iFans Update: Anniversary Fan Projects

 

Screencap, 5th Anniversary Project by Italian Blackjacks

Screencap, 5th Anniversary Project by Italian Blackjacks

One of the most common projects for K-pop fans is the anniversary fan project. It is usually the result of a call for fans to participate in a project by sending a photo or making a video, then some enterprising K-pop fans combine them together for an anniversary video Because the iFans project seeks to document and curate K-pop fan culture, it has opened a new collection: Anniversary Fan Projects. This week’s videos range from a debut anniversary project by fans of UKISS to a 12th anniversary project by international fans of BoA. Click here to see more!

Image: 1

K-pop Chronicles Becomes Part of iFans Project

kpopfandoms_beyondhallyu

K-pop Fandoms

If you are a regular reader of KPK, you might remember an announcement for a new site, House of Hallyu, which would feature content related to fan activity as well as house the kpop chronicles project, which collects fan narratives.  The House of Hallyu site will remain available (and may transform into something else in the future), but fan content and updates to the kpop chronicles project will become part of the iFans: Mapping Kpop’s International Fandom project.  This is an effort to consolidate work on fan cultures as well as expand the kinds of material collected.  iFans already documents fan activity such as song and dance covers, and will now begin to document fan projects, including comeback, anniversary and tribute projects by fans.

To remind you, k-pop chronicles is  project with one mission: to collect fan accounts about their favorite K-pop groups and artists.  The k-pop chronicles site seeks to become the world’s only repository for fan narratives, but it needs YOU to submit your fan narratives.  The project accepts  written and video narratives of your attitudes and opinions about your favorite K-pop artists. It does not accept fan fiction. Because of ethical concerns, the project only accepts written and video narratives from individuals 16 and over.

Creating Your Fan Narrative

In order to submit your fan narrative, you first have to create it. Submissions should be in English (or subtitled in English for video submissions), and should not include profanity, mature or inappropriate content, or bashing of other K-pop artists or fandoms (this is for a general audience). Fans may submit more than one narrative, but each submission should focus on only one artist/group. You may submit a written or video submission:

Written submissions: Written submissions should be 500-750 words in length and created in Word (or with a similar word processing software, including Google Docs).

Video submissions: Video submissions should be no longer than 3 minutes.

For each submission, fans should identify ONE group or solo artist and talk about the following:

  • How did you become a fan of the chosen group/artist?
  • What is  your favorite song OR video and why?
  • How do you show your support for your favorite group/ artist? Do you participate in activities like: comeback projects, Twitter trending, concerts, writing on a blog/running a Tumblr, fanmade video, album reviews, cover dance teams, YouTube channels, lyrics translation/interpretation, etc)?
  • What are one or two of your most important memories related to your chosen group/artist? This can be a live performance, performance or appearance on a music show, variety show, fan meet, interview, etc.

You will be able to add the URL of an image of your chosen artist/group to be used with your account  at the submission site.

Submitting Your Narrative

After you complete your narrative, you can submit it two ways:

Written submissions: Visit the submission site for written narratives, where you will complete the consent form, copy and paste your narrative and submit the URL for the image of your favorite group.

Video Submissions: Visit the  submission site for video narratives, where you will complete the consent form, submit the URL for the image of your favorite group and upload your video.

Submit NOW!!! kpop chronicles is the brainchild of Crystal S. Anderson.  Send any questions to drceefu@gmail.com.   

Image: 1

Like Vs. Love: Research Reveals Degrees of Attachment Among K-pop Fans

K-pop is well-known for the introduction of new groups, even while established groups continue to thrive. But are fans fickle in their K-pop choices? Do they abandon older groups for newer groups? Research suggests that while K-pop fans readily accept new groups, they have a deeper connection with veteran groups. These conclusions are based on data collected online through the Hallyu Korean Music Survey, part of a five-year study on international K-pop fans by Crystal S. Anderson.

