Ministry of Culture, Sports and Tourism, p. 67-68 118 Ibid. p. 16-17 46 kitchen cook who goes on to become the king’s first female physician took a background during the reign of King Jungjong (1506-1544) of the Joseon Dynasty (1392-1910)119. While Winter Sonata has been succeeded to be exported to 20 countries, Jewel in the Palace has been exported to 87 countries as of May 2011. That is true that 2000s is the golden era for K-drama as it is starting to enjoy its winning over a new generation of viewers by marrying their historically inspired material with advances filming techniques, better writing, and massive action sequences120. Besides Winter Sonata, there are KBS’s Autumn in My Heart (2000), KBS’s Full House (2004), and MBC’s Coffee Prince (2007) another love story big hit drama. Generally, love story becomes the major theme of these dramas, but Autumn in My Heart has more tragic love story while Full House is packaged with comedy romantic story and Coffee Prince’s love story is packaged with realistic, fantastic, cartoonish and colorful storyline (KOCIS, 2011b). Another point to be noted in 2000s K-dramas is the involvement of Korean Idol groups’ members (K- Pop). Serial drama KBS’s Boys over Flowers (2009) became another hit, adopted from Japanese manga with same title, tells about a daughter-of-laundry-owner name Geum Jan-di that came into and change the life of the four rich boys grouped as F-4 in the school for rich folk. The drama became famous among youth since it featured Lee Min Ho, famous Korean actor, and Kim Hyun Jung, talented singer (member of boyband SS501) and actor. SBS’s You’re Beautiful (2009) and KBS’s Dream High (season 1 in 2011 and season 2 in 2012) are the examples of drama with musical themed and featuring many K-pop artists. You’re Beautiful is featuring Jang Geun- suk (actor and singer), FT.Island’s Lee Hong-ki, CNBLUE’s Jung Yong Hwa, and After School’s UEE. Dream High season 1 is featuring missA’s Suzy, 2PM’s Taecyon and Wooyoung, T-ara’s Eun- jung and IU. 2AM’s Jinwoon, T-ara’s Jiyeon, JJ Project’s Jae Bum, and Sistar’s Hyorin are K-pop groups’ members that featured

119 Korean Culture and Information Service (2011). K-Drama: A New TV Genre with Global Appeal. Republic of Korea: Korean Culture and Information Service – Ministry of Culture, Sports and Tourism, p. 18 120 Ibid. p. 71 47 in Dream High 2. SBS’s Lovers in Paris (2004) showed the development of K-drama in choosing its filming place, while Jeju Island is one of the famous places in Korean that used in many times, this time it took romantic city of Paris for the filming place. MBC’s Heartstrings (2011) is a good portrays on how Korea adopted the Western culture and make it harmonize with its traditional culture. Lee Shin (CNBLUE’s Jung Yong Hwa), majoring in Western Music, worked together with Lee Gyu Won (Park Shin Hye), majoring in Korean Traditional Music, for their musical theater performance to perform a harmonization of sound of guitar, bass, and drums of Western Music performed by The Stupid (the band name on the drama) with a traditional sound of gayageum, haegeum, daeugeum and janggu by The Wind Flowers (a traditional music group in the drama) (take a look page 158). Action – thriller genre is recently used in Korean dramas scene such as KBS’s Iris (2009) and SBS’s City Hunter (2011). MBC’s The King Two Hearts (2011) brings new plot of drama as it tells about the romance story of a King of Republic of Korea and North Korea’s Special Forces Officer. The romance story between the two becomes interesting as it touches politic issues since they play a role as representative of each country and their relationship served as diplomacy between the two countries. The shifted Korean government in cultural policy influences the expanding of the Korean dramas. Korean drama is not only exported to China and Japan, as the closest neighbor countries with the common cultural values, but also other Asian countries and even to Europe and America. Accordingly, the export of Korean television programs has been growing ever since from 2000 (see Figure 3.2), as of 2010 Korean TV programs has been exported into187 units (unit: US$ 1,000). This number increased rapidly from the year 2000 in which 13.1 units K-drama has been exported. The graphic clearly shows that from 2000 – 2010 Korea is able to export more its TV programs to foreign market, and it succeeds to reduce number of imported TV programs in 10 years. Around these years, K-Dramas have been reached almost all of the regions, Asia to Europe, Middle East to Africa, and the North and South America (see Figure 3.3).

48

Figure 3.2 K-drama Sales 2000-2010

200 180 160 140 120 100 80 60 40 20 0 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010

Export Import In Million US Dollar

Source: https://openaccess.leidenuniv.nl/bitstream/handle/1887/20142/hallyu%20version%207.pdf?sequence=1

Figure 3.3

Source: Korean Culture and Information Service

49

Korean Pop Music

“Not pop as we know it, this is a fresh brand of commercial contemporary music from Republic of Korea and, because of sites such as Facebook, Twitter and YouTube, thousands of teens in Asia, America and now Europe are buying into it.”

Victoria Stewart, London Evening Standard, 5 October 2011121

Korean drama is the instrumental component in the beginning of Korean Wave, while that is K-Pop which leads the wave in recent times. The history of Korean pop music is started in the 1880s to 1940s that is US missionary Henry Appenzeller whom started providing hymns and folk songs to Koreans at Pai Chai Academy122. It inspired Koreans to produce Changa (in Korean), songs which inspired by the hymns and folk songs, in which most of them adopted American styles and the Beatles, translated the English songs’ lyrics to Korean but with the same melody. As time goes by, Korean popular music had improved from the translated songs to the self-composed songs with Lee Jeong-suk’s Nakhwayusu (Fallen Blossoms on Running Water) in 1929 was the very first Korean-made pop song. However the development of Korean music scene has more or less affected or influenced by war era. The western popular music continuously colored the local trend popular music as the country dealt with a chaotic situation from the 36 years Japanese occupation, the division of Korean Peninsula into the North and the South, and Korean War between the two in 1950. The great numbers of US troops stationed in Republic of Korea, introduced more about America pop culture and led a new trend into the local pop music scene. From introducing more American pop culture

121 Korean Culture and Information Service (2011). K-POP: A New Force in Pop Music. Republic of Korea: Korean Culture and Information Service – Ministry of Culture, Sports and Tourism, p. 7 122 Ibid. p. 47 -48 50 through AFKN (now AFN-Korea) to music concert by Marilyn Monroe hold in the country. “During this period, the US influence on Korean pop took two forms – a major shift in musical style from the pentatonic scale to the Western heptachord, and the creation of Korean pop music modeled on Western pop”123. While in the 1960s, ‘group sound’, in which Korean called the rock music, of British group The Beatles and Japanese ‘elecki group sound’ started to sweep into the country. Folk (became a trend in 1970s) and rock music shows by the Korean youths seen as it runs counter to Republic of Korean government position in Vietnam War, since they express the opposition to the Vietnam War. (KOCIS, 2011c, pp. 47-55) 1980s is the years of Ballad songs in Korean pop music industry, while 1990s is the beginning of the new chapter of dance music. Seo Taji is claimed as a big experimenter and innovator in Korean pop music. He and his band, Seo Taji & Boys brought a new yet unique music with a mixture of rap, plaintive lyrics, and heavy metal sounds on their song Nan Arayo (I know). The uniqueness doubled with combination of flamboyant choreography during their performance. Later, in 1993, the group succeeds to produce a completely different music style on their Hayeoga song featured a melody performed on taepyeongso together with beatboxing124. Hence, Seo Taji & Boys’ work on Nan Arayo and Hayeogoya perfectly portrays that Korean pop culture as a hybrid culture. The historical influence from western music is somehow cannot be denied it rooted in the Korean pop culture, but the local musician was able to collaborate it with traditional music and elaborate it with the mixings of some music genres and different style of performance on the stage. The new taste was favored by the youth and since then, the mid-1990s was the raising age of idol groups. The birth of H.O.T of SM Entertainment in 1995 started the truly domination of teen-centered boy and girl groups. H.O.T influenced the birth of another idol groups during these years such as Shinwa, Sechs Kies, S.E.S., Fin.K.L,

123 Korean Culture and Information Service (2011). K-POP: A New Force in Pop Music. Republic of Korea: Korean Culture and Information Service – Ministry of Culture, Sports and Tourism, p. 50 124 Taepyeongso is a Korea’s traditional conical oboe and beatboxing is a form of voal percussion originates from western modern culture. 51

NRG, Taesaja, and g.o.d. The downturn of local sales, made H.O.T to try their luck on foreign markets. The popularity of H.O.T in China in 1997 through their fist Chinese album is the proof that Korean pop music is able to enter the foreign market. (KOCIS, 2011c, pp. 63-66) Korean popular culture is enjoying its worldwide popularity more in the 2000s. The trend of idol groups in the mid-1990s continues to dominate Korean popular culture, or in this millennium era well known as K-Pop. Entertainment companies are actively seeking for their talents for then make a debut as K-pop artist. That is the ‘Big Three’ entertainment companies namely SM Entertainment, YG Entertainment and JYP Entertainment that dominated the K-Pop scene. TVXQ, Super Junior, Girls Generation (SNSD in Korean), SHINee, f(x) and soloist BoA are girlbands and boybands under SM Entertainment that gained a big popularity worldwide. YG Entertainment is the home agency of Big Bang, 2NE1, and the recent Korean phenomenon artist PSY. Meanwhile, Wonder Girls, 2PM, and 2AM are boybands and girlband under JYP Entertainment. However, besides listed idol groups under the ‘Big Three’, DSP Media’s KARA and FNC Entertainment’s CNBLUE are the example of other idol groups which they are from small companies, compares to the ‘Big Three’, who gained a big fame as well. The success of those Korean idol groups to grab the global attention remains as K-Pop has some characteristic to make it. First, the hybrid entertainment that K- Pop has. A Professor at Korea National University of Arts, Lee Dong-yon commented on his book Idol: From H.O.T to Girsl’s Generation, Cultural Report on Idols that “Although Korean idol pop music borrows the styles of American hip hop and Euro techno, it doesn’t copy them wholesale”125. Lee said by mixed up various musical sources and forms, as H.O.T and Sechs Kies mixed their sounds in a pool of hard core rap, bright Euro techno, Koreanized hip hop and disco-style electronic sounds and subsequent idol like Shinwa, TVXQ, SHINee and Big Bang also based

125 Korean Culture and Information Service (2011). K-POP: A New Force in Pop Music. Republic of Korea: Korean Culture and Information Service – Ministry of Culture, Sports and Tourism, p. 32 52 their music on hip hop but mixed with other music styles, they have created ‘mutant music’126. Lee continued to elaborate the comparison of J-Pop and K-Pop, “While Japanese pop differentiates itself from other styles with its use of funky Japanese rhythms and rock samplings, the pop music of Korean idol groups uses strong dance beats, powerful rap flows, and sometimes complicated electronic factors-making it more dynamic than Japanese idol group”127. Thus, Lee argued that that is why “in terms of music style K-Pop has more global sounds and transnational images that J- Pop”. A rookie girl group of FNC Entertainment, AOA, portrays new hybrid form of not only music but also the group’s format since AOA combines the girl-band styles who dance and the girl band that plays instrument. The hybrid culture also goes to the member of some idol groups whom come from other countries. SNSD’s Tiffany and Jessica and Nicole from KARA are Korean-America, while f(x)’s Amber is Taiwanese-American and Nichkhun of 2PM is Thai-American, and f(x)’s Victoria and missA’s Jia and Fei are Chinese-origin that they are show the multicultural aspect of the groups128. Second is the versatility of Korean stars. It is not a surprising thing to found out those K-Pop artists in various K-dramas or else they are acted as MC on TV programs. This, however, is a development or new characteristic of K-Pop artists to have many talents. Dancing, acting, singing, composing, modeling, and mc-ing are the multi-talents that K-Pop stars have. YoonA, Jessica, and Sooyoung are three members of SNSD that gave a try to act on some dramas. Korean rock group, CNBLUE is the first boys group that all the members -Jung Yong Hwa, Lee Jong Hyun, Kang Min Hyuk and Lee Jung Shin to officially make their acting debut. While Super Junior’s Leetuk and Eunhyuk well known as their becoming DJs for KBS Super Junior’s Kiss The Radio (aka SUKIRA).

126 Ibid. p. 32-33 127 Ibid. p. 33 128 Ibid. p. 70-71 53

The multi-talents of K-Pop starts closely relate to the third point the unique star-making system. The long-term strategy of Korean entertainment agency succeeds to present the well-round talents and open up the possibility to go international. KOCIS on its K-Pop: A New Force in Pop Music illustrated the strategy process of Korean Entertainment agencies. Make up with the planning, the entertainment agencies is starting to seek their talents through domestic or overseas

Scheme 3.1

Source: Korean Culture and Information Service auditions either a private audition on their buildings or the auditions program cooperate with TV channels. Then all selected talents will join what SM Entertainment’s CEO Kim Young Min called as the ‘comprehensive training system’129. This training process is become an essential keys for K-Pop stars to stand as a distinguish stars. They are trained to improve their individual skills on singing, dancing, acting, and learn foreign language to maximize their capability before debuted as an idol or group idols in three even more than five years like G-Dragon of Big Bang spent his 11 years training130 and TVXQ trained for nearly 7 years 131.

129 Retrieved 18 November 2012 from www.soompi.com/2011/11/09/one-snsd-member-costs-3- million-to-find-and-train/ 130 G-Dragon (GD) of Big Bang spent his 5 years as trainee under SM Entertainment. Then he joined with YG entertainment to spend other six years training before his debut as member of Big Bang in 2006. Retrieved 18 November 2012 from www.allkpop.com/2012/05/big-bangs-g-dragon-was-an-sm- entertainment-trainee-for-5-years and http://www/kpopasia.com/celebrity/gdragonbigbang/ 131 Retrieved 18 November 2012 from www.soompi.com/2011/11/09/one-snsd-member-costs-3- million-to-find-and-train/ 54

Thereafter, one by one they make their official debut to the K-Pop scene and

Figure 3.4 The Spread of K-Pop via YouTube

Source: https://openaccess.leidenuniv.nl/bitstream/handle/1887/20142/hallyu%20version%207.pdf?sequence=1 enter the global market. All the talents they have from their trainee days are boxed in different unique concepts of each group. Well-packaged, that is what the idol groups shows on their fancy music video and CD albums, fashionable outfit, and advanced concert. The complete packaged of K-Pop idol groups year by year is gaining more and more attention from the world. An easy way to see the popularity of K-Pop is through its ratings on internet. Figure 3.4 demonstrate the spread of K-Pop all around the world due to the K-Pop videos on YouTube have been viewed 2.3 billion times in 235 countries around the worlds. As can be observed, the wave of K-Pop has been sweep through Asian countries including Indonesia, Japan, Thailand, Singapore, China, India, and Taiwan. The figure also shows that K-Pop has reached Europe, Africa, Australia, United States of America, North America, and South America. The most recent K-Pop artist who becomes the world phenomenon is YG Entertainments’ 55 artist PSY with its Gangnam Style. Since the video music of Gangnam Style uploaded through his official account on YouTube, officialpsy, the video garnered 768,449,959 viewers with 5,249,735 liked by 19 November 2012 on the site132. According to the site, PSY is able to be the most liked video all the time as of 20 November 2012 surpassed other well-known artist such as LMFAO’s Party Rock Anthem (1,632,379 likes), Goyte’s Somebody That I Used To Know (1,533,002 likes), Justin Bieber’s Baby (1,428,466), and Adele’s Rolling In The Deep with 1,312,019 likes133.

3.2 Korean Cultural Policy

The importance of the value of culture has recognized by Republic of Korea’s government ever since its first president (after became republic country), Mr. Rhee Syungman (1948-1960) up until President Lee Myung Bak’s regime (2008-present). Thus, their recognition of the importance of cultural values is interpreted on each administration’s cultural policy as well as on their cultural diplomacy practice. Fostering the cultural identity or country’s image to gain world understandings still remains as main background on Korean cultural policy, yet they have different concerns of issues. However, there are some turning points on Korean cultural policy. Up until the end of 1980s, Korean cultural policy had been focused on protecting Korean culture from Western culture134 135. Started from early 1990s, specifically under former President Kim Young Sam (1993-1998), Korea was carried

132 Retrieved 20 November 2012 from http://www.youtube.com/watch?v=9bZkp7q19f0 133 Retrieved 20 November 2012 from http://www.youtube.com/charts/videos_top_rated/music?t=a 134 As explained earlier, Korean culture has been influenced by Western culture more likely imprints on its contemporary culture (popular culture). In addition, the Hollywood movies that allowed by the Korean government to be marketed in the country gave a bad impact towards Korea since it harms the local movie industries. 135 Kim, Moonwhan and Yang, Geonyoul (1998). Trends in Research of Korean Cultural Policy. KCPI cited in Ju Young Kim (2007). Rethinking Media Flow under Globalization: Rising Korean Wave and Korean TV and Film Policy since 1980s. University of Warwick. Retrieved at 20 October 2012 from http://wrap.warwick.ac.uk/1153/1/WRAP_THESIS_Kim_2007.pdf . p 154 56 on the slogan “Creation of the New Korea” and “started to asserted cultural diplomacy, the creativity of the people, regional culture, cultural industries and cultural tourism, unification, and the globalization of Korean culture.” Korean government started to explore its cultural industries, in which “Korean government, however, basically understands cultural industry as culture with a industry foundation”136. Kim Young Sam’s administration also came to emphasize the economic importance of culture and the arts. Yet, the big paradigm shift of Korean cultural policy as well as their implication on cultural diplomacy has been occurred started on Kim Dae Jung’s regime and furthermore as Korean culture has entered its new scene of ‘Korean Wave’ started from the end of 1990s.

3.2.1 Korean Cultural Policy in Kim Dae Jung Era (1998-2003)

Since early 1990s, under Kim Young Sam regime, Korean government has started to pay attention on cultural industries and it goes for the next regime under Kim Dae Jung administration (1998-2003). Kim Dae Jung became a new president of Republic of Korea just awhile from Asian financial crisis in 1997, and Korea was no exception to experience the crisis affected badly on its economic. As a result of this, “the government turned to a policy to develop media industry as the leading force of the national economy in the twenty-first century”137. Kim Dae Jung addressed himself as ‘Cultural President’, as his administration launched some cultural policy that in the further enables Korean cultural industries to be more relaxed such as cultural policy of the new government (1998), the five-year plan for the development of cultural industries (1999), the vision 21 for cultural industries (2000a) and the vision 21 for cultural industries in a digital society (2001). Besides, the government of Kim Dae Jung stressed the promotion of cultural industries and cultural exchange

136 Sungeun, Shim (2008). Behind the Korean Broadcasting Boom. NHK Broadcasting Studies No.6. p. 213 137 Ibid. p. 209 57 with North Korea in comparison with the previous governments before him (Ministry of Culture and Tourism 1998, 1999, 2000a, 2001, cited on Yim, 2002 p. 41). As for the five-year plan for the development in cultural industries, Kim’s administration had two five-year plans: (1) build up its own cultural industry (1998), and (2) focuses on rising exports and building cross-cultural ties, including with Japan and China (2002-2006)138. In doing so, Kim’s administration has produced some regulation regarding with cultural industry such as Basic Law for the Promotion of Cultural Industries that was enacted in 1999. Cultural industries, according to the law, are ‘industries that are involved in the planning, development, production, manufacturing, distribution, and consumption of cultural commodities, and related services’139. The commodities included on cultural industries are motion pictures, records/tapes, video, games, publications, periodicals (magazines, newspapers), broadcasting, character goods, comics, animation, designs, traditional crafts, performance (theater, music, dance)and multimedia contents140. There was reorganization of Ministry Culture and Sport to Ministry of Culture and Tourism during Kim Dae Jung’s regime. So then, the ministry responsible for both culture or art and the administrative of broadcasting and tourism (which until then was under the public information agency), thus making it possible to implement the policy that would stimulate synergy of all areas141. In addition, in order to support government’s effort in pursuing its cultural policy, Kim’s administration has established several institutions or organizations such as the establishment of Cultural Industry Promotion Fund to facilitate smooth financial

138 Young Kim (2007). Rethinking Media Flow under Globalization: Rising Korean Wave and Korean TV and Film Policy since 1980s. University of Warwick. Retrieved at 20 October 2012 from http://wrap.warwick.ac.uk/1153/1/WRAP_THESIS_Kim_2007.pdf . p. 160-161 139 Sungeun, Shim (2008). Behind the Korean Broadcasting Boom. NHK Broadcasting Studies No.6. p. 214 140 Ibid. 141 S`ungeun, Shim (2008). Behind the Korean Broadcasting Boom. NHK Broadcasting Studies No.6. p. 213 58 support142, Korean Creative Content Agency143, and the Korean Institute of Design Promotion144. Hence after, Korea was able to export its cultural products such as its TV programs or K-Drama abroad. It is supported by the government through broadcasting promotions, “strategies for the promotions of audiovisual industries”, in which according to Ministry of Culture and Tourism the reasons of government intervention are broadcasting is a “national strategic industry of the twenty-first century” and “cultural identity in the age of global competition must be established” (Sungeun, 2008, p. 215). In order to support the development of Korean culture industry, the government gave a fund with the supply of a total of 250 billion won was planned over the five-year period 1999 to 2003145. Fostering Korean cultural industry in this era was not only as the purpose of economic values, but also diplomatic purposes. Prior to President Kim regime, Korean government has enacted a closed-door cultural policy with Japan, but President Kim did the opposition by re-open the relationship with Japan in terms of cultural policy which is cultural exchange based on ‘Actual Plan’, announced by the two leaders on October 1998146. According to President Kim, “the promotion of cultural exchange with other nations, including Japan, was necessary for the development of national culture”147. Meanwhile, reunification with North Korea was became a concern for Kim Dae Jung’s administration. Through its ‘Sunshine Policy’, Korean government, at that time, stressed that “the development of national culture

142 Ibid. p. 214 143 Cheng, L.-C. (2008). The Korea Brand: The Cultural Dimension of Republic of Korea's Branding in 2008". In SAIS U.S.-Korea Year Book 2008 (pp. 73-85). John Hopkins University. p. 81 144 Creative Industry Division of Japanese Ministry of Economy, Trade, and Investment (2012). Cool Japan Strategy. p. 9 145 Sungeun, Shim (2008). Behind the Korean Broadcasting Boom. NHK Broadcasting Studies No.6. p.214 146 Ministry of Foreign Affairs of Japan. Japan- Republic of Korea Relations. Retrieved at 22 November 2012 form http://www.mofa.go.jp/region/asia-paci/korea/index.html at 6.34 pm 147 Dae Jung Kim (1998). The Mutual Development of Korean Culture and Japanese Culture through promoting Cultural Exchange, from his speech at the conference with Japanese artists on the October 10, 1998. Cited on (Yim, 2002) p. 42 59 as a unified nation was the cornerstone of peaceful reunification between Republic of Korean and North Korea, in the sense that it contributed to overcome the heterogeneous culture, owing to the ethnic division”148. The ‘6.15 Agreement between the South and the North’ accomplished on June 15 2000, as the result of the policy, has led to the promotion of cultural exchange between the two countries as it emphasized in the exchange of the two in terms of social, cultural, and economic sectors149.

3.2.2 Korean Cultural Policy in Lee Myung Bak Era

It was Asian financial crisis in 1997 that triggered President Kim Dae Jung to use Korean cultural industry to help recover its economic, however it is the report of Korean Nation Brands Index that triggered President Lee Myung Bak to improve Korea’s image through cultural sector. According to the 2008 Anholt-Gfk Roper Nation Brands Index, Korea was ranked 33 out of 50 nations150. Thus, upgrading Korea’s national brand is one of the key focuses of its cultural policy under Lee administration151. In his speech to commemorate the 60th anniversary of Republic of Korea, President Lee said:

“It is also especially important for Koreans to win respect in the international community. The value of Korea's national brand only accounts for approximately 30 percent of the nation's economic power, a proportion that is no more than a small fraction of that of the United States and Japan.

148 Dae Jung Kim (1999), Investment on the Cultural Sector for Future Development, at the speech for the Day of Culture on October 20, 1999. Cited also on (Yim, 2002) p. 43 149 (Yim, 2002) p. 43 150 Kim, Regina (2011) Republic of Korean Cultural diplomacy and Efforts to Promote the RoK’s Brand Image in the United and Around the World, http://www.stanford.edu/group/sjeaa/journal111/Korea2.pdf 151Cheng, L.-C. (2008). The Korea Brand: The Cultural Dimension of Republic of Korea's Branding in 2008". In SAIS U.S.-Korea Year Book 2008 (pp. 73-85). John Hopkins University. p. 79 60

Korea is now one of the most advanced countries in the world in terms of manufacturing semiconductors. Nevertheless, the very first images that come to foreigners' minds are labor-management disputes and street rallies. In this context, if the nation wants to be labeled as an advanced country, it will be necessary to improve its image and reputation significantly.”152

However, Korean government realized that, having a good nation brand is not only for the sake of country’s reputation or perception, but it has touched the other sector as well such economy. Thus, “expediting the convergence between broadcasting and communications and promoting cultural contents” is one of the tasks under “To promote new growth engines and the service industry” – as one of the objectives on the economic sector of Lee administration’s main policies153.

