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El K-Pop En España: Una Aproximación a La Industria Musical Globalizada a Través Del Fenómeno Fan Y Las Redes Sociales

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El K-Pop En España: Una Aproximación a La Industria Musical Globalizada a Través Del Fenómeno Fan Y Las Redes Sociales UNIVERSIDAD DE VALLADOLID Grado en Historia y Ciencias de la Música EL K-POP EN ESPAÑA: UNA APROXIMACIÓN A LA INDUSTRIA MUSICAL GLOBALIZADA A TRAVÉS DEL FENÓMENO FAN Y LAS REDES SOCIALES Trabajo Fin de Grado Presentado para la obtención del Título de Graduado en Historia y Ciencias de la Música por TERESA OLMEDO SEÑOR Tutora: Raquel Jiménez Pasalodos Julio de 2017 Curso Académico 2016-2017 EL K-pop en España: Una aproximación a la industria musical globalizada a través del fenómeno fan y las redes sociales VºBº. Tutor: Raquel Jiménez Pasalodos Trabajo Fin de Grado Presentado para la obtención del Título de Graduado en Historia y Ciencias de la Música Teresa Olmedo Señor Valladolid, Curso 2016 - 2017 ÍNDICE Listado de ilustraciones ..................................................................................................... 7 Introducción ..................................................................................................................... 9 Presentación del tema y justificación .................................................................... 9 Objetivos .............................................................................................................. 10 Estado de la cuestión ........................................................................................... 11 Marco teórico, fuentes y metodología ................................................................. 16 Estructura del trabajo ........................................................................................... 19 1. Capítulo 1: El K-pop como fenómeno globalizado ................................................. 21 1.1. ¿Qué es el K-pop? ......................................................................................... 21 1.2. La difusión del K-pop ................................................................................... 25 1.2.1. Difusión en Asia ............................................................................ 26 1.2.2. Difusión global ............................................................................... 29 1.2.3. El K-pop en Europa: la estrategia de la industria coreana ............. 33 2. Capítulo 2: El K-pop en España ............................................................................... 35 2.1. Marco sociológico e institucional ................................................................. 35 2.2. La industria musical coreana en España ....................................................... 38 2.3. El fenómeno fan en España y las redes sociales ........................................... 41 2.3.1. ¿Quiénes son los fans en España? .................................................. 43 2.3.2. Las prácticas offline y su reflejo online ......................................... 49 2.3.3. Las redes sociales como medios de información y difusión .......... 53 2.3.4. Google Trends: las búsquedas sobre K-pop en España ................. 61 2.4. La recepción y repercusión del K-pop en los medios españoles .................. 66 2.4.1. Estereotipos asiáticos y racismo en los mass media españoles ...... 71 2.4.2. La presión de los fans en los medios de comunicación ................. 74 Conclusiones ................................................................................................................... 76 Bibliografía ..................................................................................................................... 81 Anexo I. Entrevistas ...................................................................................................... 91 Anexo II. Noticias de prensa escrita, radio y televisión ........................................... 128 Anexo III. Redes sociales y blogs ................................................................................ 139 Anexo IV. Conciertos .................................................................................................. 163 LISTADO DE ILUSTRACIONES Y TABLAS Figura 1. Fanarts de las artistas @blinblinsia y @_nereidd en Twitter .......................... 49 Figura 2. Cartel en el metro de Madrid para el cumpleaños de Suho y Baekhyun de EXO (foto de @EXOLSPAIN) ....................................................................................... 52 Figura 3. Ejemplos del contenido en Twitter. Cuentas de @MamamooSpain_, @EventosKpopSP y @PitchTuneEnt. ............................................................................. 53 Figura 4.Ejemplos del contenido en Facebook. Grupo Mercadillo Kpop: Compra/Venta/Intercambio y la cuenta BTS Spain (@BangtanBoysSpain). ................. 