The survey asks respondents to check all of the K-pop groups they like from a pre-determined list. This list emerged from earlier research that revealed a group of K-pop artists that global fans consistently identified as their favorites.  Out of 5099 responses from 282 respondents, the following groups represent the top 10:

  1. BigBang
  2. 2NE1
  3. SHINee
  4. Super Junior
  5. f(x)
  6. BEAST/B2ST
  7. MBLAQ
  8. B.A.P
  9. SNSD/Girls’ Generation
  10. TVXQ/DBSK

Respondents were then asked to name any group they liked not found in the predetermined list.  Out of 1229 responses from 237 respondents, the top 10 responses were:

  1. EXO
  2. Block B
  3. BTOB
  4. B1A4
  5. VIXX
  6. NU’EST
  7. Teen Top
  8. BTS
  9. SISTAR
  10. Secret

Respondents were then asked to list their three favorite K-pop groups. Out of 788 responses from 268 respondents, the top 10 responses were:

  1. BigBang
  2. SHINee
  3. EXO
  4. Super Junior
  5. Infinite
  6. 2NE1
  7. SNSD/Girls’ Generation
  8. JYJ
  9. MBLAQ
  10. TVXQ

This data suggests that K-pop fans are receptive to newer K-pop male groups. Nearly all of the groups not included in the predetermined list are groups that debuted after 2010. Female groups continue to lag behind, probably due to the fact that most K-pop groups that debut are male. However, established K-pop groups dominate when fans are asked to identify their favorite K-pop groups.  This list mirrors the predetermined list, which suggests that the longer the group has been active, more connected fans feel to the group.  Infinite has become a group that fans consistently say they like, replacing a group like BEAST/B2ST, which may have been out of the spotlight for a period of time. The notable exception is EXO, who fans identify as a group that they live and a favorite group. EXO debuted in 2011, and has managed to create a level of fan loyalty equal to more established K-pop groups.

So, what does this mean? It seems to suggest that fans of K-pop make choices about the degree of their fan loyalty based on the longevity of the group. K-pop group longevity (or how long a group has been active) makes a difference to fans. This has long-term implications for how K-pop continues to be promoted. Agencies who focus on churning out new groups without cultivating the fandom may see less of an impact than agencies who take time to establish a long-term fan relationship between artists and fans. Such activities may include creating the fan name so that fans can identify with a particular group, creating behind-the-scene shows where fans can see artists when they are not performing, and creating other opportunities for artists to remain in the public eye, such as endorsements and television appearances.

Images:

“BigBang, Love Song (Korea.com),” Hallyu Harmony, accessed July 14, 2014, http://kpop.omeka.net/items/show/347.

“EXO, Promo Dark Sky (seoulbeats),” Hallyu Harmony, accessed July 14, 2014, http://kpop.omeka.net/items/show/369.

Creative Commons License
Like Vs. Love: Research Reveals Degrees of Attachment Among K-pop Fans by Crystal S. Anderson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

KPK’s Newest Member: Jessica!

KPK has a new member…..Jessica! She has joined KPK as a Compiler. Jessica’s favorite groups include Super Junior, Beast, 2PM, SHINee, FT Island, CN Blue, Big Bang, MBLAQ and Block B.  Find out about Jessica’s K-pop journey in her bio under KPK Members!

You, too, can be like Jessica by applying to be a Compiler for KPK!

Shine On: Glamour, Image and K-pop

H.O.T

H.O.T

Visuals are an important part of K-pop, and understanding them is crucial to understanding the meaning of K-pop and its spread globally.

In addition to music videos, images that accompany promotions for music releases, photo shoots featured in magazines and endorsements for an array of products are seen, collected and exchanged by fans.  Not just important fan activity, such archiving in the lay sense is important to the preservation and memory-keeping of the visual narrative of K-pop.

In addition to the promotional function they perform, K-pop images also perform cultural work, constructing multifaceted representations of Korean identity.  Anne Anlin Cheng, professor of English and African American studies at Princeton University, sees “celebrity as a politics of recognition and glamour as a politics of personhood” (1023). This has special resonance for raced bodies:

Glamour’s imperviousness thus draws on a crisis of personhood that is inherently political and maybe even strangely liberating for a woman and a minority–liberating not in the simple sense of acquiring a compensatory or impenetrable beauty. . . but in the sense of temporary relief from the burdens of personhood and visibility.  It may seem counterintuitive or even dangerous to talk about the raced and sexualized body’s longing to be thinglike or to disappear into things, but it is the overcorporealized body that may find the most freedom in fantasies of corporeal dematerialization or, alternatively, of material self-extension (1032).