President Lee, however, had sounding his vision regarding with cultural issues since his presidential election campaign era, it was the 7th point “cultural diplomacy to capitalize Korea’s soft power through mutual opening and exchange in the region and the world” of his foreign policy154. By carrying a slogan “Global Korea”, the government under Lee administration is being actively conducted mutual exchange programs as its cultural diplomacy. As Lee administration’s 18th objectives is “to place priority on the national interest while pushing pragmatic diplomacy conducive to the good of all peoples”, “emphasizing diplomacy stressing human rights and cultural interactions” remains as one of the tasks under this objective155. Meanwhile, “creating an environment where citizens can enjoy rich cultural and sports activities” and “aiming to become a cultural power in which traditional and modern elements are well balanced” come under the 20th objectives “to develop

152 Lee Myung Bak (2008). A Greet People with New Dreams. Retrieved at November 23, 2012 from http://www.korea.net/Government/Briefing-Room/Presidential-Speeches/view 153 Retrieved at 25 November 2012 from http://www.korea.net/Government/Administration/Lee- Administrations-Main-Policies 154 Tong Kim (2007). Opinion: Lee Myung Bak’s Foreign Policy. The Korean Times: Seoul. Retrieved at 23 November 2012 from http://www.koreatimes.co.kr/www/news/opinon/2011/04/167_14766.html 155 Retrieved at 25 November 2012 from http://www.korea.net/Government/Administration/Lee- Administrations-Main-Policies 61

Korea as a widely respected nation”156. In addition, President Lee also emphasized the importance of cultural diplomacy by arguing that “our traditional culture, when coupled together with our technological powers, will no doubt transmit to the world an image of a more attractive Korea”157. After the changes of Ministry of Culture and Tourism in 1998 from Ministry of Culture and Sport, the ministry has changed to be Ministry of Culture, Sports, and Tourism in 2008 under President Lee regime. Since then, the ministry is able to set up and implement policies that would stimulate synergy of these three areas. Lee administration also has established Presidential Council on Nation Branding on January 22, 2009, in order to fulfill the needs to raise Korea’s global status by making efforts by managing people, products, and the overall image of Republic of Korea by continuing to establish mid-term and long-term goals strategy to gain credibility and likeability in the international arena158. In order to supports government action to doing the policy tasks, Lee administration has spent 3.9 trillion won in 2010 for culture, sport, and tourism’s budget159. As for the year 2013, Ministry of Culture, Sports and Tourism has formulated a 3.95 trillion won ($3.53 billion) for its budget in which it is 6.44% up from its budget in 2012 with 3.6 trillion won160. As it is reported in The Korea Times, 1.14 trillion of the budgets will be allocated for culture and arts field and 1.04 trillion won for tourism. 973.5 billion Won for sporting projects including for the preparation of the Winter Olympics in PyeongChang in 2018, 280 billion to build

156 Ibid. 157 Cheng, L.-C. (2008). The Korea Brand: The Cultural Dimension of Republic of Korea's Branding in 2008". In SAIS U.S.-Korea Year Book 2008 (pp. 73-85). John Hopkins University. p. 78 158 Retrieved at November 27, 2012 from http://www.koreabrand.net/gokr/en/cms/selectKbrdCmsPageTbl.do?cd=0118&m1=1&m2=3 159 Ministry of Strategy and Finance of Korea (2011). Korea’s Fiscal Policy: Countering the Crisis and Rebuilding for the Future. Retrieved at 19 September 2012 from http://english.mosf.go.kr/adm/com/filedownload.do 160 Culture: Culture Ministry Seeks for 6,44% Rise for Next Year’s Budget. Retrieved at 27 November 2012 from http://koreatimes.co.kr/www/news/culture/2012/09/135_121020.html 62 tourism-related facilities, 100 billion won to build infrastructure such as stadiums and streets from the Winter Olympics, and 2.6 billion won to help the development of country’s sporting industries161. According to the culture minister, 319 billion won has planned to be allocated for providing more attractive support for Korean pop culture remains as one of the main focuses of the rise of next year’s budget162. In the practice of achieving the objectives and doing the tasks, Korean government has set up diverse programs to boost the cultural diplomacy. First is, Korea actively involve as well as give contributions towards international community like engaged in the activities of major international organization related with culture such as UNESCO. Through Cultural Heritage Administration, as of now, Korea has registered 10 inscribed Korean heritages for World Heritage’s list, 14 for Intangible Cultural Heritage of Humanity, and 9 for Memory of the World list163 and Korea becomes a Board Member of the Intergovernmental Committee of Intangible Cultural Heritage in June 2008164. However, Korean government has acknowledged the urge of soft power as well as a new diplomatic environment where the subject and the object of diplomacy have expanded from government to civil actors. As respond to that, since 2010 Lee administration started to promote Korean public diplomacy as a comprehend diplomacy practice with cultural diplomacy: the communication through culture between the countries involved public –as it means the huge number parties. Henceforth, Korean government made public diplomacy as the third pillars of diplomacy along with political and economic. In doing so, the government improves what so called cultural technology, by provides the information of cultural material or cultural-related in several Korean government- based websites so then it is able to reach more people in the sake of object of the diplomacy. In 2008, the government has launched a cultural diplomacy web

161 Ibid. 162 Ibid. 163 Retrieved at November 27, 2012 from http://jikimi.cha.go.kr/english/world_heritage_new/culture_treasure.jsp?mc=EN_04_01 164 MOFAT (2009). Diplomatic White Paper 2009 63

(http://cafe.naver.com/culturalaffairs) as a media for the government to inform the cultural activities and provide the cultural diplomacy related contents165. Besides cultural diplomacy and public diplomacy through internet, Korean artists remain as actor of the country’s cultural diplomacy abroad by holding more dynamic cultural events such as traditional and contemporary dance performance and art exhibitions166. (MOFAT, 2009) (MOFAT, 2011) Regarding with cultural events abroad or within the country (but engaging international community), the government has formulated the long term cultural diplomacy project in which it is different from previous administration. For instance, during last London Olympic 2012 Ministry of Culture, Sports, and Tourism held a month of Korean cultural festival from July 27 – August 12 2012 in which Korean government use this moment to show the world that the country is rich of culture besides as the emerging economy country167. Besides the momentary event, the government also conduct annual cultural event such as the annual Korea Festival in Brussels, Belgium. In addition, the government is using Korean Film and Korean TV dramas –in which they are the component of Korean Wave, as a visual media to promote public diplomacy by offering overseas TV stations, videotapes, and DVDs of Korean film or K-drama that publicize Korea and Korea Culture (MOFAT, 2009).

3.3 Korean Wave in Korea’s Cultural Diplomacy

The popularity of Korean Wave makes it treated not only as Korean cultural popular culture but also as the cultural industry product. According to the Basic Law for the Promotions of Cultural Industry, records/tapes, video, broadcasting, and performance (theater, music, dance) are included as the commodities of the cultural

165 Ibid. 166 MOFAT (2011). Diplomatic White Paper 2011 167 Je-Hae, Do (2012). Sustaining, Expanding Korean Wave. Retrieved September 15, 2012 from http://www.koreatimes.co.kr/www/news/nation/2012/09/386_110961.html 64 industry and these commodities also included as the content of Korean Wave – Korean drama and K-Pop. Korean drama is the example of video and broadcasting products, while K-Pop is the example of records/tape and performance (theater, music, dance) product. Ever since 2000s, the wave has widely spread across the region and led the Korea Wave to be as means of cultural diplomacy by the country. The cultural diplomacy through Korean Wave implemented by both government institutions and non-government actors like individuals and corporations on their activities.

3.3.1 Korean Wave in Korea’s Cultural Diplomacy through Government Institutions

Korean government sees Korean Wave more than just popular culture and cultural industry product, Korean Wave seen as one of the effective ways of cultural diplomacy since it enables the more dynamic cultural exchange that engaged huge number of people. In the other word, Korean government realized a least two things about Korean Wave: it brings an economic benefit as cultural industry product and it is able to support Korea’s nation brand image. Ministry of Foreign Affairs and Trade and Ministry of Cultural, Sports, and Tourism are two Korean government institutions that have an important role to support, introduce, and expand the Korean Wave as popular culture as well as cultural diplomacy to domestic and overseas public through its cultural policy, related projects, and extension agencies.

3.3.1.1 Ministry of Foreign Affairs and Trade

As its function as ministry of foreign affairs and trade168, MOFAT considers Korean Wave as Korea’s cultural diplomacy through its cultural policy and by

168 At first on its establishment on July 17, 1948, the ministry was inaugurated as the Ministry of Foreign Affairs who is in charge of diplomacy, external economic policy, overseas Korean national, 65 broaden the market of Korean Wave through diplomatic relationship. MOFAT, eventually, is actively seeking the opportunities to have diplomatic relations with many countries in many fields, including culture. Korean government is aware enough about culture as its soft power and about the trend of using soft power in IR recently. Thus, Korean government institutions simultaneously use the value of culture on their activity, including MOFAT in which it makes cultural diplomacy as a new pillar of country’s diplomatic make up169. The popularity of Korean Wave is not merely about the development cultural content industry and pop culture of Korea, but it also gives significant impact to Korean image as a country and that is what MOFAT does. As explain on 2006 Diplomatic White Paper about Korean foreign policy in 2005, it is said that,

“Moreover, building upon the positive image from the “Korean Wave,” MOFAT has engaged in public diplomacy, increasing cultural and promotional activities to further enhance the national image as a leading country in the cultural field”170.

In accordance with that, MOFAT has put the issue of Korean Wave on its keys diplomatic tasks in which

“Korea will firmly establish its image as a charming country by strengthening its soft power through such means as Hallyu (Korean Wave)…”171

However, according to Principal Goals and Direction of Korean Cultural Diplomacy and Related Policy172, there are two goals of Korean cultural diplomacy:

international situation analysis and overseas affairs. Then, in 1998 the ministry was reorganized to be Ministry of Foreign Affairs and Trade. 169 Retrieved at December 3, 2012 from http://www.mofat.go.kr/ENG/policy/culture/overview/index.jsp?menu=m_20_150_10 170 MOFAT (2006). 2006 Diplomatic White Paper: “Promotion of Korean Culture Through the ‘Korean Wave’”. Retrieved from http://www.mofat.go.kr/english/political/whitepaper/index.jsp Cited also on (Dwirezanti, 2012) 171 MOFAT. Key Diplomatic Tasks: Diplomacy that Contributes to Global Co-prosperity. Retrieved at December 3, 2012 from http://www.mofat.go.kr/ENG at 11.52pm 66

1. Promotion of cooperation with other countries through cultural exchanges

 Supports for various cultural exchange programs implemented both at the governmental and non-governmental levels will create a solid foundation for cooperation among Korea and other countries.

 In this age of globalization, cultural exchange programs will not only help Korea cultivate its national cultural identity, but also raise the awareness and appreciation of its people for the diverse cultures around the world.

2. Strengthening of the national competitiveness by enhancing the national image

 As 'culture' has become one of the major keywords of the 21st century, the economic effects of the culture industry with its high-value-added businesses are being reassessed. Diplomatic efforts in cultural affairs will therefore contribute to enhancing the national image of Korea in abroad which in turn will contribute to strengthening the overall competitiveness of it throughout the international community.

In doing so, MOFAT works with local government to reach the domestic public as its cultural diplomacy and public diplomacy’s object. Besides, it also works with its extensions agency or affiliates such as embassies and consulates abroad in pursuing its goals to reach overseas public. As of now, Republic of Korea has diplomatic relations with around 189 countries173 in five regions with 200s missions overseas174 in those countries. As representative of Korea in foreign country, embassies and consulates abroad are established across the world for the implementation of its

172 MOFAT (2007). Principal Goals and Direction of Korean Cultural Diplomacy and Related Policy. Retrieved at December 3, 2012 from http://www.mofat.go.kr/webmodule/htsboard/template/read/korboardread.jsp?typeID=12&boardid=31 3&seqno=298757&c=&t=&pagenum=1&tableName=TYPE_ENGLISH&pc=&dc=&wc=&lu=&vu= &iu=&du= Cited also on (Dwirezanti, 2012) 173 MOFAT. Countries in Diplomatic Relations with ROK. Retrieved at December 6, 2012 from http://www.mofat.go.kr/ENG/ministry/relations/index.jsp?menu=m_50_120 at 12.39 am 174 MOFAT, Missions Overseas. Retrieved at December 6, 2012 from http://www.mofat.go.kr/ENG/ministry/overseas/asia/index.jsp?menu=m_50_70 at 12.40 am 67 foreign policies in pursuing the goals through its programs. The Embassy of Republic of Korea to the Republic of Singapore, for instance, since 2008 (Korea Festival 2008: Sparkling with Culture) hold an annual event called Korea Festival as a vital part of the Embassy’s efforts to promote cross-cultural understanding between Singapore and Korea175. Oh Joon, Korean Ambassador to Singapore, says “The Korea Festival in Singapore is designed to highlight and strengthen the warm and friendly relations between Singaporeans and Koreans”176. The Korea Festival consists of food festival, Korean Film Festival, K-Pop Night Concert, contemporary arts and photography exhibition, Korean language contest, and charity event177178.

The Embassy of Republic of Korea to Canada conducted Korean cultural events to commemorate the 50th anniversary of diplomatic relationship between the two countries. The Embassy held 2nd Monthly Korean Movie Screening in 29 November 2012 by invited about 50 members of The Association of Korean Seniors in Ottawa for Scandal Makers (2008) directed by Kang Hyung-Chul and the 3rd Monthly Korean Movie Screening on December will invite members of the diplomatic missions in Ottawa to introduce the poplar Korean films and further promote public diplomacy and cultural exchange between the two countries179. The

175 The Embassy of the Republic of Korea to the Republic of Singapore (2010). Korea Festival 2010. Retrieved at December 6, 2012 from http://sgp.mofat.go.kr/english/as/sgp/mission/embassy/index.jsp at 1.53pm 176 The Embassy of the Republic of Korea to the Republic of Singapore (2012). Launch the Korea Festival 2012. Retrieved at December 6, 2012 from http://sgp.mofat.go.kr/webmodule/htsboard/template/read/legengreadboard.jsp?typeID=16&boardid=5 775&seqno=683860&c=TITLE&t=&pagenum=1&tableName=TYPE_ENGLEGATIO&pc=&dc=&w c=&lu=&vu=&iu=&du= at 2.04 pm 177 (x)clusive (2011). Korea Festival 2011 in Singapore. Retrieved at December 6, 2012 from http://x- clusive.sg/2011/10/06/korea-festival-2011-in-singapore/ at 3.00 pm 178 The Embassy of the Republic of Korea to the Republic of Singapore (2010). Korea Festival 2010. Retrieved at December 6, 2012 from http://sgp.mofat.go.kr/english/as/sgp/mission/embassy/index.jsp at 1.53 pm 179 The Embassy of the Republic of Korea to Canada (2012). 2nd Monthly Korean Movie Screening. Retrieved at December 6, 2012 form http://can- ottawa.mofat.go.kr/webmodule/htsboard/template/read/legengreadboard.jsp?typeID=16&boardid=819 2&seqno=686921&c=&t=&pagenum=1&tableName=TYPE_ENGLEGATIO&pc=&dc=&wc=&lu=& vu=&iu=&du= at 4.19 pm 68

Embassy also held another event called Korean Cultural Caravan for a 19 night 20 days journey across Canada from Vancouver, BC all the way to Charlottetown, PE with 12 hand-picked participants to perform in 12 major Canadian cities and share Korean culture all across Canada180. Ambassador of the Republic of Korea Joo-Hong Nam on his Launching 50th Anniversary Speech said that,

“I am certain that the global expansion of Korean culture which is called ‘Hallyu’ has contributed to our people-to-people links and cultural exchanges…The Korean cultural events that have been planned will demonstrate the Korean Wave through national tours of performances, concerts, shows and exhibitions. I am confident that these people-to-people connections, especially among our youth, who have flexible and open minds, will continue to play a major role working as liaisons between our two countries”181

MOFAT also works with its affiliates such as Korean Foundation to lunch related programs. In order to promote awareness and understanding of Korea, as a representative organization for Korea’s public diplomacy, the Foundation implements a variety of activities and programs since it was established in 1991. Accordingly, the Foundation’s programs including support for Korean studies; culture and arts exchanges; intellectual exchanges and forums, support for policy research; and publication and media, distribution of Korea’s material studies (Foundation, 2010). Through these programs, the Foundation use Korean Wave as an object of its public diplomacy activities. The popularity of Korean popular culture has swept across the region, and it leads to the increasing of the interest of global public mostly the youth towards Korea’s culture. In accordance with that, the Korea Foundation has supported the 6th Jeju Forum for Peace and Prosperity in 2011 by

180 All TV Korean Cultural Caravan retrieved at December 6, 2012 from http://www.alltv.ca/Event_Caravan at 4.32 pm 181 Joo Hong-Nam (2012). Launching 50th Anniversary Speech. Retrieved at December 6, 2012 from http://can- ottawa.mofat.go.kr/webmodule/common/download.jsp?boardid=8587&tablename=TYPE_ENGLEGA TIO&seqno=fee066004074036fb4026047&fileseq=015006fd3f8df95fb4ff8f8d at 4.00pm 69 organized two sessions for the forum and one of them themed “The Korean Wave (Hallyu) and Cultural Fusion in East Asia” (Foundation, 2011). As part of the Foundation’s Multimedia program, it is also broadcasted Korean TV dramas overseas in order to introduce Korean culture and increase the cultural exchange with regions. In 2010 the Foundation completed the dubbing of Dae Jang Geum Jewel in the Palace in French and Spanish and My Fair Lady and Queen of Housewives in Spanish in 2011182. Together with MOFAT and other related organizations, the Foundation has organized cultural events to support governments’ diplomatic activities. Korea-Japan Festival is one of the annual cultural exchange programs hosted by the Foundation. Even since its first establishment in 2005, the festival is about the effort of the two countries to promote the friendship and cultural exchange183. The festival featured some events including traditional music and dance performance of both countries, kimchi-making, music concerts by Hallyu stars, auction by Hallyu artists, K-Pop dance cover and such (Foundation, 2010) (Foundation, 2011).

3.3.1.2 Ministry of Culture, Sports, and Tourism

The Ministry of Culture, Sports and Tourism was inaugurated on February 28, 2008 in which before it was Ministry of Culture and Tourism. MCST is one of the foremen of Korean government institutions that responsible in promoting the Korean culture. Mr. Yu In-Chon (Ministry of culture 2008-2011 periods) said that, “letting our culture be known to other countries is the top priority for the government. It is time that not only the economy but also our culture be known to

182 The Korea Foundation (2010). 2010 Annual Report. p. 45 183 Seth, Radhika (2012). National: Republic of Korea and Japan Festival Proceeds as Per Plans. The Japan Daily Press. Retrieved at December 7, 2012 form http://japandailypress.com/south-korea-and- japan-friendship-festival-proceeds-as-per-plans-0113973 at 2.10 am 70 other countries”184.It relates with upgrading Korea’s national brand might be the key focus of the Ministry’s culture policy. MCST put an effort to find the best strategy in pursuing its policy, and Korean Wave has ability to help out the Ministry. Minister of Culture, Sports, and Tourism explained that,

“The ministry has set up public relations offices overseas called ‘Korea Plaza’ to strengthen the country’s image through globalization of hallyu, the boom of Korean pop culture overseas. In particular, the government will support exchanges of cultural contents with foreign countries away from unilateral or export-oriented activities”185

In this regard, Korean Wave is able to project the image of the country through the pop culture that has more flexibility to be accepted in both local and overseas participant. MCST is aware enough about this Korean Wave’s ability and the Ministry shows its interest to further the promotion of Korean image through Korean Wave by put links or publications regarding with Korean Wave. It is as Minister of Culture Choe Kwang-Shik (2011-present) argued “For the first time in nation’s 5.000-year-old history Korea is exporting its culture and history to foreign countries. The image of Korea and its brand are being boosted by the current Korean Wave”186. Thus, MCST has set its strategy of activities based on five different targets: individual, society, economy, region, and world in which it is hoped to be effective to get the best result (see Scheme 3.2). MCST’s role is not only promoting it though the cultural exchanges but also through its cultural policy that can support the development of the cultural content itself. As reported on The Korea

184 Cheng, L.-C. (2008). The Korea Brand: The Cultural Dimension of Republic of Korea's Branding in 2008". In SAIS U.S.-Korea Year Book 2008 (pp. 73-85). John Hopkins University. p. 79 185 MCT (2006). Hallyu is new growth engine in culture industry. Retrieved at December 7, 2012 from http://www/mct.go.kr/english/issueView.jsp?pSeq=42 at 11.53 am Cited also in (Dwirezanti, 2012) p.33 186 Arts & Living: Culture Minister Speaks on Korean Wave “Korean Wave is Key to Tourism, Exports” on The Seoul Times. Retrieved at December 7, 2012 from http://theseoultimes.com/ST/?url=/ST/db/read.php?idx=11451 at 3.23 pm 71

Herald (2012), MCST has set up comprehensive plans for hallyu, such as building infrastructure for better content development, facilitating a support system for less popular Korean cultural genres, and promoting cultural exchanges to prevent anti- Korean sentiment.