54 Figura 5. Ejemplos de contenido en Instagram. Cuentas de hanassociation y ksquad_spain ................................................................................................................... 56 Figura 6. Búsquedas de K-pop (Género musical) de 2004 a 2017. ................................. 61 Figura 7. Búsquedas de K-pop (Género musical) de 2011 a 2017. ................................. 62 Figura 8. Interés por subregión de la búsqueda K-pop (Género musical). ...................... 62 Figura 9. Búsquedas de BTS (Grupo musical) de 2013 a 2017. ..................................... 63 Figura 10. Búsquedas de EXO (Banda) de 2012 a 2017. ................................................ 63 Figura 11. Búsquedas de JYJ de 2010 a 2017. ................................................................ 64 Figura 12. Búsquedas de K-pop (Género musical) en YouTube de 2011 a 2017. .......... 64 Figura 13. Comparación de búsquedas de K-pop y J-pop de 2004 hasta 2017. .............. 65 Figura 14. Gráfica de las noticias sobre K-pop por años en medios de comunicación españoles. ......................................................................................................................... 67 Figura 15. Comentarios en el blog Mis crónicas niponas sobre el reportaje de K-pop en A Vivir, de la Cadena Ser. ............................................................................................... 72 Figura 16. Comentarios en el blog Ramen para dos sobre la aparición de Girls’ Generation en el telediario de La Sexta. .......................................................................... 73 INTRODUCCIÓN Presentación del tema y justificación K-pop es la abreviatura en inglés de “Korean Popular Music”, es decir, música popular de Corea del Sur. El término es tan amplio porque define un género ecléctico que recoge todo tipo de música popular urbana de influencia occidental como pueden ser el rock, pop, hip hop, r&b y edm (electronic dance music), entre otros. Un aspecto a destacar es la integración de artes escénicas tanto en actuaciones en directo como en videoclips así como una estética cuidada y llamativa. Todo esto, junto con una importante producción y un gran despliegue de medios técnicos y artísticos, da como resultado una puesta en escena espectacular. Desde la década del 2000 se ha convertido en un fenómeno global de gran éxito entre los consumidores jóvenes, en parte por su forma de difusión a través de las nuevas tecnologías. Pero fue a partir del año 2012, con la canción “Gangnam Style” del rapero y cantante PSY, cuando se convirtió en un género musical reconocido en todo el mundo, tanto en el ámbito periodístico como en el académico. En los últimos años la prensa académica ha tratado el tema desde distintas perspectivas evidenciando su importancia no solo como un fenómeno musical sino también sociológico, cultural y político. Sin embargo, la mayor parte de estos estudios se limitan a diferentes países de Asia y América, apenas se han dedicado páginas al tema en Europa y aún menos en España, donde solo contamos con escasas menciones desde el 2011. Sin embargo, el fenómeno K-pop es de especial interés para los estudios musicológicos, ya que ejemplifica claramente el funcionamiento de la industria musical globalizada, las nuevas formas de intercambio cultural a través de plataformas online, las actividades que llevan a cabo los fans (quienes pasan de ser solo consumidores a tomar el papel de productores de contenido) y los fenómenos transculturales provenientes de países en los márgenes culturales del mundo globalizado. El éxito del pop coreano pone de manifiesto cómo un pequeño país, antes apenas influyente, ha conseguido situarse entre las potencias mundiales al convertir su cultura en un producto para la exportación. Mi interés personal por el género me ha llevado a trabajarlo en diferentes asignaturas del Grado en Historia y Ciencias de la Música, y finalmente en este Trabajo 9 de Fin de Grado. Al igual que muchos, entré en contacto por primera vez con la música pop coreana en el año 2012 con el éxito “Gangnam” Style, pero no fue hasta el año 2014 cuando empecé a interesarme realmente al profundizar en otras facetas del K-pop a través la plataforma YouTube. Desde entonces soy seguidora habitual y participo en la comunidad online de fans. Gracias a esta participación activa como fan he podido llevar a cabo este estudio desde una perspectiva insider y así aportar datos e información que de otra manera hubiesen resultado muy difíciles de obtener. Por ejemplo, el conocer el funcionamiento de esta industria y sus términos clave, el vocabulario especializado, los nombres de la mayoría de grupos populares, las plataformas de uso habitual entre fans para intercambio de información y las actividades que estos llevan a cabo, entre otras muchas cosas. Espero que el presente trabajo ayude a comprender mejor en qué consiste el fenómeno y cómo se desarrolla en España y que pueda servir en un futuro
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