South Korea Pop Music - Essay Example

Asian Popular Culture: South Korea Pop Music (K-pop) Introduction The increasing popularity of South Korea’s pop music has of late been a topic of interests for different factions all over the world. The reason for this can be attributed to the increasing infiltration of the South Korean culture in neighbouring countries such as China, Japan, Taiwan and in other continents in the international scene such as the North America and Europe. South Korean popular music (K-pop) stands as the most cultural product with wide receivership in neighbouring countries such as Japan and China while other countries such as the UK, Australia and the USA also have a taste for K-pop. Moreover, the Korean Wave has been helpful in spearheading the popularisation of K-pop worldwide which has elicited a mixture of reactions in different parts of the globe (Lee 2007; Lee 2011; Hyejung 2007; Kim & Ryoo 2012; Yang 2009). This paper seeks to critically analyse the characteristics of South Korean pop music (K-pop). Using specific examples, it will discuss its cultural specificity and its significant in the local and global scene. Subsequently, this paper will look at how and why K-pop has changed when transplanted into other cultures. Characteristics of South Korean pop music The K-pop music industry is less than two decades old with most of the industries dominating the K-pop genre having been established in the early and mid-1990s. A unique feature of K-pop is that most K-pop singers and groups are made of teenagers who are exclusively produced, managed, assembled and at times housed by the record label companies or talent agencies that they are signed to. Notably, the K-pop industry has taken advantage of the publicity that You-tube has to offer in terms of popularising K-pop music culture as a way of promoting music singles. The use of You-tube is not only a way of building a fan base for K-pop artists but also a way of advancing K-pop culture to other regions across the world (Brooks 2011). A critical look at the elements incorporated in K-pop, it is evident that it largely borrows from other renowned genre from the Western world such as electro, rock, R&B, disco and hip hop. K-pop mimics various aspects of the audio visuals used in these genre especially visual elements such as dance routines, fashion and outfits. These elements of K-pop to a large extent imitate popular music genres which are basically centered on modernity (Rousee-Marquet 2013). Psy’s hit single Gangnam style is a good example of a K-pop song that largely borrows from Western genres of music such as electro, disco and hip hop. The song synergizes electro, disco and hip hop beats. The song’s video depicts Psy and other dancers wearing colourful and modern costumes. The dance moves used in the songs are lively, dramatically and incorporate some element of fun and humour. Although some aspects of K-pop are borrowed from Western genres of music, fanatics of K-pop have special attachment to the music due to the distinct features and variety that it offers that is quite distinct from the mainstream pop music from North America and Europe. Most find the music to be appealing because it is reflective of their individuality since they can relate to the singers and the songs that they sing. Asian fans particularly appreciate the uniqueness that K-pop has to offer as compared to their traditional genres of music (Korean Culture and Information Service 2011). One fan points out that: “It is the novelty. British music gets old fast because of similarity and J-pop (Japanese pop) has been losing its scarcity value because it is so easily accessed. But k-pop is something of mystery. People see the dynamic music and the unfamiliar language of the Koreans as something fresh. And while there a lot of bands in the UK, it is hard to find Idol groups with strong music, performances, looks, and fashion” (Korean Culture and Information Service 2011). K-pop in the Local and Global Scene The increasing popularity of Korean pop (K-pop) music in the local global scale has been instrumental in cultural transmission from South Korea to neighbouring countries and to the rest of the world. The transmission of South Korean culture at a steadily increasing rate has been termed as phenomenal with effects and influences on international audiences and fanatics not just within South Korea but also from different parts of the world. K-pop music is one of the elements of a bigger marketing agenda of South Korea’s culture and its transmission on the global scale. This campaign of popularising South Korea’s culture has come to be known as the Korean Wave (Hallyu). Hallyu is a term coined by journalist in the late 1990’s to explain the fast growing popularity of Korean entertainment and culture in China. Since it explained the transmission of culture from Korea into China over the years Korea’s culture has been transferred into other parts of the world and the