Encourages citizens' Individual participation Scheme 3.2

Encourages the creativity of Society artists and profesionals

Improves the creativity MCST Economy industry on the basis of social crativity

Crates new and unique Region characteristics to each region and residents

Participates in and plays an World important role in cultural exhcnage

Source: http://c030.wtuc.edu.tw/ezcatfiles/c030/img/img/743/282605760.pdf (Dwirezanti, 2012)

However, the recent Korean Wave phenomenon shows more about the popularity of Korean pop culture, but it is not for Korean traditional culture. That is why, MCST is about to add Korean traditional culture as new driving force into Korean Wave as the effort of the ministry to promote both traditional and contemporary culture of the country. In accordance with that, MCST has launched a so called K-Culture Promotion Task Force in January 2012 as an advisory committee

72 on Korean Wave includes experts such KTO chief Lee Charm, KwangJuYo CEO Cho Tae-Kwon, fashion designer Lie Sang-bong, master percussionist and professor at Korea National University of Arts Kim Duk Soo and such. The addition of more Korean traditional culture into Korean Wave indicates that ever since Korean Wave is able to reach broader scale of audience, Korean Wave is an effective tool to introduce both Korean contemporary and traditional culture abroad. The Korean Culture and Information Service (KOCIS) is one of the extension agencies of MCST who works with the Ministry in implementing its cultural diplomacy and public diplomacy. KOCIS plays role as the foreman in promoting variety of Korean culture overseas, including Korean Wave, as means to introduce Korean culture as well as uplift the country’s image through international cultural exchanges and cooperation187188. KOCIS is engaged in planning overseas Korean culture promotions, building and running Korean Cultural Centers in other nations, holding Korean culture festivals, launching various culture promotion programs, reinforcing cultural exchanges and cultural cooperation, making and distributing all sorts of publications, running Korea’s No.1 overseas promotion portal “korea.net,” inviting foreign journalist and providing support to foreign correspondents (Choul- Woong, 2010). Since 2001, KOCIS run korea.net as an online portal to get more information about Korea189. The web provides information from politics to business, sports to Korean Wave, and science and technology to life in English, Chinese, Japanese, Spanish and Arabic language version to reach broader audience. As one of the issues on Korean culture, KOCIS serves news related with Korean Wave and has launched at least three publications related with Korean Wave like The Korean

187 Jin-Yung, Woo. Greetings, Welcome to Korean Culture and Information Service Website. Retrieved at December 9, 2012 from http://www.kocis.go.kr/en/web/kocis/kocis_greetings.asp at 2.57pm 188 Choul-Woong, Yeon (2010). KOCIS is at the Forefront of Promoting Culture around the World. Retrieved at December 9, 2012 from http://www.koreaittimes.com/story/9752/kocis-forefront- promoting-korean-culture-around-world at 3.15pm 189 KOCIS. The Korea Blog: About Us. Retrieved at December 10, 2012 from http://blog.korea.net/?page_id=2 at 5.47pm 73

Wave: A New Pop Culture Phenomenon (2011), K-Drama: A New TV Genre with Global Appeal (2011), and K-Pop: A New Force in Pop Music (2011). These publications are as means of KOCIS public diplomacy in introducing the country’s pop culture as them explained about the history of Korean Wave as a hybrid culture and its development till present and can be accessed through Korea.net. KOCIS realized that, in this 21st century when the importance of soft power is rising, it is the best way to maximize the country soft power. Thus, Seo Kang-soo told (Kyung-Min, 2011) that KOCIS prepares various strategies for the sustainable of Korean Wave spread by strengthening supports and investment for development of excellent cultural content in order to provide excellent view towards Korea through it. The strategies also include strategy to re-produce Hallyu centering on such public culture as K-Pop and movies to the overall Korean culture190. In line with that KOCIS will push ahead the ‘Hallyu concert world tour’ by the Korean stars and establish a systematically supports activities of Hallyu fan clubs and K-Pop cafes in the world. KOCIS has launched The Korea Blog (http://blog.korea.net) to deliver the information on the young and hip side of Korea, includes Korean Wave, and gives a room for people all over the world to share their thought towards Korea in page Worldwide Korea Bloggers. In addition, KOCIS has build and run around 36 overseas offices (includes cultural centers) in 31 countries, as of now, to expedite the promotion of Korean culture. KOCIS keeps establish and operate the cultural center either in developed or in developing countries which have great demands for Korean Wave191. The centers responsible for supporting the advancement of Korean culture into foreign markets to ensure the continuous spread of Hallyu as well as the globalization of Korean culture, the promotion of Korean trend in foreign countries and reinforcement of online

190 Sung-mi, Kim (2012). KOCIS to set up Korean cultural centers in developing countries. Retrieved at December 10, 2012 from http://www.cultureindevelopment.nl/News/Heritage%20Asia/1435/KOCIS_to_set_up_Korean_cultura l_centers_in_developing_countries at 8.05pm 191 Ibid 74 information services, Korean center will offer tailored culture and tourism services one-notch higher in standard192. In doing so, the centers offer introduction to Korean language class by providing Korean language class, publish and distributes promotional materials on Korea, and operate libraries. The centers also run programs related to Korean Wave such as Hallyu Camp 2012: Exploring Korean Pop and Traditional Culture by Korean Cultural Center Washington DC. A 5-day camp from August 6-10 2012 including workshops, lessons, discussions, and creative projects are designed to give fans of Korean pop culture fans in the region a deeper understanding of Korea as a country, its people, and society from which Korean pop culture originates193. Taking an advantage of London Olympic 2012, KCC London host a 100-day festival titled All Eyes on Korea in London. An attractive effort done by Korea in implementing its cultural diplomacy through this event, in which there are numbers of K-Supporters consist of non-Korean people who rode a two-storey bus that went around across the capital to promote the event by singing and dancing some K-Pop hits songs194. The festival hosted in some places across the capital featured K-Tradition, K-Sports, K-Comedy, K-Pop, K-Food, K-Film, and K-Arts. Korean Tourism Organization is another organization works under MCST. The organization was established in 1962 according to Tourism Promotion Law launched in 1961. Basically the organization established as means to develop Korean culture and tourism through promotion activities to attract the tourists, conduct research as well as improve country’s tourism technology and the development of lodging house and consultation (Dwirezanti, 2012). According to KTO CEO Lee

192 Korean Cultural Centers Overseas – Promoting Korea on Global Scale. Retrieved at December 10, 2012 from http://www.koreabrand.net/en/know/know_view.do?CATE_CD=0002&SEQ=2650 at 1.43pm 193 KCC DC (2012). Hallyu Camp 2012: Exploring Korean Pop & Traditional Cutlure August 6-10! Retrieved at December 12, 2012 from http://www.koreaculturedc.org/En/Explore/Content.asp?Idx=39&Part=KL at 5.41 am

194 KCC UK (2012). ‘All Eyes On Korea’ 2012 + K-Pop Night at KCC UK. Accessed at December 12, 2012 via http://www.korea.net/Resources/Multimedia/Video/view?articleId=2893 at 6.07 am 75

Cham, there are five rim must be carried out for Korean tourism to thrive195: Ddul rim (swaying) corresponds to wood (木) and means tourists need to have fun and be excited. Ggeul rim (attention) corresponds with fire (火), meaning Korean tourism should have lots of attractions to draw visitors. Eul rim (harmony) corresponds to earth (土), meaning every part of the tourism industry should be encouraged to grow organically. Ul rim (resonance) corresponds to metal (金), indicating that for tourism, people’s emotions need to be touched. Mombu rim (struggle) is for water (水), emphasizing that for those four Rim mentioned above, one needs to act. KTO recently takes an advantage of the popularity phenomenon Korean Wave that led global attention towards Korea to promote Korea as a world-class travel destination196. In responding to that, KTO has established The Korean Wave Cultural Center at the KTO duty Free Shop at Incheon International Airport started to open on February 4, 2005. At the center, the visitors are able to watch Korean drama on a TV provided at the center, take a picture of their favorite dramas or movies, and purchase related goods197. KTO also has appointed some Hallyu stars as the ambassador of KTO’s tourism programs. Actor Jung Jun-Ho was chosen as ambassador of the program Visit Gyeonggi-Korea 2005. Jung Jun-Ho involved in Goyang Marathon event, one of the event of this program, held in Goyang city Gyeonggi province (Dwirezanti, 2012). Accordingly, KTO has around 26 overseas offices spread in 7 regions –Europe, Russia, Asia and Oceania, Africa, China, Japan and America. These overseas offices established as means to provide information related to Korean culture and tourism as well as promote it through various programs such as Hallyu Star Searching in Seoul by KTO Singapore. The program is about the hunt for

195 Thacker, Todd (2011). The Philosophy of Promoting Korea’s Tourist Destinations. The Jeju Weekly. Retrieved at December 12, 2012 from http://www.jejuweekly.com/news/articleView.html?idxno=1904 at 8.08 am 196 KTO. About KTO: Vision. Retrieved at December 12, 2012 from http://kto.visitkorea.or.kr/eng/overview/About/vision.kto at 9.16 am 197 KTO. Korean Wave Cultural Center Opens at Incheon International Airport. Retrieved at December 12, 2012 from http://english.visitkorea.or.kr/enu/FU/FU_EN_15.jsp?cid=288856 at 9.18 am 76

Korean Wave spots such as HaHa’s (comedian, singer, and Running Man member) Pal Ja Mak Chang restaurant and actor So Ji Sub’s café A Twosome Place 51k and the participants have to visit the following locations and take the picture of them in front of the café198.

3.3.2 Korean Wave in Korea’s Cultural Diplomacy through Non- Government Actors Activities

The trend of soft power in the 21st century leads countries to pursue their interest through non-traditional diplomacy such cultural diplomacy and public diplomacy. Hence, the non-traditional diplomacy is not only came up with the traditional issues such culture but it is also involved the non-government actors in which both of them seen as secondary in diplomacy practice. That is what Korea does on its cultural diplomacy, more likely through Korean Wave. It involves all the actors –government institutions, corporate, and individuals, to introduce its culture across the globe, fostering understanding towards them through the public diplomacy by using culture, and to trigger cooperation with other countries through cultural exchange. Hallyu stars and TV companies are the non-government actors who involved in Korean cultural diplomacy practice through Korean Wave. Korea, however, becomes the world’s most advanced ICT economy country among 152 countries according to annual study report of International Telecommunication Union (ITU) for a third time in a row199. Korean government has made related policy as its effort to improve the development of its ICT. As a result, ICT has integrated into many aspects of society. As of June 2009, there were more than 94% of total households in Korea or it was about 15.9 million out of 16.9

198 KTO Singapore. Hallyu Star Searching in Seoul!. Accessed at December 12, 2012 from http://asiaenglish.visitkorea.or.kr/ena/enaBoard.kto?func_name=notice&jsp_name=OO/sigTravelFeed backNotice&bbs_id=OFFICE_TRAVELTALK&city_code=SIG&lang_se=ENA at 9.55 am 199 Phneah, Ellyne (2012). ITU: Republic of Korea Top ICT Nation Again. Retrieved at December 18, 2012 from http://www.zdnet.com/itu-south-korea-top-ict-nation-again-7000005658/ at 4.43pm 77 million households are using broadband services200. In accordance with that, Korea utilizes its power of ICT to farther and faster its cultural diplomacy activities to foster deeper understanding towards its culture and nation’s image through a cheap way of promotion activities through internet. The non-government actors, Hallyu stars and TV companies are using internet to post a video to visualize the cultural content on Korean Wave and using social media such Twitter and Facebook to spread the wave.

3.3.2.1 Hallyu Stars: Non-official Diplomats

In doing their activities, Hallyu stars play a multirole as an artist as well as non-official diplomat. Acted as certain character on drama or perform on stage as singer or musician is indeed their role as an artist. However, by doing so, at the same time they are also playing their hidden roles as non-official diplomat who doing the cultural diplomacy. Basically, the function of a diplomat is as a representative of a country who communicates and promotes the home country’s interest to the host countries. In case of Hallyu stars, they communicate and promote the nation interest by doing cultural diplomacy through their activities and they have a capability to persuade the foreign audiences. There are at least three roles of Hallyu stars on their ‘diplomatic’ activities: introduce Korean language, introduce Korean culture (traditional and modern), and promote local tourism. Hallyu stars often communicate with their fans through their social media account such as Twitter, Weibo, Kakao, or Line. They are not initially communicated one-to-one with their fans, they communicate generally with the fans by sharing the updates of their activity or such instead. Through this, the Hallyu stars introduce the Korean language as they shared information through their account using Hangeul – Korean character and it actually triggers the fans to learn the Korean language in

200 Ahn, Chriss (2011). Korea’s Information and Communication Technology Industry. Retrieved at December 18, 2012 from http://www.globaltrade.net/f/market-research/text/South- Korea/Computers-Telecommunications-Internet-Korea-s-Information-and-Communication- Technology-Industry.html at 4.53pm 78 order to understand what the stars tweeted. There are many fans from non-Korea origin, such as CNBLUE4INA – a fanbase of CNBLUE’s fans in Indonesia (see Figure 3.5), who translated the artist’s tweet into their language. According to a survey by Kyung Hee University’s Institute of International Education, nearly 60 percent of the 524 Korean language learners from 65 nations responded that K-pop influenced them to learn the language201. Dana a non-Korean K-pop fans, for instance, argued that “So influential was K-pop in my decision to study Korean that I will likely never forget (or abandon) my obsession with Super Junior’s ‘Don’t Don’, which was the first K-pop song that I ever heard”202. It shows that, K-pop stars have attracted their fans to learn Korean language as the fans want to understand the meaning of the song. It goes to K- drama as well. Alongside with many K- Dramas aired abroad, it also helped to introduce Korean language to the overseas audiences. The Winter Sonata’s influence in Japan, for instance, trigger to the Figure 3.5 CNBLUE’s tweet about their activity translated existence of many Korean language into Bahasa.

203 schools in the country . In the other Source http://cnblue4ina.com/twittertransphoto-11-12- 2012-cnblue-memperlihatkan-photo-mereka-sedang- hand, Hallyu stars’ activities possible the berlatih-untuk-konser-blue-night-3 introduction of Korean culture both traditional and modern. As explained earlier, K- drama and K-pop are a hybrid culture in which both of them possible to contains both the traditional and modern culture of Korea even at the same time. CNBLUE’s Jung

201 Whan-woo, Yi (2012). K-pop Motivates Foreigners to Learn Korean. Retrieved at December 15, 2012 from http://www.koreatimes.co.kr/www/news/nation/2012/04/113_108361.html at 8.18 am 202 Dana (2012). From K-pop to the Classroom. Retrieved at December 15, 2012 from http://seoulbeats.com/2012/01/from-k-pop-to-the-classroom/ at 8.26 am 203 Ibid. p. 18 79

Yong Hwa has arranged the famous Korean folk song Arirang204 to have more modern sound during the KBS Music Bank in Chile205. Together with the other K- Pop stars who performed at that time, they led the audiences whom consist of Chileans and from other Latin America counties such as Peruvians to acknowledge as well as enjoy the Korean folk song206. Besides introduces the folk song, Hallyu stars are also introduce other Korean traditional culture such as Chuseok and Hanbok. Chuseok equals with Thanksgiving Day for Korean where they celebrate it at the 15th day of the eighth lunar month and is one of the major national holidays in Korea207. Koreans will spend their Chuseok day traditionally by doing religious service at home to remember their accentors, wearing Hanbok –traditional cloth, visit their family’s home, eating traditional Figure 3.6

YoonA, Yuri, and Taeyon of SNSD wear Hanbok to celebrate Chuseok day Source http://www.allkpop.com/2012/09/girls-generations-yoona-yuri-and-taeyeon-send-message-to-fans-for-chuseok

204 Djgukfan, Arirang sung by Ri Kyong Suk – 리경숙. Retrieved at December 16, 2012 from http://www.youtube.com/watch?v=7FlXH9CGnvw at 5.45pm 205 Park Hyun-min (2012). CNBLUE’s Jung Yong Hwa Shows Off His Many Talents in ‘Music bank in Chile’. Translated by Erika Kim. Retrieved at December 16, 2012 from http://enewsworld.mnet.com/enews/contents.asp?idx=21360 at 3.16pm 206 아로 하, 121117 Music Bank Chile - CNBLUE Arirang+Run To You. Retreieved at December 16, 2012 from http://www.youtube.com/watch?feature=player_embedded&v=Snd2XkNnr7Y from 00.00” – 02.07” at 1.59pm 207 Retrieved at December 16, 2012 from http://encyclopedia2.thefreedictionary.com/Chuseok at 3.85pm 80 cuisine, and play along with families208. Hallyu stars such as YoonA, Yuri, and Taeyon of SNSD (Figure 3.6) are usually took a picture of them wearing Hanbok to send message Chuseok greeting to their fans. As they share their greeting through their channels, it makes possible for foreigner fans that still unfamiliar with Chuseok or Hanbok to acknowledge it. Hallyu stars are often chosen as an ambassador for tourism purposes, such as Super Junior who chosen as Korean Tourism Ambassador in 2011 by KTO209 and appointed as an honorary ambassador for Gangnam District of Seoul since 4th September 2012210. Accordingly, the popularity of Winter Sonata in Japan has attracted many of Japanese to visit Korea and gave an economic impact at 84 million won in tourism (KOCIS, 2011a). Chuncheon, Namiseom Island and Yongpyeong Ski Resort are the Winter Sonata filming location that becomes the ‘Korean Wave’ tourism destination (KOCIS, 2011a). Hence, it means that Hallyu stars and their appearance on K-drama contribute to the promotion of Korean tourism.

3.3.2.2 Broadcasting Stations

Arirang TV & Radio is one of the broadcasting stations that pursue cultural diplomacy of Korea. Since 1998, Arirang is designated the main operating body for overseas broadcasting by the Ministry of Culture and Tourism for the Republic or Korea. Carries out the slogan ‘Korea for the World, the World for Korea’, the company being a representative of Korea to burnish Korea’s image in international communities and to improve relationships with foreign countries through close

208 Chuesok – Time for Greeting and Sharing. Retreived at December 16, 2012 from http://rki.kbs.co.kr/english/news/news_issue_detail.htm?lang=e&No=22569¤t_page=4 at 4.38 pm 209 Ylee (2011). Super Junior Appointed as Korea’s Tourism Ambassadors. Retrieved at December 16 2012 from http://www.allkpop.com/2011/07/super-junior-appointed-as-koreas-tourism- ambassadors at 5.22pm 210 Super Junior to be Appointed as Honorary Ambassadors for Gangnam District of Seoul. Retrieved at December 16, 2012 from http://www.ohkpop.com/64872/super-junior-to-be-appointed-as- honorary-ambassadors-for-gangnam-district-seoul at 6.00pm 81 cooperation with broadcasting companies overseas211. “Arirang TV is a diplomat; at least we work with this mindset,” said the president and CEO of Arirang TV and Radio, Mr. Chang Myung-ho212. In doing so, Arirang has differentiated its plan according to its target: 1) Worldwide Channel: Real-time Informative channel about Korea (Korean Information + Tradition & Modern Cultural promotion + International Cooperation); 2) Domestic channel: Multilateral channel (Korean Information + Tradition & Modern Cultural promotion + Multicultural Understanding)213. Accordingly, even though the company established by MCST, they work independently to set plans and produce programs through its TV and radio channel which provide information about Korean culture, industries, and tourism all in English to foreigners and overseas Koreans214. Hence, the company has been to reach out to people around the world even to nations with less diplomatic power, and contributes to the development of Korean Wave and introducing the unique of Korean traditional culture abroad215. Arirang has several programs either on its TV or radio that contains Korean Wave, particularly K-Pop. Arirang TV’s ‘Pops in Seoul’ and ‘Simply K-Pop’ and Arirang Radio’s ‘K-Poppin’’, ‘Sound K’, and ‘the Roller Coaster’ are the programs that enables to expand the K-Pop to more countries. ‘Stars’ Road’ is one of Arirang TV’s programs that pursue the tourism promotion. Carries the concept of ‘follow the celebrity guests’ journey’, it lets the viewer to ‘join’ the journey across the country to discover the scenic places such as Olle Trail and Gotjawal in Jeju Island on the episode that featured 2AM’s Chang-min, Jo Kwon,

211 About Arirang: Company Profile. Retrieved at December 17, 2012 from http://www.arirang.co.kr/PrRoom/About_ArirangN1.asp?sys_lang=Eng at 9.85am 212 Min-hyung, Kim (2008). Arirang TV Pursues Cutlural Diplomacy. The Korea Herald. Retrieved at December 17, 2012 from http://www.asiamedia.ucla.edu/article.asp?parentid=88993 at 10.07am 213 About Arirang: Channel Profile. Retrieved at December 17, 2012 from http://www.arirang.co.kr/PrRoom/About_ArirangN3.asp?sys_lang=Eng at 10.12am 214 Min-hyung, Kim (2008). Arirang TV Pursues Cutlural Diplomacy. The Korea Herald. Retrieved at December 17, 2012 from http://www.asiamedia.ucla.edu/article.asp?parentid=88993 at 10.07am 215 Ibid. 82 and Jin-woon; Brown Eyed Girls’ Narsha, and NS Yoon-G216 to understand the true style and flavor of Korea by learning the history and culture of Korea217. Meanwhile, ‘Catch the Wave’ is a radio show with the concept of a Korean Wave magazine that takes the listeners beyond the world of K-Pop music into a brand new world of Korean culture218. This Arirang Radio program lets the listeners all over the world to acknowledge and learn Korean culture from food to health, and entertainment to drama by simply stream the show on its web or download the program to listen to it through mobile phone. Cultural diplomacy activities have also done by other TV companies like KBS, MBC, and SBS. These TV companies are actively produces various genre of drama that able to promote Korean culture. MBC’s Daejanggeum is one of the examples of K-dramas that portray Korean traditional culture in which it is based on a real historical figure of 16th century Joseon Korea, featuring beautiful clothing of the Joseon royal court, the restorations of Joseon architecture, and the colorful palace cuisine (take a look to page 157) (KOCIS, 2011a, p. 27). Foreign audiences are able to learn simple Korean language such as Annyeonhaseyo (Hallo), Sarangheyo (I love you) or Gumawoyo (thank you) through the K-drama. In the other hand, these TV companies also have its own music programs features all the latest K-Pop songs, MBC with its Music Core, KBS’s Music Bank, and SBS’s Inkigayo. These music programs provide the space for cultural exchange through Korean pop culture as they can be streamed through internet and even broadcasted in some countries. Lately, KBS is not only broadcasted the Music Bank program overseas, but it also hold an overseas concert of Music Bank like Music Bank in Chile, Hong Kong, and

216 Stars’ Road: 2AM, Narsha of Brown Eyed Girls, NS Yoon-G. Retrieved at December 17, 2012 from http://www.arirang.co.kr/Tv2/TVCommon_NoStaff_Archive.asp?PROG_CODE=TVCR0664&MENU_C ODE=101644&view_seq=5616&Page=1&sys_lang=Eng at 11.49 217 Retrieved at December 17, 2012 from http://www.arirang.co.kr/Tv2/Tv_About_Content.asp?PROG_CODE=TVCR0664%20&MENU_CODE=1 01645&code=Po2&sys_lang=Eng at 11.41am 218 Retrieved at December 17, 2012 from http://www.arirang.co.kr/Radio/Radio_DMB_Intro.asp?PROG_CODE=RADR0145&MENU_CODE=101 553&code=Be2 at 12.16am 83 upcoming event will hold in Jakarta. In addition, TV companies packaged its cultural diplomacy activities through more entertain program such variety show. SBS’s Running Man is one of the examples of the variety show program that serve cultural diplomacy in more fun way. The show is all about doing games to accomplish given mission by the permanent Running Man members and with the guests who initially are the Hallyu stars. The games have various and wide theme from ‘Hip-Hop Special’ to the ‘Running Man Olympics’ in many landmarks in Korea such Suwon World Cup Stadium, Namsangol Hanok Village, Korea International Exhibition Center (KINTEX), and National Museum of Korea. The show enables to project the advance and modern image of Korea while they took place in landmarks such Suwon World Cup Stadium, Korea International Exhibition Center (Kintex), and Gwacheon National Science Museum. The viewers also able to acknowledge Korean History of Uigwe –the royal protocols of a model of rites and rituals unique to Korea during the Joseon Kingdom through one of its episode title “Raiders of the Stolen Uigwe”219. As means to commemorate the return of the document, this episode took place in Ganghwa Island that accordingly it was where the books pillaged from Oegyujanggak (the Royal Library) by French troops and in National Museum of Korea where the books hosted now.

3.4 Summary

Korean popular culture that recently being so popular –well know as Korean Wave is initially a hybrid culture as it is a combination of Korean culture with western culture. The worldwide popularity of Korean Wave cannot be separated from its development influenced by several factors such cultural values, versatility of Korean stars, well-packaged performance, shifted cultural policy, entertainment

219 Ah-young, Chung (2010). Book Probes How to Retrieve Royal Protocols. The Korea Times. Retrieved at December 19, 2012 from http://www.google.com/#q=uigwe+national+museum+of+korea&hl=en&tbo=d&psj=1&ei=1T_RUPaa JsbnrAec1IDIAQ&start=10&sa=N&bav=on.2,or.r_gc.r_pw.r_qf.&fp=6f6b8cdf48e986e2&bpcl=400965 03&biw=651&bih=709 at 11.24pm 84 company, and media. K-Drama and K-Pop remains as the instrumental component of Korean Wave that portrays both traditional and modern culture of Korea. What is Love is proven that family centered as the theme, the simple stories with emotional powers and less sexual (as if it compares to Hollywood) that Winter Sonata brought, and the Korean Han intensities drama such as Jewel in the Palace that underlying the traditional trait Koreans are the true appeals that enables K-drama to be accepted in Confucian countries, non-Confucian countries, and even Western markets. It is doubled with the creativity of the story-maker in making interesting story with various backgrounds as Dream High shows the musical-school background and the politic issue influenced the romance story in The King Two Hearts, the chosen of filming spot in Lovers in Paris, advancement of technology used (to produce the drama and the one showed in the drama), and not to forget the stars acted on the drama. However, the influence of Western culture has touched the historical background of the country that being an alliance of USA during Cold War, has been involved in Korean War and Vietnam War where the USA troops placed in the country and started to introduce the western pop music. Since then, Koreans are familiar with western music sound form the folk song to the rock song of the Beatles. Ever since in 1990s, Korean music entered a new chapter of dance music. Seo Taji & Boys is claimed to lead the new trend of K-Pop to serve multi-sound song (by combining several genre of song, either modern or even traditional) with a flamboyant choreography during the performance. Since then, Korean music industry were filled by boybands and girlbands. The spread of Korean Wave has supported by the shifted policy of Korean government that enables the wave to be exported across the globe. However, here are the shifted cultural policies as well as cultural diplomacy of President Kim Dae Jung and President Lee Myung Bak’s regime.

