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"Popular music Performances Korea (South)"
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K-pop live : fans, idols, and multimedia performance
\"1990s South Korea saw the transition from a military dictatorship to a civilian government, from a manufacturing economy to a postindustrial hub, and from a cloistered society to a more dynamic transnational juncture. These seismic shifts had a profound impact on the media industry and the rise of K-pop. In K-pop Live, Suk-Young Kim investigates the meteoric ascent of Korean popular music in relation to the rise of personal technology and social media, situating a feverish cross-media partnership within the Korean historical context and broader questions about what it means to be \"live\" and \"alive.\" Based on in-depth interviews with K-pop industry personnel, media experts, critics, and fans, as well as archival research, K-pop Live explores how the industry has managed the tough sell of live music in a marketplace in which virtually everything is available online. Teasing out digital media's courtship of \"liveness\" in the production and consumption of K-pop, Kim investigates the nuances of the affective mode in which human subjects interact with one another in the digital age. Observing performances online, in concert, and even through the use of holographic performers, Kim offers readers a step-by-step guide through the K-pop industry's variegated efforts to diversify media platforms as a way of reaching a wider global network of music consumers. In an era when digital technology inserts itself into nearly all social relationships, Kim reveals how \"what is live\" becomes a question of how we exist as increasingly mediated subjects, fragmented and isolated by technological wonders while also longing for a sense of belonging and being alive through an interactive mode of exchange we often call \"live.\"\"--Publisher's description.
Book
K-pop live : fans, idols, and multimedia performance
1990s South Korea saw the transition from a military dictatorship to a civilian government, from a manufacturing economy to a postindustrial hub, and from a cloistered society to a more dynamic transnational juncture. These seismic shifts had a profound impact on the media industry and the rise of K-pop. In K-pop Live, Suk-Young Kim investigates the meteoric ascent of Korean popular music in relation to the rise of personal technology and social media, situating a feverish cross-media partnership within the Korean historical context and broader questions about what it means to be \"live\" and \"alive.\"
Based on in-depth interviews with K-pop industry personnel, media experts, critics, and fans, as well as archival research, K-pop Live explores how the industry has managed the tough sell of live music in a marketplace in which virtually everything is available online. Teasing out digital media's courtship of \"liveness\" in the production and consumption of K-pop, Kim investigates the nuances of the affective mode in which human subjects interact with one another in the digital age. Observing performances online, in concert, and even through the use of holographic performers, Kim offers readers a step-by-step guide through the K-pop industry's variegated efforts to diversify media platforms as a way of reaching a wider global network of music consumers. In an era when digital technology inserts itself into nearly all social relationships, Kim reveals how \"what is live\" becomes a question of how we exist as increasingly mediated subjects, fragmented and isolated by technological wonders while also longing for a sense of belonging and being alive through an interactive mode of exchange we often call \"live.\"
eBook
What Is the K in K-pop? South Korean Popular Music, the Culture Industry, and National Identity
In the early 2010's, the expansion of South Korean popular culture around the world is led by popular music, usually known as K-pop. In this paper I seek to answer two questions. First, what are the sources of its success beyond the South Korean national border? Secondly, what does it say about contemporary South Korean society and culture? [PUBLICATION ABSTRACT]
Journal Article
From B2C to B2B: Selling Korean Pop Music in the Age of New Social Media
The once prevailing myth held among scholars of East Asian Studies that Hallyu, or the Korean Wave, was over has now lost much of its credibility, as Korean TV dramas continue to attract and maintain an impressive audience base in Japan, China, Taiwan, South East Asia, and the Middle East. Particularly interesting is the resurgence of the popularity of Korean pop music not only in Asia but also in Europe and North America as well. This paper discusses the impact of new social media on the sudden explosion of K-pop popularity. We argue that the Korean entertainment industry is now rapidly changing its conventional business model from the audience-based B2C strategy to a new social media-dependent B2B model. In this new model Google through its subsidiary company YouTube acts as a key provider of the new social media market to the K-pop music industry that is now targeting royalty income as its main source of revenue. We use both archival and in-depth interview data to arrive at our conclusion that major Korean K-pop talent agencies, including SM, JYP, and YG, are exploiting a large profit potential through new social media and the B2B model. [PUBLICATION ABSTRACT]
Journal Article
Fuel for South Korea's \Global Dreams Factory\: The Desires of Parents Whose Children Dream of Becoming K-pop Stars
This paper is an ethnographic account of the desires and struggles of some parents in South Korea who invest - financially and emotionally - in their children's dream of becoming K-pop stars in the hope of securing a better future for their young, and repositioning themselves more favorably in an extremely restrictive and competitive environment. It is based on personal interviews with 15 mothers and 8 fathers, and participation-observation of young South Koreans' activities in a private academy where they receive \"professional training.\" This study contends that these parents are strategically benchmarking and re-benchmarking their place within a rapidly changing society by following shifting trends of pursuits that have emerged as new measures of success and status, so that they would not be \"left behind\" by a rapidly globalizing society. [PUBLICATION ABSTRACT]
Journal Article
Reconsidering Transnational Cultural Flows of Popular Music in East Asia: Transbordering Musicians in Japan and Korea Searching for \Asia\
After the South Korean government lifted its ban on Japanese culture in 1998, transnational cultural flows between Japan and South Korea entered a third phase of cultural traffic between the two countries. Among the flows, I concentrate on transbordering or translocation of Japanese and Korean musicians and interactions between them. After analyzing cultural interactions between Japanese and Korean music both in contemporary and historical experience, I explain in detail the practices of these transbordering musicians, especially Lee-tzsche (Sang-ŭn Yi) and Hachi (Kasuga Hirofumi). The different types of symbolic representations by different transbordering musicians are critically examined. I argue that analyzing contemporary Asian cultural flows in this conceptual framework has implications for the public debate in Korea in regard to how to go beyond postcolonial relations without erasing the memory of a troubled history.