In other words, the highly stylized images that pepper K-pop represent a visual construction of Korean identities, visuals of how Koreans project themselves globally.  For ethnic people who have been constructed by others, such images are important because they do cultural work, deconstructing or altering images of Koreans and the ideas that accompany them.

I have started a new section in my digital humanities project, Hallyu Harmonyto document and curate images of K-pop groups and artists. In doing so, I hope to be able to make meaningful statements about the kinds of representations of Korean men and women that permeate K-pop, detecting patterns that become apparent when such images are collected together.

In the Visuals section of Hallyu Harmony, image galleries are organized into three broad categories:

  • Casual, images designed to appeal to everyone
  • Chic, images designed to represent more sophisticated styling attainable by most
  • Couture, images designed to capture more fantastic styling not designed for normal wear

Within these categories, images are further organized by concepts, magazine shoots and other promotional images. Concepts for music releases are placed in rough chronological order, allowing users to see how an artist or group’s image evolves over time.

The image gallery for Girls’ Generation, shows a greater variety of images than their reputation may suggest. A review of their concepts show that they are equally likely to promote a casual, chic or couture image. However, they are less likely to reflect a couture image in photo shoots for magazines. On the other hand, early observations of 2NE1’s image gallery (in progress) suggest that even though the group is known for its fierce reputation and image that many fans can relate to, the group reflect a chic image for many concepts.

Documenting such images presents challenges.  Many images gathered from the Internet are divorced from their original context as they are shared by fans and K-pop media. As a result, tracing an image’s origins is not always possible.  In some cases, the availability  of images within their context is related to the commitment of Korean agencies to preserve the context of images.  For example, the H.O.T image gallery (in progress) features many images, but few that can be placed in their original context. SM Entertainment‘s sites do not provide information for images on its H.O.T site.  On the other hand, many of  the concept images in S.E.S.’s image gallery can be associated with their original context due to the continued access to the group’s SM site.  Other sites, like DSP Media (formerly DSP Entertainment) only includes current artists on its website, so locating images for Fin.K.L‘s image gallery (in progress) will be challenging. Images will have to be obtained from other sources.  Moreover, it is easier to document 2nd and 3rd generation K-pop groups and artists like SNSD, while first generation groups like H.O.T and S.E.S prove more challenging because the groups are not active.

However, their fanbases are. Fan sites provide the bulk of the images documented, thus acting as valuable informal archives. As more image galleries are completed, I hope to write about the patterns that emerge from images from individuals and groups and compare them with other K-pop artists.

Images: 1, 2 and 34 and 5

Sources:

Cheng, Anne Anlin. “Shine: On Race, Glamour and the Modern.” PMLA 126.4 (2011): 1022-1041.

Creative Commons License
Shine On: Glamour, Image and K-pop by Crystal S. Anderson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Whose Generation? GIRLS’ GENERATION!: Gender, Audience and K-pop

Girls' Generation, Vogue Japan, 2011

Girls’ Generation, Vogue Japan, 2011

by Crystal S. Anderson, PhD

As the number of female groups increase in number in K-pop, commentators and scholars continue to focus on the meaning of the representations produced by these groups. While some argue that such representations are geared towards men, this ignores the way the majority female fanbases of these groups construct meaning of these representations.

Continue reading

The Digital Documentation Project: An Update

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

During KPK’s early days in 2011, Dr. Anderson and other KPK founders were having quite a difficult time accessing some Kpop entertainment companies’ artist websites.  They kept encountering what they called, “the circle of death,” and then timing out. I wasn’t having this problem and had just discovered the Screencast-O-Matic tool, so I decided to record the sites and send the video links to my KPK colleagues.

Interweb troubles in 2011....DD to the rescue!

Interweb troubles in 2011….DD to the rescue!

And that is how the the KPK Digital Documentation (DD) project was born.

While the original intent of my website recordings was to share the Kpop website love, I quickly realized that recording Kpop websites could be useful in other ways: to track changes in Kpop web design, to understand how Korean entertainment companies use websites to engage Korean and international Kpop fans, and what roles these sites seem to play in the company’s larger business, marketing, and promotional plans  – particularly when it comes to attracting new talent and integrating social media channels and tools.