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Table 3.1

Shifted Korean Cultural Policy during President Kim Dae Jung and President Lee Myung Bak’s eras

Kim Dae Jung Lee Myung Bak Background of shifted cultural To recover from the bad effect Korea’s nation branding indes policy of Asian financial crisis 1997. was ranked 33 out of 50 countries. Focus on cultural policy 1) Build up its own culture Upgrading Korea’s nation industry Image 2) Rising exports & building cross-cultural ties, including with Japan and China Cultural Policy 1) Cultural policy of the new On Lee administration’s 100 government (1998) policy task: 2) The Fie-Year Plan for the 1) Emphasizing diplomacy development of cultural stressing human rights and industries (1999) cultural interaction 3) The vision 21 for cultural 2) Creating an environment industries (2000a) where citizens can enjoy rich cultural and sports activities 4) The vision 21 for cultural industries in a digital society 3) Aiming to become a cultural (2001) power in which traditional and modern elements well balanced.

Budget For cultural industry 250 billion For Culture, Sports, Tourism won (1999-2003) 3.9 trillion won in 2010 and 3.6 trillion won in 2012 Establishment/ Creation/  Basic Law for the Promotion  MCST Changing of Cultural Industry  Presidential Council on  MCT Nation Branding  Cultural Industry Promotion  K-culture Promotion Task Fund Force  KOCCA  Korea Public Diplomacy  Korean Institute of Design Forum Promotion  Cultural Diplomacy website

Cultural Diplomacy practices The practice more likely in The practice involved both government-to-government government and public level  Participate in the activities of  Re-open the relationship with major International 86

Japan in terms of cultural Organization related with exchange culture such as UNESCO  The development of national  Engage Korean artists as culture as a united notion as actor of cultural diplomacy means of peaceful  Practice the long term CD reunification with North project: Korea - “All Eyes on Korea” a 100 days Korean cultural Festival in UK during Olympic London 2012 - Korea Festival overseas  K-Film and K-drama as means of public diplomacy

Source: Compile by the researcher from pg. 57 - 64

The shifted policy has happened during President Kim Dae Jung era was a turning point for Korea to export its cultural content products overseas. As means of a way to help to recovery country’s economic condition affected by the Asian financial crisis at first, Korean Wave then possible to serve cultural exchange as means of diplomacy purposes. Furthermore, the popularity, flexibility, and hybrid values are factors for Korean Wave served as cultural diplomacy as them enable it to project Korean traditional and modern culture moreover the whole image of the country. That is why; during President Lee Myung Bak’s regime cultural exchange through Korean Wave served to upgrade country’s image. Hence after, Korean Wave has been served as Korean’ cultural diplomacy by Korean government institutions such as MOFAT and MCST through their activities. However, the cultural diplomacy practice is not merely done by the government actors only; there are non-government actors like Hallyu stars and broadcasting stations who contributes to promote and introduce Korean language, Korean traditional and modern culture, and local tourism.

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Table 3.2 Korea’s Cultural Diplomacy Actors’ Activities

Broadcasting MOFAT MCST Hallyu Stars stations 1) through embassies 1) through KOCIS:  Introduce Korean  Various genre of TV and consulates  Run Kore.net and language through dramalike overseas: the Korea Blog to their line on drama Daejangaeum,  Hold annual Korea provide information or TV programs and Winter Sonata, Iris, Festival or special about Hallyu through their channel Heartrsings. events to  Push ahead “Hallyu account on social  Music programs like commemorate the concert world tour” media. KBS’ Music Bank, diplomatic by Korean artists  Introduce and SBS Inkigayo, MBC relationship  Establish and promote Korean Music Core anniversary that support activities of culture through their  Variety /TV Show: consists of food Hallyu fan clubs and activities as actor on Running Man and festival, Korean K-Pop cafes in the drama, live Stars Road. Film Festival, K- world performance of Pop night concert,  Promotional concert. contemporary arts program by KCC  Promote local and photography overseas such tourism through their exhibition, K-Pop Hallyu camp and K- drama and as they contest, and Korean Pop concert. own cafes or such. language contest

2) through Korean 2) through KTO: Foundation:  Established The  Support the Korean Korean Wave studies and forums Cultural Center at such forum KTO duty Free discussed related Shop at Incheon about Korean Wave International Airport  Support the culture  Engage Hallyu stars and art exchange by on KTO’s program broadcasted K- by appointed them drama abroad and as tourism such Korea-Japan ambassador. Festival.

Source: Compile by the researcher from pg. 64 - 84

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CHAPTER IV KOREAN WAVE AS REPUBLIC OF KOREA’S CULTURAL DIPLOMACY IN INDONESIA FROM 2002 –

2012

This chapter discusses about Korean Wave’s role as Korea’s cultural diplomacy as means to expand Korea’s cultural influence in Indonesia within period 2002-2012. Start with the discussion about Korea and Indonesia diplomatic relations. Follow by the explanation of Korean Wave’s development in Indonesia. Then continue with the analyzes on how Korean Wave as Korea’s cultural diplomacy contributes in expanding the Korean cultural influence through activities doing by Korean government institutions in Indonesia (ROK embassy in Jakarta, KCC Jakarta Office, and KTO Jakarta Office) and non-government actors (Hallyu stars and broadcasting stations). It is proven through its role to the existence of Korean Wave’s fans and fans community, encourage learning Korean language, encourage consuming other Korean cultural content products, and attracting Indonesians to visit Korea

4.1 Republic of Korea – Indonesia Diplomatic Relations

The fact that each country has ability and needed reflects on its national interest has triggered each country to pursue the relationship with another country, in which known as diplomatic relations, including Republic of Korea. Since the division in Korean Peninsula into the north and the south, the southern part of Korean Peninsula has established new government and declared them self as Republic of Korea (Republic of Korea) in 1948. Republic of Korea is actively seeking and establishes diplomatic relationship with other countries in the form of bilateral, regional and multilateral relations to pursue the national interests and fostering the nation’s image. Up until now, the country has diplomatic relations with 189 countries 89 in five regions including Indonesia. The relations between Korea and Indonesia began with the acknowledgement of Republic of Indonesia by Korea in 1949 then continued with relation on consulate level in 1966 as a starting point to have diplomatic relation. Diplomatic relation between Korea and Indonesia officially established on September 17, 1973 in which they have their embassy offices in each of both countries. Diplomatic relations of Korea-Indonesia is as a part of political cooperation between them and exchange visits of government officials is one of examples to maintain the political cooperation and relation among them. President of the Republic of Indonesia Susilo Bambang Yudhoyono and President of the Republic of Korea Roh Moo-hyun signed Joint Declaration on Strategic Partnership to Promote Friendship and Cooperation in the 21st Century in Jakarta on December 4, 2006 in which it is marking a new era of cooperation between the two countries220. In implementing the Strategic Partnership, President Roh Moo-hyun and President Susilo Bambang Yudhoyono were committed to assign the ROK-RI Joint Task Force to pursue strategic goals such current bilateral trade and investment to be doubled in 2012, doubling the movement of tourist between the two countries, enhancing bilateral cooperation for the development of renewable energy, expressing strong commitment to implement the projects of forestry, expanding defense industrial cooperation including joint production as a way to strengthen the bilateral defense relations and enhancing ICT cooperation including e-government, e-business and ICT vocational training221. Thus, the Strategic Partnership enables the relation of the two countries to grow significantly in various field including economy, security, trade, science and technology. Economy remains as one of the main interests of Korea in Indonesia, as First Secretary of Korean Embassy Mr. Kim Do Young said that:

220 MOFAT (2007). Joint Statement between the Republic of Korea and the Republic of Indonesia. Retrieved at December 27, 2012 from http://www.mofat.go.kr/webmodule/htsboard/template/read/korboardread.jsp?typeID=12&boardid=85 88&seqno=305331 at 7.56am 221 Ibid. 90

“Kepentingan nasional utama lainnya yang ingin dicapai Korea Selatan di Indonesia adalah di bidang ekonomi. Korea Selatan ingin mempromosikan kerjasama substansial menengah dan rencana ekonomi pembangunan jangka panjang di Indonesia. Korea Selatan sedang berusaha untuk memperluas perannya dalam masyarakat internasional dengan melakukan modernisasi ekonomi dan kebudayaan guna memberikan pengalaman dan keahliannya dengan Negara-negara berkembang, termasuk Indonesia.”222

Accordingly, Korea has grown to be the 6th biggest trade partner for Indonesia, while, as of now, Indonesia is the 10th biggest trade partner for Korea223. Both countries are potentially to have a symbiosis mutualism relation as, in one hand, Korea needs natural resources/mineral, labor, and large market that Indonesia has; while in the other hand Indonesia needs capital/investment, technology and technological product of Korea224. Korea-Indonesia cooperation also has touched the socio-cultural field. According to Ambassador of Republic of Korea to Republic of Indonesia, Mr. Kim Young-Sun, Korean Embassy in Indonesia will focus on developing a relationship based of mutual understanding between the two peoples wider by increasing cultural exchange225. In 2000, Korea and Indonesia has established their cultural cooperation through Agreement between the Government of the Republic of Indonesia and the Government of the Republic of Korea on Cultural Cooperation on November 28, 2000 ratified by Presidential Decree of Republic of Indonesia No. 92 Year 2007 on

222 Wahyudia, Ayu Riska (2012). Pengaruh Soft Diplomacy dalam Membangun Citra Korea Selatan di Indonesia. Universitas Hasanudin Makasar. Retrieved at October 4, 2012 from http://repository.unhas.ac.id/bitstream/handle/123456789/2204/SKRIPSI%20AYU%20RISKA%20WA HYUDIYA-SOFT%20DIPLOMACY%20KOREA%20SELATAN.docx?sequence=3 at 7.42am 223 Young-Sun, Kim. Selamat datang di Website Kedutaan Besar Republik Korea di Indonesia. Retrieved at December 26, 2012 from http://idn.mofat.go.kr/worldlanguage/asia/idn/mission/greetings/index.jsp at 3.44pm 224 Kedutaan Besar Republik Indonesia untuk Korea Selatan. Profil Negara dan Kerjasama: Korea Selatan. Retrieved at December 25, 2012 from http://www.kemlu.go.id/seoul/Pages/CountryProfile.aspx?l=id at 1.07pm 225 Ibid. 91

September 21, 2007. The purpose of this Agreement is to facilitate and encourage cooperation in the fields of culture, art, education including academic activity in the field of science and technology, public health, mass media of information and education, sports, and games, and journalism in order to contribute to a better knowledge of their respective cultures and activities in these fields (Yudhoyono, 2007). On the following year, the First Cultural Committee Meeting RI-ROK on May 14-15 2008 in Yogyakarta as further actions of the Agreement. These two agreements become a law-based for both countries to reflect their commitments to strengthen the relations not only government-to-government but also the people-to- people friendship through exchange related with culture, art, education (academic), science and technology, sports, public health, mass media, information, journalist and tourism. In accordance with the increasing of relationship between the two countries has influenced the interconnection among of Indonesians and Koreans, in early 2007 Indonesia-Korea Friendship Association (IKFA) has established in Jakarta; and prior to it, Korea-Indonesia Friendship Association (KIFA) has established in Seoul. As an effort to boost cultural exchange between Korea and Indonesia, in July 18, 2011 Korean Cultural Centre (KCC) officially opened in Jakarta. The purposes of its establishment are to introduce and spread the Korean culture in Indonesia, to boost friendship of both countries through cultural exchange and labor exchange, and to foster understanding between the two countries226. In recognition of the importance of culture and tourism exchange between Korea and Indonesia, a month before grand opening KCC Jakarta Office, on June 22, 2011 Korea Tourism Organization (KTO) has established its branch office in Jakarta. The KTO Jakarta Office aims to promote Korean culture and tourism among Korean and Indonesian citizens as well as organize exchange programs and joint cultural events227.

226 KCC Jakarta Office. Tujuan Pendirian. Retrieved at December 26, 2012 from http://id.korean- culture.org/navigator.do?siteCode=null&langCode=null&menuCode=201105180009&promImg=1309 399257064.gif&menuType=CH&subImg=1309399257064.gif at 11.12pm 227 KTO Jakarta Office. About Jakarta Office. Retrieved at December 27, 2012 from http://asiaenglish.visitkorea.or.kr/ena/OO/OO_EN_13_11_1.jsp at 8.59am 92

4.2 Korean Wave in Indonesia

The end of Cold War era possible a new shifted system on IR and it was the starting point for the spread of globalization. Globalization spreads into all of the countries and it continues to influence all level and all aspect of life. As discussed in Chapter Two, the trend of soft power has triggered many countries to use its culture in which considers as of their soft power and using popular culture has chosen to foster the nation interests. Thus, America implements this trend and spread its cultural influence through its popular culture named Hollywood by the help of globalization started on the 1950’s. During this era, Indonesians were enjoying the sound of Western popular music of America and British. Recordings of Pat Boone, Connie Francis, Elvis Presley, Ricky Nelson, Tom Jones and the Beatles constituted an important element of the sound archive used by Indonesian composers and musicians like Indonesian famous American-British influenced pop music band Koes Bersaudara (Koes Plus) 228. At first, Western cultural product has been banned during President Soekarno era as he denounced the harmful influence of American and European commercial culture. The shifted policy in Indonesia from President Soekarno to President Soeharto gave an impact on the country’s cultural policy in which under a new regime Indonesia has reopened its market for Western cultural product. As a result, Hollywood’s products such music, movies, fashion, food, games, TV programs and language become part of Indonesians life and the influence are greater than before. Hollywood is not the only one foreign popular culture that gains popularity in Indonesia and influences the citizens; there are several others such Bollywood in 1990s and early 2000s. India’s Bollywood might be less alien to Indonesians as it contains lots of Buddhism values and India’s culture has been spread into the country even before the Bollywood era. During the prehistory era,

228 Cassette-culture and Indonesian Pop Dangdut. Retrieved at December 28, 2012 from http://ebookbrowse.com/cassette-culture-and-indonesian-pop-music-pdf-d364183089 at 7.23am 93 many Indian traders stopped by in Indonesia on their way to China since Indonesia is centrally-located along ancient trading routes between the Far East and Middle East. During their transit’s time in Indonesia, the Indian traders interacted with local Indonesians and the cultural exchange process happened in this stage. Movies and music are the cultural product of Bollywood that really famous in Indonesia in 1990s and early 2000s. Featured Bollywood mega stars Sarukh Khan as Rahul, Kajol as Anjali, and Rani Mukherjee as Tina, Kuch Kuch Hota Hai (1998) being one of the most popular Indian movies in Indonesia even up until now. The popularity of Kuch Kuch Hota Hai can be seen through not only its high rating and its OST titled Kuch Kuch Hota Hai sounded all over the country but also through its countless time broadcasted in local TV. Kuch Kuch Hota Hai and other Bollywoods movies such Kabhi Kushi Kabhie Gham (2001), Mohabbatein (2000), and Dil Hai Tumhaara (2002) that gained many love from Indonesian viewers and is able to be re-aired more than just once or twice in Indonesia. Mexican TV series has also tasted its sweet popularity in Indonesia during these periods. Rosalinda, Maria Mercedes, Betty La Fea, and Barbarita are some of telenovelas, as how Mexican TV series called, that gained much love from Indonesian audiences dominated by women. Meanwhile, there are also telenovelas marketed for teens titled Mariana & Silvana, Carita de Angel, and Amigos X Siempre. 2000s is the turn of Asian dramas to mushroom in Indonesia, started from Taiwan’s TV series Meteor Garden in 2000 which became a big hit in the country. The story about F4 –a group consists of four rich flower-boys and one poor-girl had been attracted many women hearts from all ages. Prior to Meteor Garden, Asian movies have been mushroomed in Indonesia especially Hong Kong’s movies. The hype of Meteor Garden, however, was a starting point for Asian TV series to enjoy the popularity in Indonesian market. Dorama –Japanese TV drama is one of Japan’s popular culture products which have marketed in Indonesia. However, dorama did not get much fame in Indonesia if compares to other Japanese popular culture products such manga (Japanese comic) and anime. Japanese manga and anime already have a ‘secure’ place for its lovers in

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Indonesia has since its first invasion in the 1980s up until now Japanese manga can be find easily in many bookstore in Indonesia and Japanese anime such Doraemon and Naruto are still broadcasted on local TV as a special programs for kids and teens during weekend. Many countries’ popular cultures have entered Indonesian market; they are rapidly mushroomed to all country’s corners, and affected the social life of the people. After America’s Hollywood, India’s Bollywood, Mexico’s telenovela, and Japanese dorama; it is Korea’s turn to spread its popular culture namely Korean Wave in Indonesia. The entering of those foreign popular cultures into Indonesian market is initially as an implementation of cultural cooperation between those countries with Indonesian government. It goes the same for Republic of Korea where the country embarked its cultural cooperation with Indonesia through Agreement between the Government of the Republic of Indonesia and the Government of the Republic of Korea on Cultural Cooperation. As the implementation of this agreement, Korean popular culture product started to enter Indonesian market in the early 2000s. The development of Korean Wave in Indonesia runs similarly with other country in which it started with K-dramas broadcasted on local channels then continues with the hype of K-Pop.

4.2.1 Korean Drama in Indonesia

In 2002, Winter Sonata was the first Korean drama that broadcasted on Indonesian local channel SCTV229 and gained much love from the audiences. At the same year, Indosiar –local TV channel who identically broadcasted many Asian dramas or films, broadcasted another hit K-drama Endless Love. Winter Sonata and Endless Love brought something new to Indonesian viewers such new plot of history and dubbing technology in which it eases the viewers to enjoy the drama (Amellita,

229 Kurniawan, Ade (2012). Ulang Tahun Ke-10, Bintang Serial “Winter Sonata” Konser di Jepang. Retrieved at January 7, 2013 from http://www.cekricek.co.id/film/item/629-ulang-tahun-ke-10,- bintang-serial-%E2%80%9Cwinter-sonata%E2%80%9D-konser-di-jepang.html at 4.49pm 95

2010, p. 24). These two famous K-dramas succeed to grab attention of Indonesian viewers which has dominated by female and led it to get a good rating in which Endless Love’s rating was 10 during its first airing or around 2.8 million viewers in five big cities (Amellita, 2010, p. 25). The success of these two dramas then attracted another local channel to broadcast some K-dramas such as Glass Shoes and Lover by Trans TV at the same year. Slowly but surely, Korean dramas become alternative foreign dramas to be broadcasted in Indonesia along with Taiwanese TV series, Mexican Telenovela or Japanese dorama. Even though during that time numbers of Korean dramas were not that plenty if compares to Mexican telenovela for example, but Korean dramas still have many love from Indonesian viewers. That is because Korean drama has its own characteristic that distinguished it from other countries’ TV series. Dikka Kartika, a post graduate college student who started to go onto Korean Wave since 2007 has said that:

“First, the k-dramas itself usually doesn't have too much episodes. It does what it make different compared to American serial (such as GLEE, Vampire Diaries, etc) or Indonesian serial. So, I won't be too bored watching it. And how they build up the romantic scene, it usually creates such a goosebumps. While American tends to show "sexy mode", Japanese tends to add a bit "strong character" through fighting (Hana Yori Dango for example), and the k-dramas that I watched usually show such a cute scenes and unique messages and cultural” 230.

As mentioned by Dikka, Korean dramas tend to have no many episodes; one drama usually has 15-20s episodes or sometimes there are dramas with 30s to 60s episodes like Dae Jang Geum with 54 episodes and Dong Yi with 60 episodes. Thus, it is intended to keep a good story line and not to result to be boring for the viewers as if the drama has too long story line. Cultural values contains on Korean drama is also being importance for it to be accepted in Indonesian market. As discussed on previous chapter, Korean dramas portray Korean culture values in which it influences by

230 Kartika, Dikka (2012). Interviewed through email on Monday, January 7th, 2013. 96

Confucian and Asian values in general. Ever since Indonesia is a country with majority of Moslems, this country valued much Asian values and on top of that Indonesia has Pancasila as the basic values. There are common values between Confucianism of Korea and Pancasila of Indonesia such as the norms of family relation, filial piety, social order, loyalty to authority, respect for age, etc (Syamsuddin, 2012). Since Korean dramas portrays those values that is why Indonesians do not find any difficult in appreciate Korean dramas. In addition to that, Shin Yoon Hwan mentions about some of the following special features that Korean drama possesses such the story of K-TV drama is refreshing, the change of story line is dramatically powerful, Korean stars possess graceful appearance and personality, they have a good taste of fashion, and the story line of TV dramas is very appealing to the local viewers in which that appeal comes from their common problems, dilemmas, and sentiments231. Shin’s opinion echoed by Reni Oktafiani, who started to enjoy Korean Drama since she was in Junior High School because of Endless Love, by saying that

“mereka itu punya cerita yang enggak monoton, lucu, engga maksa kaya sinetron Indonesia dan totalitas banget kalo berkarya”232.

It means that those special feature of Korean dramas let them to have numerous loyal viewers from many ages. Table 4.1 below described several Korean dramas have broadcasted in Indonesia started from 2002 up until 2012. Those listed dramas show the various theme and story line of Korean Drama. From a very touching love story like Winter Sonata and Endless Love to a comedy-romantic story line like Full House and Secret Garden or traditional-background drama like Dong Yi and The Moon Embraces the Sun.

231 Shin, Yoon-hwan (2002). Pop Culture Phenomena in East Asia: Comparative analysis and Evaluation. In East Asian Studies. Vol. 42. Korea: Sogang University. Cited on Mukhtasar Syamsuddin (2012). Hallyu and Indonesia (Hallyu Status in Indonesia and Its Impact). In The Cultural Cooperation and Korean Wave (Hallyu) Seminar. Jakarta: KCC Jakarta Office. pp.7 232 Oktafiani, Reni (2012) Interviewed through email at January 8, 2013. 97

Table 4.1 Korean Dramas have broadcasted in Indonesia

Broadcasted Broadcasted No Drama’s Title No Drama’s Title Year Year 1 Winter Sonata 2002 17 Stairway to Heaven 2007 2 Endless Love 2002 18 Coffee Prince 2008 3 Lover 2002 19 Hwang Ji ni 2008 4 Beautiful Days 2003 20 Playful Kiss 2008 5 Friends 2003 21 Boys Before Flower 2009 6 Winter Sonata 2003* 22 The Great Queen 2009 Seondok 7 All in 2004 23 Worlds Within 2009 8 Hotelier 2004 24 Brilliant Legacy 2010 9 Full House 2005 25 He’s Beautiful 2010 10 Wonderful Life 2005 26 Jumong: Prince of 2010 Legend 11 Memories of Bali 2005 27 Secret Garden 2011 12 A love to Kill 2006 28 Dong Yi 2011 13 Jewel in The Palace 2006 29 Romance 2011

14 Princess Hours 2006 30 The Moon that 2012 Embrace the Sun 15 My Girl 2007 31 The King Two 2012 Hearts 16 Full House 2007* 32 Dream High 2012 Source: Compilation data from 1) Amellita, N. (2010). Kebudayaan Populer Korea: Hallyu dan Perkembangannya di Indonesia. Depok: Universitas Indonesia. pp. 25 & 50 ; 2) Full House Tyang di Indonsiar (2005). Indosiar. http://www.indosiar.com/gossip/full-house-tayang-di-indosiar_6259.html ; 3) Adeba, Rizki Adis (2010). ‘You’re Beautiful’ Tayang di Indonesia dengan Judul ‘He’s Beautiful’. Tabloid Bintang. http://www.tabloidbintang.com/asia/korea/4646-youre-beautiful-tayang-di-indosiar-dengan-judul-hes- beautiful.html ; 4) Rayendra, Panditio (2012). Drama Korea di TV Nasional Mulai Kehilangan Pamor?. Tabloid Bintang. http://www.tabloidbintang.com/film-tv-musik/ulasan/54641-drama-korea-di-tv-nasional-mulai- kehilangan-pamor.html ; 5) Usai Sassy Gil Chun-Hyang, Wonderful Life Tayang di Indosiar (2005). Indosiar. http://www.indosiar.com/gossip/wonderful-life-tayang-di-indosiar_44447.html ; 6) Memories of Bali (2005). Indonesia. http://www.indosiar.com/gossip/memories-of-bali-tayang-di-indosiar_6238.html ; 7) Drama Asia (Korea): The Moon Embraces the Sun (2012) Indosiar. http://www.indosiar.com/sinopsis/the-moon-embraces- the-sun_95916.html ; 8) Drama Asia (Korea): Dream High (2012). Indosiar. http://www.indosiar.com/sinopsis/dream-high_91322.html

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The various genre of Korean dramas and the appearance of good looking actors and actress possible them to have not only female viewers in their middle age but also teenager who initially love to watch a drama such Boys before Flower that became a big hit in Indonesia back then in 2009. The success of Boy before Flower in Indonesia reminiscent of the success Meteor Garden in 2002 in which both drama are initially have the same story line that based on Japanese manga (comic) Hana Yori Dango of Kamio Yoko233. As the title of the drama, four flower boys (the way Koreans addressed a handsome yet beautiful boy) Lee Min-ho, Kim Hyun-joong, Kim Bum and Kim Joon featured on the drama that as expectedly drew many enthusiasm from Indonesian young girls. As of 2011, there are around 50s Korean dramas broadcasted in Indonesia and it keep growing years onward234. As explained earlier, as one of local TV series that broadcasted Korean dramas in Indonesia, Indosiar is the one who mostly plays Korean dramas. In related to that, Head section of PR Indosiar, Gufron Sakaril explained that:

“Indosiar kini menjadi trademark telivsi Korea di Indonesia dan dengan melakukan evaluasi setiap saat dan melihat selera penonton di Indonesia semakin tinggi akan Korean Wave, maka program tayangan tajuk Asia kini didominasi tayangan drama Korea.” (Wahyudiya, 2012, p. 49)

Accordingly, since the response towards Korean Wave in this case Korean drama is huge, Indosiar then added two more slots for shows time of Korean drama into three on their primetime in the noon: 12.30 pm, 13.30pm, and 16.30pm. According to Gufron, rating of Korean dramas in Indonesia is fluctuating; it is based on the drama that broadcasted (Amellita, 2010, p. 27). While Indosiar played drama that popular in Korea, so then the rating of that particular drama in Indonesia will also high. Dramas like Endless Love, Winter Sonata, and Boys before Flowers even still holding their

233 Javabeans (2008). Hana Yori Danggo Creator Cheers on Boys Before Flowers. Retrieved at January 10, 2013 from http://www.dramabeans.com/2008/12/hana-yori-dango-creator-cheers-on-boys- before-flowers/ at 8.17am 234 Susanthi, Nyoman Lia. ‘Gurita’ Budaya Populer Korea di Indonesia. Retrieved at October 4, 2012 from http://download.isi-dps.ac.id/download-page/category/13?download=909 99 popularity when Indosiar or others Indonesian local TVs re-broadcasted them as the answer of fans request and those dramas got high rating for a re-run program.