Journal Article
The Place of Sentimental Song in Contemporary Korean Musical Life
Scholarly and official discourses on Korean music have focused almost exclusively on the range of genres that fall under the broad rubric of \"kugak.\" Yet it is well known to Koreans and foreign observers alike that kugak is little known and under-appreciated by the majority of Koreans today. While many Koreans study Western classical music and hold it in high regard, the music that is most widely consumed, and can be said to be the most popular and meaningful in the lives of contemporary Koreans, is Korean popular music (taejung kayo), and particularly the genre of sentimental love songs known as palladu. Although the Korean government has expressed pride in the international spread of Korean popular culture (the \"Korean Wave\"), cultural policy mostly sanctions kugak and denigrates popular music. I challenge the notion that Korean popular music should merely be viewed as an economic commodity, somehow not truly representative of Korean culture, lacking \"Koreanness.\" Focusing on musical style, language, emotion, and visual imagery, I discuss representative palladŭ songs and their recent history, considering the elements that are widely felt to be \"Korean.\"
Journal Article
Samul nori as Traditional: Preservation and Innovation in a South Korean Contemporary Percussion Genre
Hesselink discusses aspects of the musical relationship between p'ungmul and samul nori, while seeking to explore, in a broader sense, what it means to be \"traditional,\" particularly in a modernized and largely urbanized society such as that of South Korea. As many ethnomusicologists have pointed out, this slippery and highly problematic concept is often posited in terms of a dichotomy; tradition as old and preservationist versus innovation and modernity. Hesselink attempts to produce a single and standard definition from a cross cultural or cross-genre vantage point and argues that an inclusive view of tradition, as comprising both preservation and innovation, is the appropriate model for an analysis of samul nori's place in the Korean traditional music soundscape.
Journal Article
Taking Culture Seriously: Democratic Music and Its Transformative Potential in South Korea
This article outlines my personal search for a working theory of democratic music in the context of South Korean folk drumming and dance (p'ungmul). Motivated by the call of Korean political theorists and folklorists of the late twentieth century for the identification and investigation of democratic elements within traditional culture, I attempt to locate such ideals in the musical structure and performance practices of an indigenous drumming tradition. Through an extensive review of the pertinent literature, I was able to identify five general principles of musical democracy that are consistent with established democratic theory. My analysis hopes to highlight the ways in which we can move beyond discussions of performative art in purely aesthetic terms, revealing the socially transformative potential of the artistic realm.
Journal Article
Cycles of Appropriation in Children's Musical Play: Orality in the Age of Reproduction
Children's musical play is a spontaneous form of expression encompassing a range of forms which vary according to age and locality. For school-aged children in primary school playgrounds, genres of musical play include those that are part of an oral tradition, such as singing games, the sung and chanted games that are owned, performed and orally transmitted by children. In the course of oral transmission, these games are varied, often intentionally, through processes of formulaic construction. Children appropriate formulae from the adult world, drawing in particular on mediated sources for their material, but manipulating the source material as a form of resistance to and subversion of the hegemonies of the adult world. In children's dialogue with the media, cycles of appropriation emerge and similarities between the generative aesthetics of musical play and popular music can be identified. In particular, the intertextuality within these two linked performative traditions is explored. This exploration is based on a cross-cultural study of children's musical play entailing extensive periods of ethnographic fieldwork in predominantly multiethnic schools in the UK, Norway, USA, South Korea and in urban and remote locations in Australia.
Journal Article