term has since been used to describe South Korea’s penetration of foreign cultures worldwide through their cultural influences. The Korean Wave depicts the exportation of South Korea’s pop culture to international boundaries with the sole aim of marketing Korea’s cultural products abroad and ultimately earning the country foreign exchange (Lee 2011; Kim & Ryoo 2012; Kim 2007). The development of K-pop music has transformed the country’s music industry drawing most of its support from various quarters such as the government, the media and the general public. Pop music in Korea has developed through the Korean wave. The Korean wave which is grounded on the support of various factions mentioned aims to reach new heights where South Korea’s culture is marketed worldwide. Hence hallyu aims at marketing K-pop artists by driving hype about them worldwide. The impact of this is such that South Korea has been mapped in the world as a major cultural exporter (Lee 2011; Kim & Ryoo 2012). The main features facilitating the development and spread of K-pop music to countries in the Asian region and the world at large include; the development of Information Communication Technologies (ICTs), common historical and cultural background, cultural proximity, common 20th century experience of rapid industrialisation, inter-regional trade, and strategic investments in tourism industry. All these factors combined have served to steer the growth, development and spread of Korean culture through K-pop music. In essence they have served to position South Korea favourably in the East Asia as a formidable cultural exporter and hence able to influence cultures in the region developing K-pop while popularising South Korean culture at the same time(Garibaldi 2012; Kim & Ryoo 2012). Psy is one such artist who owes his worldwide fame and the success of his video hit single Gangnam style to the millions of views that the music video received on You-tube. The song received millions of views on You-tube with fanatics from all over the world downloading the Gangnam Style video in their locality thereby consuming Asian culture by listening to K-pop.More important than the publicity that ICTs and new media provides for K-pop artists such as Psy on a global scale is that the artists tap new markets the world over which in turn translates to generating of more revenue for themselves and for their country as well in terms of foreign revenues earned from the exports of K-pop (Jin 2012). The success that K-pop singer Psy received after the release of his popular hit song Gangnam Style that rocked fans and audiences the world over is evidence of the significance of K-pop in the global arena. The success of the song in North America and Europe where the hit song topped charts in both regions for months is a true depiction of the hallyu (Korean Wave) effect in practice. Moreover, the popularity of the song in the West is an indication of the expansion and recognition that K-pop has managed to gather in the past two decades on a global scale. Gangnam style was such a huge record that it reached a record high of 100 million views on You-tube barely two months after its release in 2012. In addition to leading the chats the song received global recognition as the first K-pop single to jump from 61 000 – 188 000 downloads in just a week (Jin 2012). Psy’s success in the USA has had the impact of exposing Korean culture to appear more like the American culture such that the two culture can merge due to the similarities that they share in their taste for pop music. Furthermore, Korean culture is little known in the USA and the hence proliferation of Asian culture through K-pop is one way through which Korean culture can be transmitted to the USA and to the rest of the world; a sure way of propagating hallyu (Korean Culture and Information Service 2011). From the above analysis of Psy’s success in both the Asian region and in the international arena such as the USA Europe and Africa it is apparent that through K-pop Korean artists such as Psy can succeed in penetrating the world’s music industry an indication that K-pop is increasingly enjoying receivership in foreign markets (KrissKross 2011).Generally, the influence of K-pop on the global music industry is one that has made a mark that will remain relevant throughout the near future especially with artists such as Psy who have received global acceptance taking the lead in propagating Asian culture worldwide they surely serve to keep hallyu alive in the global pop music industry (Jin 2012; Kim & Ryoo 2012). Impact of K-pop on Global Cultures When transplanted in other cultures, K-pop tends to change as it is integrated with other Western styles and percussions. For instance, following the release of Gangnam style, numerous parodies and video were released in a bid to imitate the song and the dance styles incorporated in the video. Although these videos borrow the main concepts incorporated in the song, they