Figure 4.1

However, the spread of Korean drama in Indonesia is not merely through local TVs but also through internet. People do not just wait the next drama would play on TV, so then they start to find other dramas through internet. The interest of Indonesians to search Korean drama through internet can be seen through the trend on the most visited searching engine, Google. Figure 4.1 shows the trend of people who search about Korean drama by input the key word ‘drama korea’ are seem fluctuating yet the trend is rising since 2004-2013 (present). Social network service (SNS) like YouTube eases Indonesian internet users to watch latest Korean drama that have not yet broadcasted in local channels with at least English subtitles or even Indonesian subtitles. Drama Fever (www.dramafever.com) is one of websites that allow for the internet users to watch their favorite online freely by simply registering them self up on that website or log in by using their Facebook account to watch it. Since Drama Fever bought the license of listed drama or TV shows they served on their websites, the visitors do not need to worry for drama they want to watch being blocked due to piracy issues. Websites that headquartered in New York provides two

100 languages for the subtitle in which English and Espanola235. There are also websites that provide Korean dramas with Indonesian subtitle such as Island Fan Subs (http://www.islandsubs.com) and Minds on the Blog (http://minds- idws.blogspot.com). Both of them are independent non-profit site that established by Korean dramas lovers that dedicate them self to not enjoy them but also started to subbed dramas their watch and then share it through their web.

4.2.2 K-Pop in Indonesia

After Korean drama, the second wave of Korean Wave to enter Indonesia is Korean pop music or well known as K-POP. Unlike Korean drama, the entering of K-Pop in Indonesia cannot be tracked confidently when exactly it is started. Indonesians are approximately starting enjoy Korean drama first then they starting to acknowledge Korean songs featured as OST of that particular drama. Starting to be curious with particular songs, then they end up discovering another K-Pop songs. A Korean Scholar in Indonesia, Mr. Mukhtasar Syamsuddin argued that “I see, in the beginning, Indonesian young people start watching Korean dramas on television and after that comes the pop songs of the Korean bands.” (Syamsuddin, 2012, p. 4)

K-Pop swept to Indonesian market not boldly through TV channels as K-drama did, but back then some of K-Pop MVs –music video were played on one music program in Indonesia named MTV. Furthermore, the frenzy of K-Pop in Indonesia started through internet as the Figure 4.2 shows the trend of the searching ‘kpop’ keyword on Google started since 2007 and the trend is continue to grow up. The easiness to find the latest K-Pop songs led people all over the world including Indonesians to find it through internet. Social network service (SNS) such Facebook, Twitter and YouTube to become excellent for Indonesians who starving for the updates of K-Pop songs.

235 Drama Fever. About Us. Retrieved at January 13th, 2013 from http://www.dramafever.com/about.html/ at 11.30pm 101

Comes to the fact that Indonesia is the 3rd biggest country of Facebook236 and 5th biggest Twitter237 users in the world, so no doubt that if the frenzy of K-Pop in Indonesia is happening through those SNS.

Figure 4.2

After K-Pop sounding to all over the countries through SNS, it then went out of its online-zone to the real-zone as ever K-Pop singer started to count Indonesia on for their tour concert. The first K-Pop star to be hosted its concert in Jakarta was Paran on July 28, 2007238. 2 years after that, Korean big star, Rain hold its first concert in Jakarta on December 3, 2009 as part of his Asian Tour 2009239. Rain’s

236 Hitipeuw, Jimmy (2012). 43.1 Million Members of Facebook in Indonesia. Kompas.com. Retrieved at January 14, 2013 from http://english.kompas.com/read/2012/02/02/08412923/43.1.Million.Members.of.Facebook.in.Indonesi a at 3.13pm 237 Lunden, Ingrid (2012). Analyst: Twitter Passed 500M Users in June 2012, 140M of Then in US; Jakarta ‘Biggest Tweeting’ City. Techcrunch. Retrieved at January 14, 2013 from http://techcrunch.com/2012/07/30/analyst-twitter-passed-500m-users-in-june-2012-140m-of-them-in- us-jakarta-biggest-tweeting-city/ at 3.17pm 238 Paran. Retrieved at January 14, 2013 from http://world.kbs.co.kr/indonesian/program/program_artist_detail.htm?No=104124 at 5.21pm 239 Asri (2009). Seleb: Konser Rain: Keren!. Gadis. Retrieved at January 14, 2013 from http://www.gadis.co.id/gosip/seleb/konser.rain.keren/001/010/35 at 5.23pm 102 concert in Jakarta back then got many enthusiasms from his fans in Indonesia due to him being popular for his role in drama Full House. Then in 2010, it was the turn of Korean girlband Wonder Girls who hold their mini concert on June 20, 2010 in Jakarta. The coming of Wonder Girls to Jakarta was as them chosen as a brand ambassador of Sony Ericson in Asia Pacific, thus they went around the countries in the region to hold their mini concerts240. In 2011, one of the hottest boyband in Korea, 2PM, came to greet their fans in Indonesia by hold their first solo concert titled 2PM Hands Up Tour Concert in Jakarta on November 11, 2011. Approximately, 6500 fans came to the concert that held in JITEC Mangga Dua, North Jakarta241. Since 2007 up until 2011, K-Pop idols –solo or group that held their solo concert in Indonesia were not that much, it was about one group or artist per year. Yet, along with the frenzy of K-Pop in Indonesia that getting higher, 2012 is the year for many K-Pop stars to hold their concert in Indonesia. In 2012, reported that there were 10 K-Pop concerts in Indonesia and it was for the first time in the K-Pop scene in Indonesia. It already proves the very significant development of K-Pop in the country. Thousands of Indonesians, mostly youth, are being fans of K-Pop artists. The high enthusiasm has shown when Super Junior, Big Bang and SMTown artists held their concert here. Super Junior, at first, was scheduled to hold their Super Show 4 concert in Jakarta for two days (28 and 29 April 2012). Surprisingly, even though the concert days it already planned for two days, Indonesian ELFs (the name of SUJU’s fans) were asked for the additional days. SUJU’s first solo concert in Jakarta becomes a new record as the first Asian artist to have a three days concert in a row in Indonesia242. It also happened when Big Bang

240 Wally, Freddy (2010). Wonder Grils Siap Mengguncang Jakarta Malam Ini. Viva Live. Retrieved at Januari 14, 2013 from http://life.viva.co.id/news/read/158871-wonder-girls-siap-guncang-jakarta- malam-ini at 5.13pm 241 Tresnady, Tomi (2011). Music: Penonton Terpukau di Konser 2PM. Okezone.com. Retrieved at January 14, 2013 from http://music.okezone.com/read/2011/11/12/386/528380/penonton- terpukau-di-konser-2pm at 5.32pm 242 Galuh, Maria Cicilia (2012). Gara-Gara ELF Indonesia, Suju Raih Rekor. Okezone.com. Retrieved at January 15, 2013 from http://music.okezone.com/read/2012/04/29/386/620503/gara-gara-elf- indonesia-suju-raih-rekor at 1.40am 103 announced to have their first solo concert in Indonesia. Big Bang’s ticket concerts were sold out just in 10 minutes and it proved their high popularity in Indonesia as well243; and as the high responses from Indonesian VIPs (Big Bang’s fans name), YG Entertainment announced for additional concert date. Another epic K-Pop concert in Indonesia was SMTown Live World Tour in Jakarta back in last September. Approximately, there were around 40.000 fans of SUJU, SNSD, TVXQ!, f(x), SHINee, EXO, BoA, and Kangta attended a luxury K-Pop concert held in Gelora Bung Karno Stadium. The reason behind K-Pop sweet popularity in Indonesia is none then else its unique characteristic. K-Pop is basically referring to Korean popular music in general, wither they are girlband or boyband or solo singer; whether the music are pop, R ‘n B, Hip Hop or pop rock will consider as K-Pop. Yet, on top of that, Korean K-Pop is dominated by dance group of girlband and boyband. K-Pop has its own characteristic that makes it popular, as Zay Faizal argued that: “Youth of Indonesia is also powerful and easy to be influenced with pop culture; Korean Pop is elegance, ear-catching, active, modern, and powerful too.”244 The elegance appeal comes from K-Pop artist’ MV and their stage performance. Most of K-Pop artists’ MVs show a very fancy music video with sophisticated dance move, fashions, music video’s theme, and filming production that all become a complete package. It goes the same when they perform on the stage. For instance Big Bang’s performance on Mnet Asia Music Awards (MAMA) 2012 in Hong Kong with their big hit Fantastic Baby245. The whole concept of their performance was epic with a unique style of costume, fancy lighting, and magnificent stage settings. In addition to that, K-Pop songs are ear-catching. As discussed earlier on Chapter

243 Vitalsign (2012). Big Bang Crashes Servers and Sells Out Tickets for Their First Indonesian Concert. Allkpop. Retrieved at January 15, 2013 from http://www.allkpop.com/2012/06/big-bang-crashes- servers-and-sells-out-tickets-for-their-first-indonesian-concert at 1.56am 244 Faizal, Zay (2012). Interviewed through email at January 9, 2013. 245 Mnet (2012). MAMA 2012: Big Bang Fantastic Baby. Accesed at January 15, 2013 from http://www.youtube.com/watch?v=ZJYcY2-oDwg at 9.53am 104 three that K-Pop songs represent a hybrid sounds of some of music genre featured on one song. Besides, K-Pop’s girlband and boyband are also well known for them put choreography on almost of their songs. Girls’ Generation latest song I Got a Boy shows that. The song shows a shifted sounds of various techniques, ranging from traditional electropop and dubstepish rap to a breakdown soulfest reminiscent of TaeTiSeo‘s Twinkle (Girls’ Generation Sub groups consist of Taeyon, Tiffany and Seohyun)246. It also comes along with a restless choreography movement of the nine girls on the MV, shows the activeness and powerfulness of a song and dance move K-Pop group has. On top of that, K-Pop explores modernity of Korean popular culture. However, recently there are many Indonesian girlband and boyband such SM*SH, Cherrybelle, Seven Icon, Coboy Junior, Hitz and etc that expectedly got high influence of K-Pop stars. The existence of these Indonesian groups embarked another story of K-Pop influenced in Indonesia. There was even an audition program name Galaxy Super Stars as cooperation between Indonesian Local TV Indosiar with Korean entertainment agencies YS Media Entertainment and Rainbow Bridge. The program aimed to hunt Indonesian talents for then the winner will get a chance to be trained under those Korean agencies in Korea for several months. S4 is Indonesian boyband that created after this program. Up to this point, the development of K-Pop in Indonesia has reached onto TV programs. Indosiar, once again, take a lead over the K-Pop frenzy by broadcasted Korean music program Music Bank on the weekend. Not only have that, Indosiar also bought the license to broadcast one of Korean biggest annual music award event Mnet Asian Music Awards (MAMA), MAMA 2011 and MAMA 2012. Being realized for the huge enthusiasm of Indonesian youth towards K-Pop, some of Indonesian local TVs also make a special program related to a K-Pop concert in Jakarta. SCTV made an exclusive show of Super Junior’s Super Show 4 concert in Jakarta. It also made a special program

246 Eumag (2013). Review: Girls’ Generation I Got a Boy. Allkpop. Retrieved at January 15, 2013 from http://www.allkpop.com/2013/01/review-girls-generation-i-got-a-boy at 10.53am 105 named ‘Road to Big Bang’ as it exclusively played some videos of Big Bang’s Alive World Tour concert in Jakarta. It goes the same when RCTI made such program to commemorate SMtown Live concert in Jakarta and Trans TV’s Road to 2PM’s What Time is It?. Besides that, K-Pop songs also can be heard on some of Radio stations. There are quite number of Radio stations (commercial or non commercial) that play K-Pop songs and even have K-Pop program. 2PM’s Hands Up, Girls’ Generation’s The Boys, SUJU’s ‘Sorry, Sorry, Sorry’ and Big Bang’s Fantastic Baby are some of K-Pop songs that usually play on Gen FM. Meanwhile, Dreamers Radio, Voms Radio (University of Tarumanegara) and RKTI (community radio on Twitter) do not just play the K-Pop songs, they also have special program related to it.

4.3 Korean Wave as Korea’s Cultural Diplomacy contributes in Expanding Korea’s Cultural Influence towards Indonesia

Korea’s government awareness towards the trend of using soft power leads Korean government to pursue its public diplomacy and cultural diplomacy towards Indonesia. Korea’s government realizes that by pursuing the public diplomacy, they are able to change the perception of Indonesians about Korea. Moreover, as Carter review in 2006, the aims to change perception as the aim of public diplomacy will come to the notion that it should also seek to change behavior. In doing so, Korean governments then pursues its cultural diplomacy as culture deserve well as the soft power of the country to able change the perception through the cultural exchange. However, in the practice of public diplomacy and cultural diplomacy of Korea, it is not merely the government actors who do so. There are also non-government actors that possible of more boarder cultural exchange. As discussed on the previous chapter about cultural policy of Korean government from Kim Dae Jung’s era until Lee Myung Bak’s era, Korean government pays more attention on the development of Korean Wave as the country’s cultural diplomacy. The popularity, flexibility, and hybrid values are factors for Korean Wave served as cultural diplomacy as them

106 enable it to project Korean traditional and modern culture moreover the whole image of the country. Ever since 2000s, the wave has reached Indonesia and led the Korea Wave to be as means of cultural diplomacy by the country. Since then, Korean Wave as Korea’s cultural diplomacy give its contributions in expanding Korea’s cultural influence through diplomacy activities conducted by Korean government, corporation (broadcasting stations), and individual (Hallyu stars) in Indonesia.

4.3.1 Korean Wave as Korea’s Cultural Diplomacy in Korean Government Institutions’ Activities in Indonesia

The shifted policy regarding with Korean cultural content product during President Kim Dae Jung era influenced the diplomatic relations of Korea and Indonesia to strengthen the two countries’ cooperation in cultural field. Thus, in 2000, Korea and Indonesia has established their cultural cooperation through Agreement between the Government of the Republic of Indonesia and the Government of the Republic of Korea on Cultural Cooperation on November 28, 2000 ratified by Presidential Decree of Republic of Indonesia No. 92 Year 2007 on September 21, 2007. This agreement reflects the intention of President Kim Dae Jung’s effort in boosting Korean cultural content as can be seen through article 4 and article 5 of the Agreement, that said: Article 4: “Each party shall endeavor to present diverse facets of the life and culture of the other party through the media of radio, television and press. To this end, the two parties shall facilitate exchange of suitable materials and programs.” (Yudhoyono, 2007)

Article 5: “The parties shall facilitate and promote: a. Exchange of artist, and dance and music ensembles

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b. Exchange of arts and other exhibitions c. Exchange of films, documentaries, radio, and television program recordings and recording on discs and tapes, and d. Exchange of experts in the field of cinematography and participation in each other’s International Film Festivals.” (Yudhoyono, 2007) This Agreement encourages the two countries to conduct what Milton has defined about the cultural diplomacy where in the Article 2 paragraph 3 said that the two should facilitate the cultural exchange among them in order to contribute to a better knowledge of their respective cultures (Yudhoyono, 2007). In accordance with the Agreement, since 2002, Korean drama started to enter Indonesian market and it keeps develop until the hype of K-Pop. Along with the development of Korean Wave in Indonesia, Korean Wave has done (and it keeps doing) its role as cultural diplomacy through Korean government institutions’ activities here in which it proposes the cultural exchange and at the same time it promotes and fostering the Korean culture towards Indonesians.

4.3.1.1 Korean Embassy Jakarta

As the representative of Korean government in Indonesia, Korean Embassy here is established for the implementation of Korean foreign policies. In implementing the one goal of Principal Goals and Direction of Korean Cultural Diplomacy and Related Policy, which is promotion of cooperation with other countries through cultural cooperation, Korean Embassy in Indonesia has done some programs that involved Korean Wave as its cultural diplomacy. In 2007, Korean Embassy cooperated with LG Electronics –one of biggest Korea origin companies held an event named The Colors of Korea. The event that held from July 5th -7th,

108 consists of Korean films showing, arts and cultural exhibition and performance, fashion show, demo of taekwondo and food festivals247.

Poster Korean Cultural Week 2009

Korean Embassy held the similar event in 2009 with a title Korean Cultural Week from October 9th to 18th 2009. The event that coincided with the celebration of Korea’s National Day and Army Forces Day which fell on October 3 and October 1248, was stressed on cultural essence with aimed to introduce Korean culture and to tighten up the relationship between Korea and Indonesia. Through this event, Korean Embassy want to give Indonesians, particularly who live in Jakarta and surroundings, a glimpse of Korean cultures and arts that developed over 5000 years, be it traditional or modern culture. The festival consists of seven sub event from cultural performances, Korean movie show, embroidery exhibition, Korean agricultural

247 Setiwan, Lia Anggriani (2007). Perancangan Komunikasi Visual untuk Menunjang Promosi Event Festival Kebudayaan Korea “The Colors of Korea”. Binus University. pp. 13-15. Retrieved at January 20, 2013 from http://library.binus.ac.id/eColls/eThesis/Bab2/2007-3-00135-DS-Bab%202.pdf at 6.13am 248 S. Korean Embassy to Kick Off Cultural Week in Jakarta (2009). The Jakarta Post. Retrieved at January 20, 2013 from http://www.thejakartapost.com/news/2009/10/06/s-korean-embassy-kick- cultural-week-jakarta.html at 4.39pm 109 exhibition, music concert, Korean study seminar, and Korea alumni – Korean Community Friendship Night. The cultural performances showed traditional culture of Korea through traditional dance like Hwagwanmu, traditional song lake Pansori and traditional music instrument like Gayageum. There was also a performance from B-Boy, a dance group who performed a breakdance to the accompaniment of music played by the traditional gayageum ensamble249. Korean Film is one of the instruments of Korean Wave that able to promotes Korean culture and Korean national image as it always include a peek of its culture, ancient or modern, also included in the event250. Took place in Blitz Megaplex, Pacific Place Jakarta, five Korean films showed from October 13th to 18th, such as The Divine Weapon, Beyond the Years, X-mas in August, Seven Days, and The show Must Go On. As the aim of this event to strengthen the relationship between the two countries, there were also some performers from Indonesia joined in this event. On October 15, 2009 located in Usmar Ismail Hall, Korean and Indonesians singers repertoire classical, folk and jazz of Korean traditional music and classic, and also some Indonesian songs such Bengawan Solo and Satu Nusa, Satu Bangsa251. People-to-people relations of the two countries also tighten up through the Korea alumni – Korean Community Friendship Night where Indonesian public figures who studied in Korea, Koreans who live in Indonesia and Korean entrepreneurs were gathered together. (Korean Embassy to Indonesia, 2009)

249 A Taste Korea. The Jakarta Post. Retrieved at January 20, 2013 from http://www.thejakartapost.com/news/2009/10/14/a-taste-korea.html at 5.19pm 250 Ibid. 251 S. Korean Embassy to Kick Off Cultural Week in Jakarta (2009). The Jakarta Post. Retrieved at January 20, 2013 from http://www.thejakartapost.com/news/2009/10/06/s-korean-embassy-kick- cultural-week-jakarta.html at 4.39pm 110

Poster Indonesia Korea Week 2010

The event of Korean Week becomes an annual event hosted by Korean Embassy in Jakarta to continue promote Korean culture. Thus, in 2010, Korean Embassy held Indonesia Korea Week 2010 cooperated with Presidential Council on Nation Branding. Generally, the sub events included in this festival were similar with the previous one, but there were some additional sub events. That is because the six- day event this time was not only focus on cultural exchanges between the two countries but it also became a ground for boosting economic ties252. The event that held from October 11th to 16th consists of Indonesia–Korean Night, Cultural Performance, Indonesia–Korea Friendship Sharing Concert 2010, Korea-Indonesia 2010 Cultural Exchange Festival, Promotion of AT&D (Advanced Technology and Design) Korea, Job Festival, Taekwondo Exhibition and Competition, Badminton Friendship Competition, Taste of Korea Food Festival, and Korea Film Festival. During festival at that year, Korean Embassy put more Korean Wave elements. Start from the opening of the festival, in Indonesia-Korean Night, there was a fashion show of traditional clothes from both countries. It was Batik from Indonesia, designed by one of Indonesian famous designer Oscar Lawalata showed in the event253. The fashion show also showed Korean traditional clothes which is Hanbok. The Hanbok fashion show at that night was interesting, since the models were characters in three

252 Indonesia-Korea Week Kicks Off in Jakarta. Arirang News. Retrieved at January 21, 2013 from http://www.arirang.co.kr/News/News_View.asp?code=Ne2&nseq=107908 at 1.11am 253 Pemita, Desika (2010). Festival Korea Kedua Digelar. Liputan6.com. Retrieved at January 21, 2013 from http://news.liputan6.com/read/300800/festival-korea-kedua-digelar at 9.43am 111

Korean dramas with traditional or historical background like Dae Jang Geum. The characters of that drama showed clothes they wore in the drama, like Lee Young Ae who played Jang Geum role in the drama, she wore royal chef apparel254. Other event such Cultural Performance at Balai Kartini Jakarta featured Nonverbal Joint Performance of Rock and Korean Traditional Percussion Instruments Beat. Different from previous festival, in this festival there was a concert featured both singers and groups from Indonesia and Korea in the Indonesia-Korea Friendship Sharing Concert 2010 supervision by two national TV channels from the two countries TVRI (Indonesia) and Arirang (Korea). Indonesian guests in the concert were Gita Gutawa, The Dance Company, and Padepokan Bagong Kusudiarjo; while Korea guests were SHINee, Son Ho-Young, Ku Joon-Yeop, Naomi and Sinawe255.

Poster Korea – Indonesia Week 2011

In 2011, Korean Embassy Jakarta held its annual event Korea-Indonesia Week cooperated with Korean government institutions KCC Jakarta Office and KTO

254 Pemita, Desika (2010). Artis-artis Korea Meriahkan Indonesia-Korea Week. Liputan6.com. Retrieved at January 21, 2013 from http://showbiz.liputan6.com/read/300874/Artis.artis.Korea.Meriahkan.%3Ci%3EIndonesia.Korea.Wee k%3C at 9.57am 255 Retrieved at January 21, 2013 from http://www.arirang.co.kr/event/indonesia/indonesia_event.asp at 10.49am 112

Jakarta Office and Ministry of Culture and Tourism of Indonesia. The Event is expected could be a place where both Korean and Indonesian people could mingle while developing better understanding of the cultures of both nations256. There were six sub events on this year festival, included Korean Ambassador Cup –National Junior Taekwondo Championship, Korean Film Festival, Korean Traditional Painting Exhibition, Korean Food Festival, K-Pop Contest, and K-Pop Singer Concert. Like previously, Korean Film Festival this year also featured numbered of Korean Film with various genres such Finding Mr. Destiny, Harmony, 71Into the Fire, Detective K, A Barefoot Dream, The Sword with No Name, and The Good The Bad The Weird. The visitors were able to enjoy Korean traditional culture through Korean Traditional Exhibition displayed paintings works of 26 modern literati artists at Korean Cultural Center Jakarta Office in Equity Tower, Jakarta. The influence of Korean pop culture is continuing to grow in Indonesia, and Korean Embassy Jakarta realized about this fact clearly. Thus, in the festival this year there was a K-Pop Contest 2011 for K-Pop fans. The contest divided into two categories which are K-Pop Singing and K-Pop Dance Cover. Korea-Indonesia Week 2011 closed with K-Pop Singer Concert on October 2nd and 3rd 2011 in Gandaria City Exhibition Hall. Seven top male singers from that ginseng country featured Choi Jin of Epik High, Lee Dong Gun, Park Hyo Shim, Lee Jun Ki, Lee Sun Ho (Andy) of Shinwa, Yoo Seung Chan, and Jung Jaelil. They were asked to perform in this event in a period of heir military service duty257.

256 Wardany, Irawati (2011). Korean Week to Strengthen Cultural Understanding. The Jakarta Post. Retrieved at January 21, 2013 from http://www.thejakartapost.com/news/2011/10/02/korean- week-strengthen-cultural-understanding.html at 12.01pm 257 Meriahnya Konser Artis Korea dalam ‘Indonesia Korea Week 2011’ di Jakarta. Wow Keren.com. Retrieved at Januart 21, 2013 from http://www.wowkeren.com/berita/tampil/00011585.html at 12.42pm 113

Poster Korea Indonesia Week 2012

Korean Embassy Jakarta in 2012 once again held its annual Korean festival, Korea Indonesia Week 2012 from October 3rd – 7th 2012 in Main Atrium Mal Taman Anggrek, Jakarta. A festival of the collaboration of Korean Embassy Jakarta, KCC Jakarta Office, KTO Jakarta Office, Ministry of Culture and Tourism of Indonesia and some others Korea government institutions as an effort to strengthen the relationship between the two countries through culture which at the same time is able to tighten up the people-to-people relations among the two countries citizen. The festival this year also features Korean traditional and modern culture on six sub events featured K-Pop Festival, Korea Winter Travel Fair, K-Food Festival, Korean Film Festival, Taekwondo Performance, and Korean Culture Performance. Year 2012 is the time when all eyes on Korea due to the recent phenomenon of PSY’s Gangnam Style that went across the globe, with no exception has been reached Indonesia too. Thus, Korea Indonesia Week 2012 held a Gangnam Style Dance Cover Contest as part of the festival258. The contestants were simply just upload their Gangnam Style dance cover video YouTube and send the URL link to KTO Jakarta Office’s. The prizes of this contest were two tickets Jakarta-Seoul presented by Garuda Indonesia for the first winner and amount of money for the second and third winner. Korea Indonesia Week 2012 designed for participants of the festival to not only enjoy the

258 KTO Jakarta Office (2012). Gangnam Style Dance Contest. Retrieved at January 22, 2013 from http://www.facebook.com/photo.php?fbid=472314552789428&set=a.182262365127983.38649.178 618785492341&type=1&relevant_count=1 at 12.18am 114 festivals but also was able to involve in some activities. Besides the Gangnam Style Dance Cover Contest, there were other contests like photography contest, Korean cooking contest, Hanbok model contest, Korean face painting contest, and Quiz ‘Seputar Korea’ (about Korea). The theme for photography contest was ‘Korea Indonesia Week 2012 that shows Korean culture or the harmonize relation between Indonesia and Korea’259. In commemorating the beginning of K-Food Festival 2012, Korean Embassy cooperated with some parties like Pelita Harapan University and Trans7 to make a Big Bimbimbab and sujjunggwa260. Korean Festival Film is one of the sub events that always included in Korea Indonesia Week annual festival. On this year film festival, the Korean movies featured, including Pacemaker, Mr. Idol, Quick, War of The Arrows, Papa, Leafie, Spellbound, and A reason to Live261.

4.3.1.2. KCC Jakarta Office

Ever since, Korea and Indonesia cultural relationship continuously growing, Korean government saw an urged to establish Korean Cultural Center in Indonesia. As means to promote Korean culture and fostering the cultural exchange between the two countries, the center that established in 2011 comes with various related programs. Besides the Korea Indonesia Week that the center co-hosted, the center also offers other programs that featured the element of Korean Wave. Korean Cultural Center Jakarta Office that located in Equity Tower in the Sudirman Central Business District has several facilities to support its program, including Multifunction Hall (Han in Sil), IT Show Room, class room (Sejong Sil, Hunmin Sil, Jeongum Sil,

259 KCC Jakarta Office (2012). Kontes Foto. Retrieved at January 22, 2013 from http://id.korean- culture.org/navigator.do?siteCode=null&langCode=null&menuCode=201209280064&promImg=1309 399313907.gif&menuType=BB&subImg=1309399313907.gif&action=VIEW&seq=45013 at12.20am 260 Korean Embassy Jakarta (2012). K-Food Festival sudah dimulai! Retrieved at January 22, 2013 from http://idn.mofat.go.kr/worldlanguage/asia/idn/mission/notice/index.jsp at 12.24am 261 KCC Jakarta Office (2012). Korean Film Festival. Retrieved at January 22, 2013 from http://id.korean- culture.org/navigator.do?siteCode=&menuCode=201105180015&page=1&pageDown=0&minSeq=33 981&maxSeq=46407&action=VIEW&seq=45394 at 12.32am 115 and Hag I Sil), library (Jib Hyeon Jeon), and rest room. Korean Language class and Korean Films Show are the regular program the center has. Korean Movies is the name of Korean films show that regularly holds twice a month in the 2nd and 4th week on Wednesday. Took place in Multifunction Hall, the center’s program aims for to lead Indonesians to know Korea more through its films. Visitors are also able to watch Korean movies and dramas through DVDs as well K-Pop CDs that the center provides in its library. The visitors are able to borrow the DVDs and CDs by registering them self first as the member of the KCC Jakarta Office for then they can borrow the stuffs from library maximum five items. In accordance with the frenzy of K-Pop among Indonesian youths, the center also opens K-Pop Dance Club where the participants are able to learn the dance movement of several K-Pop songs such SNSD’s Gee, 2NE1’s I’m The Best, T-ara’s Roly Poly and Wonder Girls’ Be My baby262. In December 2012, the center hosted a seminar that discussed Korean Wave as the topic titled “The ‘Cultural Cooperation and Korean Wave (Hallyu)’ Seminar” at Hotel Borobudur Jakarta. The purpose of the event was to explore the preferable ways of Hallyu development in Indonesia, and to discuss on how to cooperate to promote culture and cultural industries263. The event attended by Korean Ambassador, Minister of Tourism and Creative Economy, experts, Hallyu fans, and media. In this occasion, Ambassador of Republic of Korea for Indonesia, H.E. Kim Young-sun has said that: “The year 2013 will be a commemoration of the 40th anniversary of our diplomatic ties. Our bilateral relations have developed remarkably in various areas, with no exception in the cultural sector. I believe that culture and people-to-people interaction play great roles in building and deepening

262 KCC Jakarta Office (2012). K-Pop Dance Class. Retrieved at January 22, 2013 from http://id.korean- culture.org/navigator.do?siteCode=&menuCode=201105180016&page=2&pageDown=0&minSeq=00 00000339689999idnidn201105180016&maxSeq=0000000466799999idnidn201105180016&action=V IEW&seq=39451 at 2.17am 263 Young-Sun, Kim (2012). Welcoming Speech on “The Cultural Cooperation and Korean Wave (Hallyu) Seminar” December 14, 2012. KCC Jakarta Office. 116

mutual understanding and trust that has become our second foundation in promoting our two countries.” –H.E. Kim Young-sun264

The seminar was divided into three sessions, the first sessions was about ‘Cooperation in the field of Culture and Culture Industry/Current status of Hallyu’ presented by Dr. Ko Jeong-min a representative from Ministry of Tourism and Creative Economy of Korea. As the response towards the presentation, Dr. Roh Jun- seok from KOCCA brought up his opinion talked about ‘The Economic Effects of Korean Wave, and the Korea-Indonesia Exchange and Cooperation Scheme.’ On his response, he argued that: “Korean Wave in Indonesia, as in Japan, Singapore and Thailand, expands its genres from dramas and K-Pop to games and cinemas, and spread to purchases of related consumer goods such as cosmetics and fashion.”

According to him, Indonesia becomes a potential market for Korea remembering the fact about Indonesia’s population’s numbers and Indonesia’s annual growth. On the second session, Dr. M. Mukhtasar Syamsufdin from Gadjah Mada University presented his paper about “Hallyu and Indonesia (Hallyu Status in Indonesia and its impact)”. In this presentation, was discussed about Korean Wave instruments spread into Indonesia and the characteristics as well as the reason behind the popularity and acceptability of Korean Wave in Indonesia. Then, the last session discussed about presentation of proposal from some experts for a preferable way of Hallyu Development. (KCC Jakarta Office, 2012) However, the center also has conducted several other contests for Korean Wave fans. There was Fans Letter Contest, where the fans of Korean artists were able to make a very creative letter addressed for their idols written in English or Korean language265. Another similar-themed event was K-Pop Fans Concert as part of KCC

264 Ibid. 265 KCC Jakarta Office (2012). Fans Letter Contest. Retrieved at January 22, 2013 from http://id.korean- culture.org/navigator.do?siteCode=&menuCode=201105180015&page=3&pageDown=0&minSeq=33 981&maxSeq=46407&action=VIEW&seq=40918 at 3.09am 117

Jakarta Office 1st Anniversary celebration. The contest dedicated to K-Pop fans where the event showed numbers of singing and dancing cover performances featured NYE BOYS, O’Namja, EVOLUTION, SHUNSHINEE, Dewi Rosanti, Navichi, and Kenya Levira Dewi266.

4.3.1.3 KTO Jakarta Office

Besides open the KCC Jakarta Office, in 2011 Korean government also open its tourism organization KTO Office in Jakarta. The main goal of KTO Jakarta Office is to familiarize travel agents and the general public with Korea through various activities including exhibitions, join tourism projects, and cultural events. Culture and tourism are the two things that related each other, since tourism is as means of to show the places all around the country that portrays either traditional or modern culture of certain places. Besides the Korea Indonesia Week that KTO Jakarta Office co hosted with Korean Embassy and KCC Jakarta Office, since its establishment, KTO Jakarta Office has been held various programs including programs that use the Korean Wave as their contents.

Touch Korea Tour mencari Peserta Korea Experience Team

266 KCC Jakarta Office (2012). K-Pop Fans Concert. Retrieved at January 22, 2013 from http://id.korean- culture.org/navigator.do?siteCode=&menuCode=201105180015&page=2&pageDown=0&minSeq=33 981&maxSeq=46407&action=VIEW&seq=42341 at 3.14am 118

In the first semester of 2012, KTO Jakarta Office held a program so called Touch Korea Tour Experience Team Event. It is originally a program held by KTO headquarters in Korea work together with its overseas offices to find the 15 winners from many countries, and it was one winner from Indonesia selected by KTO Jakarta Office. This is the program of KTO in promoting Korean tourism by choosing 2PM and missA –K-Pop boyband and girlband as the ambassador of this program. Thus, the participants required to post on their blog about Korean Food they want to try, Korean goods they want to purchase, things they want to do while in Korea, a Korean Promotion Plan as a Touch Korea Tour Experience Team, and the reason why KTO choose he or she as the winner. This event is effective to promote culture and tourism related in one time, since the judging system is from the highest exposure search on Google and Yahoo with seven keywords: tempat wisata (tourism destination), wisata Korea Selatan (Republic of Korea’s tourism), tempat wisata Korea Selatan (Republic of Korea’s tourism destination), Hallyu, Korea Tourism Organization Indonesia, touch korea tour, and buzz Korea. The 1st winner of this was able to visit Korea for five days-four nights, with all accommodations expenses incurred by the event organizer and able to participate in many activities there including meet with 2PM and missA members. (KTO Jakarta Office, 2012) The hype of K-Pop in Indonesia led KTO Jakarta Office to take this chance to promote Korean culture and tourism through its giveaway contest. In June 2012, KTO Jakarta Office held a contest to get free ticket of Xia Junsu JYJ’s Concert in Jakarta. The office gave 10 free tickets to 10 winners as they had to mention tourism destinations in Korea they really want to visit to along with the pictures or videos about those particular places267. Another similar event has been conducted as well with a title Korea Drama Contest. The contest divided into five parts and each part there are three album CDs of 2PM’s Hands Up. For the part one, the participants had

267KTO Jakarta Office (2012). Kontes Free Ticket Xia Junsu JYJ Concert. Retrieved at January 22, 2013 from http://www.facebook.com/events/249741838468697/ at 11.04am 119 to mention about three tourism spots in Republic of Korea during autumn and attach the pictures along with the reason why want to visit those places268. The second part, the participants had to mention three festivals name in Korea along with the pictures or videos269, while for the third part the participants had to mention two grandest places in Korea along with the pictures and videos270. For the fourth part the participants had to explain why they like Korea that much and why they want to visit Korea along with pictures or videos related with Korean tourism271. While for the fifth part, the participants had to mention minimum two theme parks in Korea and its location along with the pictures or videos272.

4.3.2 Korean Wave as Korea’s Cultural Diplomacy in Non-Government Actors’ Activities in Indonesia

The spread of Korean Wave as means of cultural diplomacy is not merely proposed by Korean government institutions only, but there are also non-government actors like the Korea’s broadcast station(s), entertainment company(s), Hallyu stars, and individuals and private sectors that actively maintain the sounding of Korean Wave in Indonesia. The participation of these non-government actors greatly triggered by the shifted policy and supported by the development of technology that eases them to do so.

268 KTO Jakarta Office (2012). Korea Dream Contest. Retrieved at January 22, 2013 from http://www.facebook.com/events/411779432222328/ at 11.13am 269 KTO Jakarta Office (2012). Korea Dream Contest Part 2. Retrieved at January 22, 2013 from http://www.facebook.com/events/221226751343441/ at 11.14am 270 KTO Jakarta Office (2012). Korea Dream Contest Part 3. Retrieved at January 22, 2013 from http://www.facebook.com/events/502302509803149/ at 11.15am 271 KTO Jakarta Office (2012). Korea Dream Contest Part 4. Retrieved at January 22, 2013 from http://www.facebook.com/events/173992069409900/ at 11.16am 272 KTO Jakarta Office (2012). Korea Dream Contest Part 5. Retrieved at January 22, 2013 from http://www.facebook.com/events/115594518609688/ at 11.17am 120

4.3.2.1 Korea’s Broadcasting Station(s)

The first Korean Wave instruments that entered Indonesia was Korean drama that it was cooperation between Korea’s broadcast station and Indonesia’s TV channel. Since 2002 up until the recent time Korean drama is one of the Korea TV programs that can be enjoyed by Indonesian viewers. Korean drama is no doubt effective to serve as cultural diplomacy tools since it introduce and acknowledge Indonesians about Korea. President Kim’s policy to build up and promote Korea’s own cultural industry has motivated the broadcasting stations to do so.

Table 4.2

Koreans Broadcasting Stations’ Dramas Aired in

Korean Broadcasting KoreanIndonesia Drama that broadcasted in Indonesia Stations Winter Sonata, Endless Love, Full House, A Love to KBS Kill, Boys Before Flower, Worlds Within, Dream High, and Bread, Love, and Dreams Beautiful Days, All In, Memories of Bali, My Girl, SBS Stairway to Heaven, Brilliant Legacy, He’s Beautiful, Secret Garden, 49 Days Friends, Hotelier, Wonderful Life, Jewel in the Palace, Princess Hours, Coffee Prince, Playful Kiss, Queen MBC Seondeok, Jumong, Dong Yi, The King Two Hearts, and The Moon Embracing the Sun.

Korean Broadcasting System (KBS) as one of Korean local channel has signed MOU with MOFAT to cooperate in various projects to promote and globalize Korean culture and to use KBS’ contents for general use, sharing information about Korean culture and related program planning273. Thus, it shows that the seriousness of

273 KBS (2012). KBS dan Pemerintah Tandatangani MoU Untuk Proyek Kerjasama Hallyu Global. Retrieved at January22, 2013 from http://rki.kbs.co.kr/indonesian/news/news_Cu_detail.htm?No=25956 at 2.10pm 121

MOFAT and in this case is KBS as one of Korean broadcast station in pursuing the cultural diplomacy through its contents, one of them is Korean dramas. It goes for the other two Korean broadcasting stations, SBS and MBC, in which Indonesian local channels such Indosiar, ANTV, SCTV, RCTI, Trans TV, O Channel, etc bought the license of those dramas for them to be broadcasted in Indonesia. Besides drama, the broadcasting station of the two countries also cooperated to conduct such event like Arirang TV and TVRI who hosted Indonesia-Korean Friendship Sharing Concert 2010 as part of Korea Indonesia Week 2010. Both of the broadcasting stations are the national channels that pursuing cultural diplomacy for each country. Thus, this time, both of them worked together to promote cultural exchange through the performance of artists from both countries. However, unlike previously, when Indonesians can only enjoy the Korean TV programs after the local channel offered it, Indonesians now are able to enjoy them whenever they want by being customer of satellite or cable TV. Arirang TV and KBS World are two Korean channels that can be accessed through Indovision, Telkomvision, First Media, Top TV, Okevision, etc. Providing worldwide channel is one of the planning of Arirang TV to be a real-time informative channel about Korea. As Indonesians are able to access Arirang channel on those satellite or cable TVs, Indonesians can enjoy Arirang TV programs contains Korean Wave such as ‘Pops in Seoul’, ‘Simply K-Pop’, and ‘Stars’ Road’. In addition to that, the existence of internet advantage Korean broadcast stations to spread its program. By uploading the videos of certain program on their official channel, Indonesian can access the program by watching it through YouTube. SBS in 2011 opened its four official channels: SBS Entertainment, SBS Drama, SBS Culture, and SBS ISU; and some other channels for its program Inkigayo, Strong Heart, Star King, Night After Night, and a Good Sunday channel with episodes of Running Man and Heroes274.

274 Rednabi (2011). SBS Opens Official YouTube Channels. Koreaboo. Retrieved at January 22, 2013 from http://www.koreaboo.com/index.html/_/general/sbs-opens-official-youtube-channels-r4911 at 4.20pm 122

4.3.2.2 Hallyu Stars

Been discussed in Chapter three about Hallyu stars activities as non-official diplomats in fostering cultural diplomacy through their activities as a singer, actor, entertainer, and even as the chooses ambassador, no exception towards Indonesians. Through many Korean dramas been played in Indonesia, Indonesians are able to acknowledge Korean culture including language, cuisine, clothes, lifestyle, and etc. Through the line on their drama Winter Sonata, Bae Yong Jun and Choi Ji Woo were able to introduce Korean language as the first time to Indonesians viewers in 2002. The words such “Anyeonghaseyo”, “Gamsahadnida” and “Sarangheyo” are the words that can be heard throughout the drama. Along with the other of Korean dramas aired in the country, then Indonesians can acknowledge more Korean phrase through lines on the drama. Eventually, Indonesians are great lovers of music and been listening to many genres of music from Keroncong to Hip-Hop of America, from Dangdut to Japan’s pop music. Thus, Indonesians are not alien to foreign music. In this regard, K-Pop singers play their role in introducing Korean popular music in which it is basically a hybrid sound of Korean traditional and modern culture packaged with choreography while perform it. Since the singers’ agencies upload their music video through YouTube, it gives a chance for Indonesians to watch the music video. K-Pop singers not only stop to promote their songs through YouTube only, but also they started to hold overseas concert. Since 2007, K-Pop groups started to hold their concert in Indonesia and it continues to grow quite significantly in the latest two years (2011- 2012) (see Table 4.2).

123

Table 4.3 K-Pop Artists’ Solo or Family Concert in Indonesia

K-Pop artists Concert Title Date Paran Paran Live in Jakarta 28 July 2007 Rain Asia Tour 3 December 2009 Wonder Girls (mini concert) 20 June 2010 B2ST Beautiful Show 17 March 2012 Super Junior Super Show Case 4 27, 28, 29 April 2012 Jay Park (showcase) Konser 10 Mei 2012 Istimewa Jay Park Xia Junsu (JYJ) Xia the 1st Asia Tour 16 June 2012 Concert Tarantallega MBLAQ 2012 MBLAQ THE BLAQ 30 June 2012 % Tour SM Entertainment Artists SMTown Live World Tour 22 September 2012 (Super Junior, Girls III in Jakarta Generation, TVXQ!, f(x), SHINee, BoA, EXO, Kangta) Tim Hwang Saranghapnida 29 September 2012 Big Bang Alive World Tour 12-13 October 2012 Wonder Girls Wonder World Tour in 3 November 2012 Jakarta 2012 2PM What Time Is It? Live in 8 December 2012 Jakarta

Source: Compilation data from 1) 17 Maret 2012, B2ST Siap Konser di Indonesia! Kapanlagi.com. Retrieved at January 14, 2012 from http://www.kapanlagi.com/showbiz/asian-star/17-maret-2012-b2st-siap-konser-di- indonesia.html at 10.41pm; 2) Hwangteja (2012). Konser Super Junior di Jakarta akhirnya Digelar 3 Hari. Rolling Stone Indonesia. Retrieved at January 14, 2013 from http://rollingstone.co.id/read/2012/04/17/141217/1894374/1093/konser-super-junior-di-jakarta-akhirnya- digelar-3-hari at 11.20pm ; 3) Kinanti, Kantik Arum (2012). Konser istimewa Jay Park di Jakarta. Retrieved at January 14, 2013 from http://hot.detik.com/music/read/2012/05/10/205520/1914469/1180/konser-istimewa- jay-park-di-jakarta at 11.30pm; 4) Steviani, Annisa (2012). Konser Junsu ‘JYJ’ Sederhana nan Memukau. 124

Retrieved at January 14, 2013 from http://hot.detik.com/music/read/2012/06/16/232400/1943100/1180/konser-junsu-jyj-sederhana-nan- memukau at 11.40pm; 5) Konser Pertama di Indonesia, MBLAQ Mengaku Deg-Degaan. Kapanlagi.com. Retrieved at January 15, 2013 from http://www.kapanlagi.com/showbiz/asian-star/konser-pertama-di- indonesia-mblaq-mengaku-deg-degan-7313ab.html at 12.39am; 6) Rahman, Yanuar and Teddy Kurniawan (2012). Konser Artis Korea Ternama di ‘SMTown Live world Tour III in Jakarta’. Retrieved at January 15, 2012 from http://www.beritasatu.com/hiburan/64578-konser-artis-korea-ternama-di-smtown-live-world-tour-iii-in- jakarta.html at 12.51am; 7) Antara (2012) Artis Korea Tim Hwang Gelar Konser di Jakarta 29 September. Retrieved at January 15, 2013 from http://bisnis-jabar.com/index.php/berita/artis-korea-tim-hwang-gelar- konser-di-jakarta-29-september at 12.58am; 8) Hwanteja (2012). Big Bang Tambah Jadwal Konser di Indonesia menjadi Dua Hari. Rolling Stone Indonesia. Retrieved at January 15, 2013 from http://rollingstone.co.id/read/2012/06/26/182823/1951531/1093/big-bang-tambah-jadwal-konser-di- indonesia-menjadi-dua-hari at 1.03am; 9) Wonder Girls Gelar Konser di Indonesia 3 November. Retrieved at January 15, 2013 from http://www.wowkeren.com/berita/tampil/00023693.html at 1.05am; 10) 2PM Kembali Konser di Indonesia 8 Desember 2012. Retrieved at January 15, 2013 from http://www.kapanlagi.com/showbiz/asian-star/2pm-kembali-konser-di-indonesia-8-desember-2012- dd3ece.html at 1.07am

4.3.3 Korean Wave Contributions as Korea’s Cultural Diplomacy in Expanding Korea’s Cultural Influence in Indonesia

Since 2002, Korean Wave started to enter Indonesia through drama and it continues to develop. The development of Korean Wave in Indonesia is not only about the contents of Korean Wave that spread to the country be more variant, but also Korean Wave in Indonesia develop from as means of popular culture to cultural diplomacy. Through Korean government institutions and non-government, Korean Wave gives its contribution in expanding the Korean cultural influence towards Indonesians. Thus, it leads Korean Wave to play its significant role to the existence of Korean Wave’s fans and fan community, encourage learning Korean language, encourage consuming other Korean cultural content products, attracting Indonesians to visit Korea.