do not bring out the authentic feel evident in K-pop. This shows that although culture can be transmitted, it is difficult to imitate effectively mainly because, it has to be deeply ingrained and practiced over time (Venkat 2013). The transmission of K-pop in other culture has received a somewhat lukewarm reception by Western countries majorly because it does not exemplify Western culture especially that of North America. K-pop typically features groups of teenage artists which is somewhat disorienting for most Westerners as it falls far from what the music industry is like in the USA. In foreign countries such as the US, UK and Australia, most people’s knowledge about K-pop stems from Psy’s Gangnam style success which can be argued to be more or less Western pop than it is K-pop. This is because the video is conventionally different from what traditional K-pop is, it comprises a lot of humour and comedy while conservative K-pop is serious and well crafted. For this reason K-pop has become more of a subculture than a bona fide phenomenon in the West (Flatley 2012). Nonetheless, Psy’s success in the USA has had the impact of exposing Korean culture to appear more like the American culture such that the two cultures can merge due to the similarities that they share in their taste for pop music. Furthermore, Korean culture is little known in the USA and the hence proliferation of Asian culture through K-pop is one way through which Korean culture can be transmitted to the USA and to the rest of the world; a sure way of propagating hallyu (Korean Culture and Information Service 2011). In the Asian region, the influence of K-pop music culture on the politics of the East Asia region is such that it has been driven partly by the historical rivalry of colonialism between China and Japan making South Korea to become a more palatable cultural hegemony and therefore taking the lead in cultural transmission in the region setting the stage for the dominance of the Asian music industry through K-pop (Kim & Ryoo 2012). Furthermore, the dominance of K-pop in the East Asian region is such that South Korea is exercising some form of cultural imperialism since the Korean Wave brings with it some economic dominance on certain East Asian countries such as China, Taiwan, Japan and Singapore. This is because through cultural dominance in the region K-pop has been a tool for attracting tourists into South Korea as well as other forms of direct foreign investments becoming the number one foreign revenue absorber in the East Asia economic region (Huang 2009). The regional dominance of the music industry by K-pop has also received much adoration from China whose people appreciate the similarity in cultures between South Korea and China. More importantly the Chinese find K-pop to be entertaining due to its uniqueness and for providing access to top pop culture. As a result, South Korea has earned much of its revenue from pop culture exports mainly from China (Yang 2009; Chen 2006). The warm reception of K-pop by the Chinese can also be attributable to the proximity with which China is with South Korea and as well the historical background on colonialism that the two countries share. Moreover, the familiarity between the two cultures in terms of their likes and dislikes also has facilitated the warm reception of K-pop in China. Similarly, their close resemblance with the South Koreans also has an influence on the Chinese to accommodate their music than to accommodate say American music whom they neither share cultural similarities nor resemble in any way (Yang 2009; Lee 2007). Jang & Paik (2012) propose that the Korean Wave is a tool for cultural diplomacy that can be used by the music industry to spear head the transmission and penetration of Korean culture to other parts of the world. Moreover, the use of K-pop to transmit culture is one option that can be exploited in ensuring that Koreans share their heritage with other members of the East Asia region and the world over ensuring the penetration of the Korean culture globally. Secondly, the Korean wave is central to the shaping perceptions of regional and international audiences about South Korea as country. This is because immediately after the Korean War images circulated on South Korea depicted poverty and political instability that brought with it much of the negative publicity. In order to restore its image the depiction of South Koreans living in trendy lifestyles technological developments and sophistication are all but an indication of the positive lifestyle that South Koreans have (Lee 2007; Ryoo 2008). Coltman (1989) terms the process of image building as national branding that would uplift the status of the country in the eyes of internationals or foreigners. Thus, the use of K-pop with trendy videos such as Gangnam style have served to sell the country abroad as a safe prosperous and politically stable country much to the dismay of its long-time rival North Korea. In