4.3.3.1 The Existence of Korean Wave’s Fans and Fan Community

The great influence of Korean culture through Korean Wave in Indonesia can be seen through the existence of fans and fans community. At first, Korean Wave 125 introduced about Korean culture through Korean drama. Winter Sonata as the first Korean drama broadcasted in the country in 2002, was able to acknowledge Indonesian viewers about cultural values of Koreans society featured on the drama. The Confucian values contained at that drama are similar with values of Indonesia society that based on Pancasila. The similarity of cultural values of both countries’ society led Indonesians to easily understand about Korean culture and they do not find any difficult in appreciate Korean dramas. Since they understand about the ‘hidden message’ on that drama, then they are starting to not just like to watch Korean drama, but also to be a fan of them. It doubled with the fact that Korean drama brought something refreshing to Indonesian from the story line, the various genres, good taste of fashion, to the good looking actors and actress. In the middle of 2000s, K-Pop started to enter Indonesia and as happened to Korean drama, K-Pop also gains many fans in the country. The unique characteristic of K-Pop is that made many Indonesian youths to be fan of it. K-Pop music dominated by Korean girslband and boyband, a group of singer that always singing and dance while they perform. The combinations of ear-catching and modern sound with powerful and active dance movement are the main features that attract many Indonesian youths. Thus, K-Pop is able to introduce the elegance, modern, and dynamic profile of Korea. Along with the frenzy of Korean drama and K-Pop in Indonesia, Korean fans community started to mushroomed in all over that country. It was recorded that there are around 130.000 K-Pop fandoms under Exo Digital agency –marketing company coordination (Wahyudiya, 2012, p. 60). It is proven that Korean Wave has big influence in Indonesia. SONEID and CNBLUE4INA are the examples of K-Pop fandoms exist in Indonesia. SONEID (www.soneid.com) is a community of fans Girls’ Generation that established in September 2011. Although the community just established around one year ago, but the community already have lots of members and it already has 16.000 followers on Twitter, since the community consists of four fanbases of SONEs that already exist since 2008: INDOSOSHI, KASKU[S]ONE, SNSD INDONESIA, and SONEIDWS. According to PR agent of SONEID, Wibowo

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Joko, Indonesian SONEs consist of male and female from 17 to 30 years old, and even there are fans who still in elementary and junior high school275. Thus, it comes to the fact that the influence of Korean Wave is not only to the female who mostly enjoyed the Korean drama but also male as they can enjoy K-Pop like Ivan Xu, a college student of one private university in Jakarta that becomes a fan of Girls Generation and Running Man –Korean variety program276. Amie, a founder of CNBLUE4INA also said so by revealed that the members of the fandom is from junior high school age around 12 years old to 35 years old277. CNBLUE4INA (www.cnblue4ina.com) is a fandom of Indonesian BOICE, fans of CNBLUE that established in April 2012 that already has 284 permanent members and 4576 followers on Twitter since its establishment. A bit different with SONEID, CNBLUE4Ina is not a community of several fandoms, but it has partnership with BOICE fandoms from regional from Aceh to Makasar. Those K-Pop fandoms become an extend-agent-like to promote Korean culture through their activities like sharing information about the related artists, projects to support the artists, and gathering. Through their website and SNS channels like Twitter and Facebook, K-pop fandoms sharing the information related with the artists they being fan of. Besides that, the fandoms also held such projects to support their idols like Rice Wreath Project. According to Amie, “Rice wreath ini merupakan kebudayaan masyarakat Korea, rice wreath ini sendiri artinya kemakmuran atau kesuksesan”278. CNBLUE4INA sent a rice wreath contains 30kg of rice in order to support CNBLUE’s BLUE NIGHT Concert last December together with CNBLUE’s fans all over the world279. SONEID has done the same thing by joined with

275 Joko, Wibowo (2013) interviewed through email at January 8, 2013 276 Xu, Ivan (2013) interviewed through email at January 8, 2013 277 Amie (2013) interviewed through email atJanuary11, 2013 278 Ibid 279 CNBLUE4INA. Indonesian Boice for Blue Night Concert. Retrieved at January 23, 2013 from http://cnblue4ina.com/project at1.34pm 127

International fans of SNSD to send a rice wreath to support Sunny280. It shows that, K-Pop is able to influence and at the same time inspired a fan that non-Korea origin to follow the tradition of Korean fans there. Based on the interview that the author conducts with Achmad Faizal as one of Korean fans, he argued that: “In my own view, Republic of Korea nowadays is not only an emerging but also a prominent country for both Asia and the world. Because Republic of Korea has always been participating to the recent economic concern on Asia, besides the twin-world (traditional & modern) of Republic of Korea has surprisingly energized Asia's culture in the world's eyes. I have got two perceptions on Republic of Korea's development due to Korean Wave hugeness. First, I have found several findings saying that culture, entertainment, and travel had been designed by the government to be their development booster in all aspects since early 1970-1980s. It is so true to mention that the government's strategy is so brilliant and amazingly comprehensive combining life sector to promote their interests. Secondly, for the Korean Wave distribution itself, Korean people itself are the ones who brought the success. Thousands or even millions social media, blogs, and any other electric and non-electric media users are spread to enhance the sounding of Korean Wave, including the Korean Pop, Korean Drama, Korean Traditional Cuisine, etc. Thus, Republic of Korea is a multi-power revolutionary country.”

Thus far, strategy of Korean government to use Korean Wave as its cultural diplomacy towards Indonesians has achieved its purposes in promoting Korean culture for then fostering the understanding to change Indonesian perception towards Korea.

280 SONEID (2012). Project Indonesian Sones Donation For Girils’ Generation 2013 Schedules. Retrieved at January 23, 2013 from http://www.soneid.com/2092/project-indonesian-sones- donation-for-girls-generation-2013-schedules/ at 1.33pm 128

4.3.3.2 Encourage Learning Korean Language

Indonesians who have watched Korean drama and listening to K-Pop started to learn Korean language. Language is the easiest aspect of culture that can be recognized. Once people heard the line on Korean dramas or lyrics on K-Pop songs, they will recognize directly that the language is different. The word Anyyeong haseyo (hallo, usually use for greetings) and Kamsahabnida (thank you) are two simple words that can be heard in all of Korean dramas. These two words are the simple words that Indonesians can learn through drama. Thus, the words of anyyeong haseyo and kamsahabnida are starting to be less alien to Indonesians, since they started to practice it. It is like when Indonesians learn English word like I Love You and Thank You through movie or music, or Japanese words such Arigatogozaimasu through movie or comic. From the two simple words, then they started to learn more about the language. One of the reasons for Indonesians to learn Korean language is as they got influenced from their favorite Hallyu stars. In order to understand what their favorite artist saying through their Twitter or drama, Korean Wave fans then started to learn Korea language by them self by buying a Korean language guide book, asking friends or go to Korean Language courses class. “Setiap Fanbase harus memiliki tim yang bisa menyempurnakan sebuah fanbase yaitu translator, web design dan admin lainnya”281 said Amie explained about the fact that CNBLUE4INA provides the information related with CNBLUE in Bahasa where they translated it from English, Japanese and also Korean language sources. It is proved that, being a fan of Korean Wave, K-Pop triggered the fans to learn Korean language. When the center opened in 2011, Korean Cultural Centers Jakarta Office had 130 students in its Korean language program. Yet, as KCC director commented that the response from youth was unbelievable, the center is having more than 500 students as of June 2012282.

281 Amie (2013) Interviewed through email at January 22, 2013 282 Anjaiah, Veeramalla (2012). Korean Cultural Center in RI establishes its name in just one year. The Jakarta Post. Retrieved at January 23, 2013 from 129

4.3.3.3 Encourage Consuming Other Korean Cultural Content Products

Korean dramas and K-Pop are two instrumental components of Korean Wave that have significant development of Indonesia. However, the existence of Korean dramas and K-Pop in Indonesia is just being an open gate for other instrument of Korean Wave to be acknowledged by Indonesians such Korean films. As it compares to Korean drama and K-Pop in Indonesia, Korean film does not get much attention at first. Indonesians are easy to name Korean drams’ title or K-Pop group, but it is not for Korean film. Yet, as Korean government keep put much effort to promote its popular culture not only drama and music, but also film and other cultural content, Indonesian can enjoy the Korean films in one of theater in Jakarta like Blitzmegaplex for instance. Korean Embassy’s annual event Korea Indonesia Week always has Korean Film Festival as on event on the festival. Five to six Korean films featured during the festival with various genres such The Divine Weapon, Beyond the Years, X-mas in August, Seven Days, The show Must Go On, Mr. Destiny, Harmony, 71Into the Fire, Detective K, A Barefoot Dream, The Sword with No Name, and The Good The Bad The Weird. Indonesians can enjoy those Korean films every year on Korea Indonesia Week for free by booked the ticket through institution’s website. “I learned something about Republic of Korea through Korean Wave. For examples are their culture, their culinary, their amazing recreation place, and many others”.283

That is the response of Ivan Xu when interviewed by author when he asked about what he acknowledged or learned from Korean Wave. Bibimbab, ttokpoki, kimchi, bulgogi, dwen jang jigae, and yaksik are listed of Korean cuisine that usually featured on Korean dramas. Like the case of language, since Indonesians often see those cuisines at Korean drama, it triggered them to taste how their tastes do. Alongside with the popularity of Korean Wave, the existence of Korean restaurant http://www.thejakartapost.com/news/2012/06/03/korean-cultural-center-ri-establishes-its-name- just-one-year.html at 3.01pm 283 Ivan Xu (2013) Interviewed through email at January 8, 2013 130 particularly in Jakarta increased. Oh Jang Dong, Toh Dam, and Samwon House are some of Korean restaurant in Jakarta284. However, Jakartans now can enjoy Korean cuisine when they visit some malls in Jakarta like Bee Bim Bab in Mall Pondok Indah 2 South Jakarta and Seoul Garden in Mall Kelapa Gading 2 Noth Jakarta285. As Korean origin hypermarket, Lotte Mart also provides Korean cuisine on its food stall inside the market and there is also Korean restaurant Chung Gi Wa in the second floor of it286. Besides culinary, fashion is another Korean culture that Korean Wave introduced to Indonesians. From traditional clothes like Hanbok to Korean modern fashion style that recently dominated Indonesian fashion style. In ITC Mangga Dua for instance, many female clothes’ design are inspired by Korean fashion style that stressing on cute image, sweet, girly and dominated by soft color like nude, white, soft pink, etc.

4.3.3.4 Attracting Indonesians to Visit Korea

Been mentioned earlier by Ivan about one of the things that he acknowledged through Korean drama is Korean recreation place. It is something that can expected since the filming location used by those Korean dramas shows the beautiful scenery of Republic of Korea. For instance, Nami Island that used as filming location of one of the most Korean dramas Winter Sonata becomes popular among foreign tourists in Korea, including Indonesian tourist. The romantic scenery that Nami Island offered as seen on the drama, has attracted Indonesians singers Anang and Ashanty who visited Korea in June 2011 to not only enjoyed it, but also to shoot their duet song in that

284 Restaurant Korea. Streetdirectory.co.id. Retrieved at January 23, 2013 from http://www.streetdirectory.co.id/businessfinder/indonesia/jakarta/company/3143/Korean_Restaura nts/ at 4.36pm 285Ibid. 286 Ibid. 131 island287. The coming of Anang and Ashanty to Korea, particularly Nami Island proves that Korean drama is effective to promote Korean culture including its tourism destination. Visiting Korean drama filming location, visiting Korean museums, natural scenery like Jeju Island to attending K-Pop concert are some of the reasons for Indonesian tourists to visit Korea. In 2011, as many as 125.000 Indonesians visited Korea, an approximate 15 percent growth compared to 2010 said KTO director for Incentives and Exhibitions Team Helen Shim288. Accordingly, in 2012 there was a surge of Garuda Indonesia’s passengers by 35 percent from Soekarno-Hatta International Airport for destination Incheon International Airport, Republic of Korea. Approximately, many of the 46.000 Indonesians’ passengers are the enthusiast of Korean drama and K-Pop289.

4.4 Summary

The broadcasted of Winter Sonata in 2002 embarked the entering of Korean cultural popular culture content to Indonesian. Since then, Korean Wave in Indonesia developed from the broadcasting various dramas to then the hype of Korean girlband and boyband reprsents K-Pop. The hype of Korean Wave in Indonesia is motivated by the cultural affinity between Indonesia and Korea. While Koreans valued Confucianism, Indonesians have Pancasila as the basic value for their daily live. Thus, there are common between the two such as the norms of family relation, filial piety, social order, loyalty to authority, and respect for age that usually featured on Korean dramas. Because of these commonness, Indonesians do not find any

287 Kodrati, Finalia and Beno Juniato (2011). Anang-Ashanty Romantis di Korea Selatan.Viva News. Retrieved at January 23, 2013 from http://nasional.news.viva.co.id/news/read/225911-anang- ashanty-romantis-di-korea-selatan at 5.20pm 288 Korean Wave Helps Draw More Tourists from Indonesia. The Jakarta Post. Retrieved at January 23, 2013 from http://www.thejakartapost.com/news/2012/03/24/korean-wave-helps-draw-more- tourists-indonesia.html at 6.37pm 289 Kurdi, Uki M (2012). Mengunjungi Lokasi Shooting Winter Sonata. Tribunnews.com. Retrieved at January 23, 2013 from http://www.tribunnews.com/2012/12/21/mengunjungi-lokasi-shooting- winter-sonata at 5.29pm 132 difficulties in appreciate Korean dramas. It doubled with the fact that Korean drama brought something fresh to Indonesian from the story line, the various genres, good taste of fashion, to the good looking actors and actress. It goes for K-Pop as well which attracted many Indonesians music listeners. K-Pop is dominated by girlbands and boybands that exposed its unique characteristics including elegance, ear-catching, activeness, powerful and modernity. However, Korean Wave in Indonesia goes further than just a pop culture phenomenon. It becomes a part of Korea’s cultural diplomacy of the country in expanding its cultural influence as illustrated on Scheme 4.1. It is started from the relations of the two countries where Korea has established its relations with Indonesia on consulate levels in 1966, and the two countries officially established their diplomatic relations on September 17, 1973. The relations of the two countries continue growing significantly to come to the fact that they are a potential partner to one and another. It is accordance with the national interest of Korea in Indonesia from politic, economy, security, energy, technology, to social and culture. Recently, Korean government keeps promoting its cultural diplomacy towards Indonesia through Korean popular culture namely Korean Wave. The using of Korean Wave as Korea’s cultural diplomacy in Indonesia more likely happens during President Kim and President Lee who pay much attention of the spreading of the wave. The vigorous cultural promotion that Koreas government does in Indonesia embarked by the Agreement between the Government of the Republic of Indonesia and the Government of the Republic of Korea on Cultural Cooperation on November 28, 2000 ratified by Presidential Decree of Republic of Indonesia No. 92 Year 2007 on September 21, 2007. The popularity, flexibility, and hybrid values are factors for Korean Wave served as cultural diplomacy as them enable it to project Korean traditional and modern culture moreover the whole image of the country. The Korean cultural diplomacy in Indonesia aims to promote the Korean culture specifically and Korean nation’s image generally, fostering mutual understanding about Korea and its culture, and triggering cooperation between the two countries through cultural exchange. The

133 cultural exchange process happened through mass media like TV; internet or social media like websites, Twitter, FB, Blog, and YouTube; and through live performances such concert, showcase, and festival. As the representative of Korean government in Indonesia, Korean Embassy Jakarta, KCC Jakarta Office and KTO Jakarta Office put Korean Wave as the contains of their cultural diplomacy practices. The diplomacy practice not only done by the government actors alone, Korean non-government actors like broadcasting stations and Hallyu stars also played their role in promoting Korean culture. Through their activities, thus, Korean Wave is able to give its contributions in expanding the Korean cultural influence. The below table is the summary of Korean Wave as Korea’s cultural diplomacy through Korean government institutions and non-government actors’ activities:

Table 4.4

Korean Government Institutions and Non-Government Actors’ Activities

Local Korean Wave No Year Actor(s) Activities or Program Channel/ Instrument Place Hallyu Stars and 1 2002 Broadcasting Winter Sonata Drama SCTV Stations Hallyu Stars and 2 2003 Broadcasting Beautiful Days Drama TV7 Stations Hallyu Stars and 3 2004 Broadcasting All In Drama Trans TV Stations Hallyu Stars and 4 2005 Broadcasting Full House Drama Indosiar Stations Hallyu Stars and Dae Jang Geum (Jewel in the 5 2006 Broadcasting Drama Indosiar Palace) Stations Hallyu Stars and 6 2007 Broadcasting Stairway to Heaven Drama Indosiar Stations

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Korean Embassy Colors of Korea Film Jakarta Jakarta  Korean Film Showing JITEC Hallyu Stars Paran Live in Jakarta K-Pop Mangga Dua, Jakarta Utara Hallyu Stars and 7 2008 Broadcasting Coffee Prince Drama Indosiar Stations Hallyu Stars and 8 2009 Broadcasting Boys Before Flower Drama Indosiar Stations Korean Cultural Week 2009 Korean Embassy Movie, K-Pop Jakarta Jakarta  Korean Movie Show  Music Concert JITEC Hallyu Stars Rain’s Asia Tour 2009 K-Pop Mangga Dua, Jakarta Utara Hallyu Stars and 9 2010 Broadcasting Jumong Drama Indosiar Stations Indonesia Korea week 2010 Korean Embassy Jakarta,  Indonesia-Korea Night Drama, K- Jakarta Broadcasting  Indonesia-Korea Friendship Pop, Film Stations (Arirang) Sharing Concert 2010  Korea Film Festival Balai Kartini, Hallyu Stars Wonder Girls’ Mini Concert K-Pop Jakarta Hallyu Stars and 10 2011 Broadcasting Secret Garden Drama Indosiar Stations

Korean Embassy Korea Indonesia Week 2011 Jakarta, KCC  Korean Film Festival Film, K-Pop Jakarta Jakarta Office, KTO  K-Pop Contest Jakarta Office  K-Pop Singer Concert JITEC Hallyu Stars 2PM’s Hands Up Tour Concert K-Pop Mangga Dua, Jakarta Utara Broadcasting KBS’ Music Bank and Mnet’s K-Pop Indosiar Stations MAMA 2011 Hallyu Stars and 11 2012 Broadcasting The King Two Hearts Drama Indosiar Stations

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Korean Embassy, Korea Indonesia Week 2012 KCC Jakarta Office,  K-Pop Festival K-Pop, Film Jakarta KTO Jakarta Office  Korean Film Festival Stadion SMTown Live World Tour III in Gelora Bung Hallyu Stars K-Pop Jakarta Karno, Jakarta Broadcasting Mnet’s MAMA 2012 K-Pop Indosiar Stations Hotel The ‘Cultural Cooperation and KCC Jakarta Office Korean Wave Borobudur, Korean Wave (Hallyu)’ Seminar Jakarta Touch Korea Tour mencari (Online) KTO Jakarta Office K-Pop Peserta Korea Experience Team Indonesia

Source: Compile by the researcher from pg. 93-123

The activities of Korean government’s institutions and non-government actors in Indonesia as deserve on Table 4.3 indicates that in pursuing cultural diplomacy, Korea at the same time doing public diplomacy practice since the relations is not only happened in the level government-to-government but also in the level government-to- public and public-to-public. Through the existence of Korean Wave’s fans and fans community, encourage learning Korean language, encourage consuming other Korean cultural content products, and attracting Indonesians to visit Korea, it is proven that Korean Wave has contributed to expand the Korean cultural influence. Thus, these significant contributions show that Korean Wave is able to achieve the purposes of Korea’s cultural diplomacy purposes in Indonesia.

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Korea’s Cultural Diplomacy through Korean Wave towards Indonesia Period 2002-2012

Diplomatic Relations of RI and ROK

Korean Wave as Purposes Cultural Diplomacy Korea’s CD towards Indonesia 1. Promoting Korean Culture specifically The process happened through: and Korean nation’s

1. Mass media (TV) image generally. 2. Internet/ Social Media (YouTube, Twitter, Facebook, etc) 3. Live performance (concert, showcase, festival) 2. Fostering mutual

Factors to use understanding about Korean Wave as Korea and its culture. CD: 1. Its popularity Diplomatic Activities 2. Its flexibility 3. Triggering 3. Its hybrid values Gov’t Institutions Non-gov’t actors cooperation between (Korean Embassy, KCC, (Hallyu stars and the two countries KTO) Broadcasting Stations) through cultural exchange. 1. Festival 1. Broadcast 2. Forums, 2. K-Pop class, seminar concert

The existence of Korean Wave Fans and Fans community Korean Wave as CD contributes in expanding Korea’s cultural influence in Encourage Learning Korean language Indonesia.

Encourage consuming other Korean cultural content products

Attracting Indonesians to visit Korea

Scheme 4.1 Scheme of Research Findings

*Inspired from Skema Temuan on Budaya Populer Sebagai Alat Diplomasi Publik: Analisa Peran Korean Wave Dalam Diplomasi Publik Korea Periode 2005-2010 (Dwirezanti, 2012)

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CHAPTER V

CONCLUSION

The development of global interaction as the response to the countries interest makes the transnational cooperation in IR becomes more complex and even requested a shifted system. The shifted world system from bipolar system to multilateral is the example of phenomenon happened in international arena. If before, the interaction among the countries more likely using hard power in pursuing their national interest, after the shifted system the role of game has shifted as well to the trend of using soft power. According to Joseph S. Nye Jr. Soft power, the using of power as means to influence the other behaviors to get the outcomes on wants, and that is soft power that has the notion to attract and persuade. Thus, the shifted trend to use soft power has affected to the practitioners in IR in which non-government actors stand out to have a significant role as well as the government actors. The present of globalization that brings the development of communication technology enables the non-government actors to play their role. However, the rise of soft power brings the non-traditional issues like culture which before seen as the subsidiary to now as the significant one. Furthermore, the trend of soft power, the actors in IR, the rising of non-traditional issues, and the development of communication technology brought by globalization influenced the diplomatic practice done by a country to use the non-traditional diplomacy in pursuing the nation’s interest such cultural diplomacy and public diplomacy. It is not the non-traditional diplomacy replace the role of traditional diplomacy, whereas it is an alternative way of diplomacy action to take instead, in which they run hand in hand. Republic of Korea is one of the examples of a country that practices both traditional and non-traditional diplomacy simultaneously. Through its popular culture well known as Korean Wave, Korea promotes the using of cultural diplomacy. The using of cultural diplomacy refers to the ability of it to promote the country’s

138 national goals and policies, communicating a nation’s ideas, ideals, beliefs, and values, and building a common understanding and relationship as suggested by Jian Wang. Korean Wave is effective to use as the country’s cultural diplomacy since it has already become a phenomenon that sounding and reaching across the globe. Explained earlier in the Chapter III, the using of Korean Wave as the country’s cultural diplomacy is not apart from the influence of shifted cultural policy of Korea during President Kim Dae Jung’s regime. During his regime, Korea was focus on build up its own cultural industry and to raise exports and building cross cultural ties, including China and Japan. In supporting its policy, his administration has established several ‘forces’ as the basic of Korea cultural industry such Basic Law for the Promotion of Cultural Industry, Cultural Industry Promotion Fund, KOCCA, Korean Institute of Design and Promotion and changed the Ministry of Culture and Sports to Ministry of Culture and Tourism. The intention of President Kim to boost up country’s cultural industry motivated by the effort of Korea to recover from the bad effect of Financial Crisis in 1997. However, the exporting of Korean cultural Industry like Korean drama has function not as to help the country to recover from crisis alone, but also to build and strengthen the cross cultural ties with other countries including with Indonesia. The diplomatic relations of Korea and Indonesia established since 1973 and the cooperation between the country continues grow significantly in many field until both of the country committed to strengthen their cooperation in cultural sector. As explain in the Chapter IV, the Agreement between the Government of the Republic of Indonesia and the Government of the Republic of Korea on Cultural Cooperation on November 28, 2000 ratified by Presidential Decree of Republic of Indonesia No. 92 Year 2007 on September 21, 2007 is the implementation of President Kim effort to build and strengthen Korea cultural ties with Indonesia. In accordance with that, in 2002 Korean drama started to enter Indonesian market. It embarked the Korean Wave as Korea’s cultural diplomacy towards Indonesia. Thus, the author choose the practice of Korean Wave as means of Korea’s cultural diplomacy towards Indonesia through Korean government’s

139 institutions and non-government actors’ activities in expanding the Korean cultural influence from 2002-2012. At first, the diplomacy practice through Korean Wave implemented through the broadcasted of Korean dramas in Indonesian TV channels. Numerous K-dramas with many variant of genres succeed to introduce Korean image generally and Korean culture especially. In this regard, Korea does not only practice its cultural diplomacy but also its public diplomacy since the object of the diplomacy practice is Indonesian market. In addition to that, Korea drama as means of public diplomacy also involve the non-government actors in which they are Hallyu stars and broadcasting stations as the one behind that drama. That is so Korea already implemented its traditional diplomacy seen through the agreement on culture between the countries and the non-traditional diplomacy through broadcasted Korea drama in Indonesia. However, alongside with the development of Korean Wave itself in its parent’s country, it also influenced the development of it in Indonesia which since the middle of 2000s K-Pop entered Indonesia. The development of Korean Wave until the entering of K-Pop in Indonesia also influenced by the globalization, in which the spread of it through internet or social media such Twitter, Facebook, and YouTube. K-Pop has reached the ears of Indonesians even prior to the promotion of Hallyu stars of it in the country. It proves what Thomas L. Friedman has said that globalization enables people to reach the world farther, faster, deeper, and cheaper. Later in 2007, K-Pop artist started to spread its wings embarked by the first ever solo concert of K-Pop boyband, Paran in Jakarta. Thus after, Korean Wave has been using its Korean drama and K-Pop as the content of the Korea’s cultural diplomacy. Moreover, cultural diplomacy practice through Korean Wave started to be more vigorous since the 2009 to 2012 when Korea is under President Lee Myung Bak’s regime. Motivated to boost the nation image of Korea, President Lee is actively launch programs to promote Korea as whole through its popular culture, Korean Wave. As can be seen that Korean Wave succeed to promote Korean image and Korean culture, that far, it triggers President Lee’s administration to improve

140 country’s cultural diplomacy through Korean Wave. In doing so, President Lee has established so called President Council on Nation Branding, K-culture Promotion Task Force, Korea Public Diplomacy Forum, Cultural Diplomacy Website, and has changed the MCT to Ministry of Culture, Sports, and Tourism to support his administration programs. In maximizing the government effort in achieving the national interest, President Lee maximizes the cultural diplomacy to not only in government-to-government level, but also in government-to-public level and even encourages pubic-to-public relations. In this regard, once again, the shifted government policy has influenced the cultural diplomacy practice of Korea in Indonesia by the practitioners –Korean government institutions and non-government institutions. Since 2009, Korean Embassy has conducted its annual event called Korea Indonesia Week, a five-to-six days festival where the embassy served many events to promote Korean culture including the content of Korean Wave such K-Pop concert and Film festival. However, in accordance with President Lee’s cultural policy to promote Korean image through its culture, since 2011 two extend agents of MCST, KTO and KCC, started its operation in Jakarta. KCC is an extent Korean government institution that spread globally as the special agent to promote Korean culture, while KTO exist to promote Korean tourism. Since the two institutions has established in Jakarta, then the Korea Indonesia Week co hosted by Korean Embassy Jakarta together with KCC Jakarta Office, and KTO Jakarta Office since 2011. KCC Jakarta Office has its own program as its cultural diplomacy practice through its facilities in its office like libraries, language class, K-Pop class, and seminar. Meanwhile, KTO Jakarta Office includes Korean Wave as its effort to promote Korea’s tourism on its program. In the other hand, the non-government actors also play their significant roles in the practice of cultural diplomacy. As the non-official diplomats, Hallyu stars’ ‘diplomatic’ activities include their appearance on TV drama, K-Pop concert, featuring on social media and somehow they also chosen as cultural or tourism ambassador by Korea government. Meanwhile, the role of

141 broadcasting stations in the cultural diplomacy through Korean Wave is by spreading the Korean drama and Korean music program to Indonesia. Those activities of Korean government actors and non-government actors show the how Korean Wave as Korea’s cultural diplomacy contributes in expanding Korea’s cultural influence in Indonesia in the period of 2002-2012. The significant contributions of Korean Wave in expanding the Korean culture in Indonesia seen through the existence of Korean Wave’s fans and fans community; encourage learning Korean language; encourage consuming other Korean cultural content products; and attracting Indonesians to visit Korea. The author considers that the achievement of Korean Wave as cultural diplomacy practice Indonesia to expanding Korean cultural influences through its significant contributions motivated by several factors. The first is factor of the Korean Wave as popular culture itself. Korean drama contains the common values and brought something refreshing including the story line, the various genres, good taste of fashion, and good looking of the actors or actress to make Indonesians do not find difficulty to appreciate Korean drama. Meanwhile K-Pop has its unique characteristics from dominated by girlband and boyband that expose elegance, ear-catching song, powerful dance movement, activeness, and modernity. The second factor is Korean government foresight in seeing the chance to use its popular culture in the diplomacy activities. As explained in the previous chapters, that Korean Wave begin in the 1990s when at that time it was during President Kim era for Korea started to export its cultural content product. Korean government continues to use Korean Wave as means to promote the country from President Kim to President Lee’s regime. Year by year, Korean government shows its commitment to support the popular culture contains drama, music, film by enabling the development of the content itself. The government seriousness to promote Korean Wave by including it on its cultural policy to then the Korean government institutions in Indonesia launched related program in promoting it. In addition to that, Korean government support in terms of diplomatic relation encourages the non-government actors to plays their role. The continuity on

142 developing the content, including the issue of Korean Wave on the country’s policy and the using of it as diplomacy tools contributed to the achievement of Korean Wave to gain its popularity at the same time achieving the cultural diplomacy purposes here in Indonesia. Therefore, popular culture is one of the soft powers of a country in pursuing its national interest that used through its cultural diplomacy in the international relations. Supported with the factors of it, Korean Wave is able to achieve the purpose of cultural diplomacy in promoting a country’s culture in another country; fostering mutual understanding; and establishing, re-establish and maintaining relationship between countries.

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APPENDIX 1

PERATURAN PRESIDEN REPUBLIK INDONESIA NOMOR 92 TAHUN 2007 TENTANG PENGESAHAN PERSETUJUAN ANTARA PEMERINTAH REPUBLIK INDONESIA DAN PEMERINTAH REPUBLIK KOREA MENGENAI KERJA SAMA DI BIDANG KEBUDAYAAN (AGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC OF INDONESIA AND THE GOVERNMENT OF THE REPUBLIC OF KOREA ON CULTURAL COOPERATION)

DENGAN RAHMAT TUHAN YANG MAHA ESA

PRESIDEN REPUBLIK INDONESIA,

Menimbang : a. bahwa di Jakarta, pada tanggal 28 November 2000 Pemerintah Republik Indonesia telah menandatangani Persetujuan antara Pemerintah Republik Indonesia dan Pemerintah Republik Korea mengenai Kerja Sama di Bidang Kebudayaan (Agreement between the Government of the Republic of Indonesia and the Government of the Republic of Korea on Cultural Cooperation), sebagai hasil perundingan antara Delegasi-delegasi Pemerintah Republik Indonesia dan Pemerintah Republik Korea; b. bahwa sehubungan dengan itu, perlu mengesahkan Persetujuan tersebut dengan Peraturan Presiden;

Mengingat : 1. Pasal 4 ayat (1) dan Pasal 11 Undang-Undang Dasar Negara Republik Indonesia Tahun 1945; 2. Undang-Undang Nomor 24 Tahun 2000 tentang Perjanjian Internasional (Lembaran Negara Republik Indonesia Tahun 2000 Nomor 185, Tambahan Lembaran Negara Republik Indonesia Nomor 4012); 3. Undang-Undang Nomor 10 Tahun 2004 tentang Pembentukan Peraturan Perundang- undangan (Lembaran Negara Republik Indonesia Tahun 2004 Nomor 53, Tambahan Lembaran Negara Republik Indonesia Nomor 4389);

MEMUTUSKAN :

Menetapkan : PERATURAN PRESIDEN TENTANG PENGESAHAN PERSETUJUAN ANTARA PEMERINTAH REPUBLIK INDONESIA DAN PEMERINTAH REPUBLIK KOREA MENGENAI KERJA SAMA DI BIDANG KEBUDAYAAN (AGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC OF INDONESIA AND THE GOVERNMENT OF THE REPUBLIC OF KOREA ON CULTURAL COOPERATION).

Pasal 1

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Mengesahkan Persetujuan antara Pemerintah Republik Indonesia dan Pemerintah Republik Korea mengenai Kerja Sama di Bidang Kebudayaan (Agreement between the Government of the Republic of Indonesia and the Government of the Republic of Korea on Cultural Cooperation) yang telah ditandatangani pada tanggal 28 November 2000 di Jakarta yang naskah aslinya dalam Bahasa Indonesia, Bahasa Korea, dan Bahasa Inggris sebagaimana terlampir dan merupakan bagian yang tidak terpisahkan dari Peraturan Presiden ini.

Pasal 2

Peraturan Presiden ini mulai berlaku pada tanggal ditetapkan.

Agar setiap orang mengetahuinya, memerintahkan pengundangan Peraturan Presiden ill dengan penempatannya dalam Lembaran Negara Republik Indonesia.

Ditetapkan di Jakarta pada tanggal 21 September 2007 PRESIDEN REPUBLIK INDONESIA,

ttd.

DR. H. SUSILO BAMBANG YUDHOYONO Diundangkan di Jakarta pada tanggal 21 September 2007 MENTERI HUKUM DAN HAK ASASI MANUSIA REPUBLIK INDONESIA,

ttd.

ANDI MATTALATTA

LEMBARAN NEGARA REPUBLIK INDONESIA TAHUN 2007 NOMOR 121

Lampiran :

PERSETUJUAN ANTARA PEMERINTAH REPUBLIK INDONESIA DAN PEMERINTAH REPUBLIK KOREA MENGENAI KERJASAMA DI BIDANG KEBUDAYAAN

Pemerintah Republik Indonesia dan Pemerintah Republik Korea, (selanjutnya disebut "Para Pihak");

148

BERKEINGINAN untuk memperkuat hubungan persahabatan antara Rakyat Indonesia dan Rakyat Korea, dan untuk memajukan serta mengembangkan hubungan kedua negara dalam bidang kebudayaan, seni, pendidikan dan ilmu pengetahuan; MENEGASKAN bahwa kerjasama ini akan memberikan keuntungan timbal balik bagi rakyat kedua negara; BERDASARKAN pada hukum dan peraturan masing-masing negara; TELAH MENYETUJUI hal-hal sebagai berikut :

Pasal 1

Tujuan dari Persetujuan ini adalah untuk memberikan kemudahan dan meningkatkan kerjasama di bidang kebudayaan, kesenian, pendidikan, termasuk kegiatan akademis di bidang ilmu pengetahuan dan teknologi, kesehatan masyarakat, media massa informasi dan pendidikan, olah raga dan kewartawanan untuk meningkatkan pengetahuan rakyat tentang kebudayaan dan kegiatan-kegiatan masing-masing negara di bidang-bidang dimaksud.

Pasal 2

Untuk mencapai tujuan-tujuan tersebut, Para Pihak akan mendorong dan mempermudah : (a) pertukaran kunjungan profesor dan pakar guna memberikan pengajaran, wisata belajar dan penyelenggaraan kursus-kursus; (b) pertukaran kunjungan para wakil organisasi atau asosiasi pendidikan, sastrawan, ilmu pengetahuan, teknik, seniman, olahraga dan wartawan serta keikutsertaan mereka dalam kongres, konferensi, simposium dan seminar; (c) pertukaran bahan dalam bidang kebudayaan, seni, pendidikan dan ilmu pengetahuan, olahraga, penterjemahan dan pertukaran buku-buku, terbitan berkala dan publikasi- publikasi lain di bidang pendidikan, ilmu pengetahuan, kebudayaan dan olah raga serta apabila memungkinkan, pertukaran contoh-contoh karya seni; (d) pertukaran kunjungan para ahli purbakala masing-masing negara guna memperoleh kemudahan untuk memasuki lokasi penggalian benda purbakala, untuk keperluan pelatihan, serta pertukaran contoh dan hasil cetaknya.

Pasal 3

Masing-masing Pihak akan berusaha memberikan kemudahan dan beasiswa kepada para pelajar dan peneliti kedua negara untuk mengikuti pelajaran pada lembaga-lembaga pendidikan tinggi dan penelitian laboratorium.

Pasal 4

Masing-masing Pihak akan berusaha untuk menyampaikan berbagai segi kehidupan dan budaya Pihak lain melalui radio, televisi dan media cetak. Untuk keperluan ini, Para Pihak akan memberikan kemudahan dalam pertukaran bahan-bahan dan program-program yang sesuai.

Pasal 5

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Para Pihak akan memberi kemudahan dan meningkatkan : (a) pertukaran kelompok artis, tari dan musik; (b) pertukaran seni dan pameran-pameran lain; (c) pertukaran film, dokumentasi, rekaman program radio dan televisi serta rekaman di atas piringan hitam dan kaset; dan (d) pertukaran pakar di bidang perfilman, dan keikutsertaan pada festival film Internasional di masing-masing negara.

Pasal 6

Para Pihak akan mendorong pertukaran kunjungan tim olahraga dan akan mempermudah perolehan tempat tinggal dan keleluasaan gerak mereka di masing-masing negara.

Pasal 7

Para Pihak akan mendukung peningkatan hubungan antar organisasi-organisasi pemerintah di bidang kebijakan kepemudaan maupun antar organisasi-organisasi pemuda yang secara resmi diakui di masing-masing negara. Para Pihak juga akan mendorong pertukaran delegasi dan kelompok-kelompok pemuda serta pertukaran informasi dan publikasi masalah kepemudaan.

Pasal 8

Para Pihak, sedapat mungkin, menjamin bahwa buku-buku pelajaran yang ditetapkan bagi lembaga-lembaga pendidikan mereka masing-masing; khususnya yang berkaitan dengan sejarah dan geografi, tidak mengandung kekeliruan atau kesalahan tentang fakta masing-masing negara.

Pasal 9

Masing-masing Pihak akan mendorong pembentukan lembaga-lembaga kebudayaan dan perhimpunan persahabatan di masing-masing wilayahnya, untuk tujuan-tujuan pendidikan dan kebudayaan oleh Pihak lainnya atau oleh kedua belah Pihak secara bersama. Persetujuan Pemerintah yang bersangkutan perlu diperoleh sebelum lembaga tersebut didirikan berdasarkan Pasal ini.

Pasal 10

1. Dalam rangka mencapai tujuan Persetujuan ini, suatu Komisi Bersama dapat didirikan oleh Para Pihak, apabila dianggap perlu, yang akan bertemu sesuai dengan kesepakatan Para Pihak atas permintaan salah satu Pihak secara bergantian di Seoul dan Jakarta. 2. Komisi Bersama bertanggung jawab untuk meninjau kembali secara berkala pelaksanaan Persetujuan ini, dan memberikan saran kepada Pemerintah mereka dengan merumuskan dan mengusulkan keinginan dari salah satu Pihak di bidang yang telah

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ditetapkan dalam Persetujuan ini, serta memberi saran mengenai cara memperbaiki pelaksanaan Persetujuan ini.

Pasal 11

Setiap perbedaan pendapat yang muncul dalam penafsiran atau pelaksanaan Persetujuan ini, akan diselesaikan secara bersahabat melalui konsultasi-konsultasi atau perundingan- perundingan antar Para Pihak, melalui saluran diplomatik.

Pasal 12

Persetujuan ini dapat dirobah atau diperbaiki. Masing-masing Pihak dapat mengajukan perbaikan dan perobahan secara tertulis. Perbaikan atau perobahan yang telah disetujui oleh Para Pihak merupakan bagian yang tak terpisahkan dari Persetujuan ini dan mulai berlaku pada waktu yang akan ditentukan oleh kedua Pihak.

Pasal 13

1. Persetujuan ini akan mulai berlaku pada tanggal pemberitahuan terakhir secara tertulis yang diajukan oleh Para Pihak, bahwa ketentuan internal masing-masing bagi pemberlakuan Persetujuan ini telah terpenuhi. 2. persetujuan ini akan tetap berlaku untuk jangka waktu 5 (lima) tahun dan secara otomatis tetap ber1aku untuk jangka waktu 5 (lima) tahun berikutnya, kecuali ditetapkan lain oleh salah satu Pihak, yang diajukan secara tertulis 6 (enam) bulan sebelum berakhirnya Persetujuan. 3. Pengakhiran ini tidak mempengaruhi penyelesaian program-program yang masih ber1angsung yang dibuat kedua Pihak berdasarkan persetujuan ini.

SEBAGAI BUKTI, yang bertanda tangan di bawah ini, dengan diberi kuasa oleh Pemerintah masing-masing, telah menandatangani Persetujuan ini. DIBUAT DI JAKARTA pada tanggal 28 bulan November tahun dua ribu, dalam rangkap enam, masing-masing dalam bahasa Indonesia, Korea, dan Inggris, semua naskah mempunyai kekuatan hukum yang sama. Dalam hal terjadi perbedaan penafsiran atas naskah Persetujuan ini, naskah bahasa Inggris yang akan berlaku.

UNTUK PEMERINTAH UNTUK PEMERINTAH REPUBlIK INDONESIA REPUBlIK KOREA

ttd. ttd.

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AGREEMENT BETWEEN THE GOVERNMENT OF THE REPUBLIC OF INDONESIA AND THE GOVERNMENT OF THE REPUBLIC OF KOREA ON CULTURAL COOPERATION

The Government of the Republic of Indonesia and the Government of the Republic of Korea (hereinafter referred to as "the Parties"), DESIRING to strengthen the friendly relations existing between the Korean and Indonesian peoples, and to promote and develop their relations in the fields of culture, art, education and science, AFFIRMING that the cooperation would bring further mutual benefits to the people of the two countries, PURSUANT to the laws and regulations in their respective countries, HAVE AGREED as follows:

Article 1

The purpose of this Agreement is to facilitate and encourage cooperation in the fields of culture, art, education including academic activity in the field of science and technology, public health, mass media of information and education, sports and games, and journalism in order to contribute to a better knowledge of their respective cultures and activities in these fields.

Article 2

In order to achieve this purpose, the Parties shall encourage and facilitate: (a) reciprocal visits by professors and experts for delivering lecturers, study tours and conducting special courses; (b) reciprocal visits by representatives of educational, literary, scientific, technical, artistic, sports and journalist associations/organizations and their participation in congresses, conferences, symposia and seminars; (c) exchange of materials in the fields of culture, art, education and science, sports, translation and exchange of books, periodicals and other educational, scientific, technical, cultural and sports publications, and wherever possible, exchange of art specimen; and (d) reciprocal visits by archaeologists of one country to the other to gain access to archaeological finds, for training purposes, as well as for exchanging specimens or casts.

Article 3

Each Party shall endeavor to provide facilities and scholarships to students and scientific personnel of the other country seeking to study in its institutions of higher education and research laboratories.

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Article 4

Each Party shall endeavor to present diverse facets of the life and culture of the other Party through the media of radio, television and press. To this end, the two Parties shall facilitate exchange of suitable materials and programmes.

Article 5

The Parties shall facilitate and promote : (a) exchange of artists, and dance and music ensembles; (b) exchange of art and other exhibitions; (c) exchange of films, documentaries, radio, and television programme recordings and recordings on discs and tapes; and (d) exchange of experts in the field of cinematography and participation in each other's International Film Festivals.

Article 6

The Parties shall encourage reciprocal visits by sports teams and shall facilitate their stay and movement in their respective territories.

Article 7

The Parties shall support the development of the contacts between governmental organizations in the field of youth policy, as well as between the youth organizations and associations officially recognized in their respective countries. They shall encourage exchange of delegations and groups of youngsters, as well as of information and publications on youth issues.

Article 8

The Parties shall, to the extent possible, ensure that text books prescribed for their educational institutions, particularly those relating to history and geography, do not contain any error or misrepresentation of facts about each other's country.

Article 9

Each Party shall encourage the establishment in its territory of cultural institutes and friendship associations devoted to educational and cultural pursuits by the other Party, or the two Parties jointly; Prior consent of the Government concerned shall be obtained before any institute is established under this Article.

Article 10

1. For the fulfillment of the objectives of this Agreement, a Joint Commission maybe established by the Parties as and when considered necessary, which shall meet as agreed upon between the Parties at the request of either Party, alternately in Seoul and Jakarta.

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2. The Joint Commission will be responsible for reviewing periodically the implementation of this Agreement, advising their Governments by formulating and recommending any items of interest to either Party in the fields envisaged in this Agreement, as well as advising the manner in which the implementation of this Agreement may be improved upon.

Article 11

Any disputes arising out of the interpretation or implementation of this Agreement shall be settled amicably through consultation or negotiations between the Parties through diplomatic channels.

Article 12

This Agreement may be amended or revised. Either Party may request in writing a revision or amendment. Any amendment or revision agreed upon by the Parties shall form an integral part of this Agreement. Such revision or amendment shall enter into force on such a date as may be determined by the Parties.

Article 13

1. This Agreement shall enter into force on the date of the latest notification by both Parties, In writing, that all internal procedures required for the entry into force have been accomplished. 2. This Agreement shall remain in force for a period of 5 (five) years and shall automatically remain in force thereafter for another period of 5 (five) years each, unless it is denounced by any Party by written notification six months prior to its termination. 3. The termination of this Agreement shall not prejudice the completion of any ongoing programmes agreed by the Parties under this Agreement.

IN WITNESS WHEREOF, the undersigned, being duly authorized by their respective Governments, have signed this Agreement. DONE at JAKARTA on 28th day of November in the year of two thousand, in six originals, two in each of the Indonesian, Korean and English languages, all the texts being equally authentic. In case of any divergence of interpretation, the English text shall prevail.

FOR THE GOVERNMENT OF FOR THE GOVERNMENT OF THE REPUBlfC OF INDONESIA THE REPUBLIC OF KOREA

ttd. ttd.

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APPENDIX II

Questions for individual’s interview (These are the very basic questions asked to the interviewees. There are some elaborated questions as the responses from them)

1) Prior to the hype of Korean Wave, what do you think or know about Republic of Korea? How and where did you usually get information about it? 2) And know, when Korean Wave becomes so popular, what comes to your mind when you think about Republic of Korea? 3) Do you follow or enjoy the Korean popular culture -Korean Wave? What is it? 4) When did you start to follow it? 5) At first, how did you know or reach them? through mass media or social media? and how about now? 6) What do you think about them (Korean Wave's instrument you follow. e.g. K- drama and K-pop)? 7) As happened in another country, Korean Wave tastes its sweet popularity in Indonesia. According to you, what are the reasons for its popularity in Indonesia? 8) Through Korean Wave, do you acknowledge or learn something about Korea? If yes, what are they? 9) Do they encourage you to learn further about K-culture, or buy K-products, or to visit Korea?

Questions for K-Pop fandoms (Same with the questions for individuals’ interview, there are also elaborated questions.)

1. What is/are the purpose(s) of the establishment? 2. How many members who joined to this fandom? May I know the range of age of them and their gender? 3. What are project/program do you have? 4. Is there any project that inspired by your idols? 5. Do you do a cover of your idol's song/ performance?

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6. Since you have or join this fandom, what do you think that a K-Pop fandom has to have or has to be able to? 7. How do you get information related with your idol? 8. and , How do you share it?

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APPENDIX III

PICTURES GALLERY

Drama Daejanggeum has introduced Korean traditional culture from Korean Palace, traditional house, clothing, cuisine to medicine.

Source: Up (KOCIS, K-Drama: A New TV Genre with Global Appeal, 2011b, p. 47), Bottom (http://www.lens- views.com/Korean_TV_Dramas/Dae_Jang_Geum_files/10_dae_jang_geum_korean_drama_dvd.jpg)

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Heartstrings shows the hybrid culture that Korean Drama has through the collaboration of the contemporary music by The Stupid and traditional music by The Wind Flowers on the drama.

Source: Up (by researcher), Bottom (http://c3.vikiassets.com/uploads/user_uploaded_images/posts/post_9552_user_428606_13129 67764______.E10.110803_00_22_12_03.jpg )

158

K-Pop Singers sang to Korean folk song Arirang with modern sound arrangement by CNBLUE’s Jung Yong Hwa at the ending part of KBS Music Bank in Chile at November 2nd, 2012.

Video Source: http://www.youtube.com/watch?feature=player_embedded&v=Snd2XkNnr7Y

159

Running Man, a variety show, promotes cultural diplomacy in fun way through its various mission and games took in various landmarks in Korea

Source: captured by the researcher from several episodes 160