the end reforming Korea’s national image by changing perceptions held by individuals on Korea’s political, economic and social spheres. Thirdly, the influence that K-pop has had on global politics is remarkable. For instance in October 23rd 2012 UN secretary general Ban Ki-Moon after meeting with Psy termed him as an artist with an unlimited global reach. The impact that the song has had the world over is enormous eliciting reactions from individuals and organizations (Jin 2012). Lastly, the development of K-pop has not been purely successful and smooth sailing as it has had its share of criticisms and apprehensions. It has been argues that K-pop music tends to ape the western culture and hence seen as a way of taking after their colonial empires and Western allies. The defence of South Korean government on this argument is that for decades neighbours in the region have been hesitant to exchange cultures with each other opting to do so with their immediate colonisers instead. Hence, Korea has an obligation to be the intermediary between Western culture and its immediate neighbours. This is because its cultural aspects are closely linked and likened to those of countries bordering it. This therefore places South Korea in a position of a mediator between the West and the Asian regions. South Korea pop music does this by translating Western culture to fit Asian people’s needs and vice versa (Lee 2011). Conclusion This paper has examined the characteristics of South Korean pop music (K-pop) and its significance in the local and global scene. It is established in this paper that over time, K-pop has gained popularity in the Asian region as well as in regions such as Europe, Australia and North America. The main features facilitating the development and spread of K-pop music to countries in the Asian region and the world at large include; the development of Information Communication Technologies (ICTs), common historical and cultural background, cultural proximity, common 20th century experience of rapid industrialisation, inter-regional trade and strategic investments in tourism industry. All these factors combined have served to steer the growth, development and spread of Korean culture through K-pop music. The influence that K-pop has had on the global culture is outstanding based on the reception that Psy’s hit single Gangnam Style has received all over the world in both regional and international markets. This success coupled by the hallyu effect promise to take South Korea’s cultural transmission agenda to greater heights. Moreover, the placement of South Korea as a regional leader and exporter of K-pop in East Asia goes to show that K-pop is a strong cultural brand and can be exploited fully to transmit culture and generate revenue. References Brooks, J 2011, To Anyone: The rise of Korean Wave, viewed November 1st, 2013. Chen, C., (2006, February 26), Seoul sisters, South China Morning Post. Coltman, M.M 1989, Tourism marketing, Van Nostrand Reinhold, New York. Flatley, J. 2012, K-pop takes America: how South Korea’s music machine is conquering the world, viewed November 3rd, 2013 Garibaldi, C (September 17, 2012). Psy Breaks Down Greatest Assets of 'Gangnam Style MTV News, viewed November 3rd, 2013, Huang, X 2009, ‘Korean Wave’- the popular Culture, Comes as Both Cultural and Economic Imperialism in the East Asia, Asian Social Science, vol, 5, no, 8, pp. 123-130. Hyejung, J 2007, The Nature of Nationalism in the “Korean Wave”: A Framing Analysis of News Coverage about Korean Pop Culture, Conference Papers -- National Communication Association. Jang, G & Paik, W.K 2012, Korean Wave as Tool for Korea’s New Cultural Diplomacy, Advances in Applied Sociology, vol, 2, no, 3, pp, 196-202. Jin, D.Y 2012, ‘The new Korean Wave in the Creative Industry’, University of Michigan Journal, vol, 0, no, 2, pp, 3-5. Kim, M.E & Ryoo, J. 2007, ‘South Korean Culture Goes Global: K-pop and the Korean Wave’, Korean Social Science Journal, vol. XXXIV, no. 1, pp, 117-152. Kim, J.Y 2007, Rethinking media flow under globalisation: rising Korean wave and Korean TV and film policy since 1980s, viewed 31st October, 2013, Korean Culture and Information Service, 2011, K-drama: A new TV genre with global appeal, viewed 31st October, 2013, KrissKross 2011, Yang Hyun Suk reveals plans for YGE’s movement into the US market, viewed 31st October, 2013, Lee, S.J 2011, ‘The Korean Wave: The Seoul of Asia’, The Elon Journal of Undergraduate research in Communications, vol, 2, no, 1, pp, 85-93. Reousee-Marquet, J 2013, “K-pop: the story of the well-oiled industry of standardized catchy tunes”, viewed 31st October, 2013 Ryoo, W 2007, Globalization, or the Logic of Cultural Hybridization: The Case of the Korean Wave, Confer­ence Papers -- International Communication Association. Venkat, K., 2013, Success Gangnam Style,CreateSpace Publishing, Seoul. Yang, S 2009,’Korea aims for tourism powerhouse in Asia by 2020’, The Korea Herald. Read More

The song synergizes electro, disco and hip hop beats. The song’s video depicts Psy and other dancers wearing colourful and modern costumes. The dance moves used in the songs are lively, dramatically and incorporate some element of fun and humour. Although some aspects of K-pop are borrowed from Western genres of music, fanatics of K-pop have special attachment to the music due to the distinct features and variety that it offers that is quite distinct from the mainstream pop music from North America and Europe.

Most find the music to be appealing because it is reflective of their individuality since they can relate to the singers and the songs that they sing. Asian fans particularly appreciate the uniqueness that K-pop has to offer as compared to their traditional genres of music (Korean Culture and Information Service 2011). One fan points out that: “It is the novelty. British music gets old fast because of similarity and J-pop (Japanese pop) has been losing its scarcity value because it is so easily accessed.

But k-pop is something of mystery. People see the dynamic music and the unfamiliar language of the Koreans as something fresh. And while there a lot of bands in the UK, it is hard to find Idol groups with strong music, performances, looks, and fashion” (Korean Culture and Information Service 2011). K-pop in the Local and Global Scene The increasing popularity of Korean pop (K-pop) music in the local global scale has been instrumental in cultural transmission from South Korea to neighbouring countries and to the rest of the world.

The transmission of South Korean culture at a steadily increasing rate has been termed as phenomenal with effects and influences on international audiences and fanatics not just within South Korea but also from different parts of the world. K-pop music is one of the elements of a bigger marketing agenda of South Korea’s culture and its transmission on the global scale. This campaign of popularising South Korea’s culture has come to be known as the Korean Wave (Hallyu). Hallyu is a term coined by journalist in the late 1990’s to explain the fast growing popularity of Korean entertainment and culture in China.

Since it explained the transmission of culture from Korea into China over the years Korea’s culture has been transferred into other parts of the world and the term has since been used to describe South Korea’s penetration of foreign cultures worldwide through their cultural influences. The Korean Wave depicts the exportation of South Korea’s pop culture to international boundaries with the sole aim of marketing Korea’s cultural products abroad and ultimately earning the country foreign exchange (Lee 2011; Kim & Ryoo 2012; Kim 2007).

The development of K-pop music has transformed the country’s music industry drawing most of its support from various quarters such as the government, the media and the general public. Pop music in Korea has developed through the Korean wave. The Korean wave which is grounded on the support of various factions mentioned aims to reach new heights where South Korea’s culture is marketed worldwide. Hence hallyu aims at marketing K-pop artists by driving hype about them worldwide. The impact of this is such that South Korea has been mapped in the world as a major cultural exporter (Lee 2011; Kim & Ryoo 2012).

The main features facilitating the development and spread of K-pop music to countries in the Asian region and the world at large include; the development of Information Communication Technologies (ICTs), common historical and cultural background, cultural proximity, common 20th century experience of rapid industrialisation, inter-regional trade, and strategic investments in tourism industry. All these factors combined have served to steer the growth, development and spread of Korean culture through K-pop music.

In essence they have served to position South Korea favourably in the East Asia as a formidable cultural exporter and hence able to influence cultures in the region developing K-pop while popularising South Korean culture at the same time(Garibaldi 2012; Kim & Ryoo 2012).

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