Process

Recording websites can take between 2 to 15 minutes per site- occasionally more if the website is dense.  I choose to record the websites without sound in order to avoid copyright infringement and so that visitors may enjoy and engage in unbiased viewing or analysis of the website.   In Kpop, many artists and groups release several music projects a year, so I keep up with Kpop news outlets to find out about debuts and comebacks, and I try to record the different websites for each project. In this way, the DD project creates depth not only by seeking out general trends, but also monitoring the evolution of individual groups and artists. Additionally, if artists and groups promote in Japan, I record those websites if they are available.

Recording B1A4's latest website. See Screencast-O-Matic interface (dotted lines, recording control panel).

Recording B1A4’s latest website. See Screencast-O-Matic interface (dotted lines, recording control panel).

Website Differences

One of the first things I noticed is that SM Entertainment was the only company that still gave historical access to websites supporting their early artists (Shinhwa, S.E.S., Yoo Joung Jin, etc.), so I quickly recorded those websites. It’s a good thing that I did, because in 2012, the company completely redesigned their website, removing any content about artists who were not currently on their roster.  SM Entertainment continues to allow access to the older websites of groups who are still on their roster (e.g., Girls Generation, SHINee, TVXQ! etc.); additionally this company provides links to modified liner notes (e.g., lyrics, music publishing information, etc.).  Those sites have been recorded for posterity, as well.

In contrast, other companies like YG Entertainment or FNC Music Entertainment only offer current editions of artists websites – that is, viewers only have access to the current promotional concept of a group or artist, even if some historical information may be available (see below). Additionally, some companies (Starship Entertainment, TS Entertainment) only offer quick profile information about their artists on their websites. Instead they choose to use Cafe Daum’s “internet cafe” sites, which act as a hybrid website/forum, to promote their artists. Since Cafe Daum Official Kpop artist sites are generally designed to reach Korean Kpop fans, I do not record these sites for KPK.

Website Commonalities

Despite these differences, most Kpop artist websites have common elements:

  • Artist profiles (member names, birthdays, blood type, hobbies)
  • Discography lists
  • Photo galleries
  • Music snippets
  • Activity calendars
  • Social media links (Facebook, Twitter, Instagram, YouTube, and until mid-2014, Me2day)
  • Links to online music purchasing and downloading sites (e.g., Melon, Olleh, iTunes)
  • Message boards (from the artists, their staff, and for fan-to-fan communication)
  • Official fanclub portals and exclusive content (often password protected)
  • International language options (default language is Korean with some English)
  • Links to the company’s business site, which include audition information

From Collection to Curation

B1A4 Kpopiana exhibit with Digital Documentation links.

B1A4 Kpopiana exhibit with Digital Documentation links.

When this project first began, KPK members were more engaged in collecting information, so DD videos were listed on the KPK website, separately from the artist profiles. As we move on to curation activities, these video links are now included in KPOPIANA artist exhibits.  At press time, KPK has a DD library of almost 500 Kpop artist websites, from all kinds of Korean entertainment companies and encompassing all kinds of artists, Kpop choreographers, some international fansites,  and even Kdrama actors. Currently we are focused on releasing DD items pertaining to Kpop artists, with plans to include other items in the future.   The Library of Congress (n.d.) notes that the average length of a website is about 44 days. Considering the frenetic pace of music production in Kpop, this length may sometimes be shortened, making the DD project a useful tool in the study of Hallyu and its life on the Internet.  

 Click to learn more about the DD project, or you may contact me anytime.

Sources

Library of Congress. (n.d.). Importance of digital preservation: Special presentation. Accessed April 17, 2014, from http://www.digitalpreservation.gov/about/presentation.html.

KDK/Nunee (M.S.L.S.)

Creative Commons License This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License

For Your Reading Pleasure: A Hallyu Bibliography, Part 4: GLOBAL IMPACT and GLOBALIZATION

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

Welcome to Part 4 of my ongoing series of bibliographic entries about Hallyu.   These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).

To learn more about my searching parameters, information-gathering processes, and your ability to access these items, see my earlier essay titledFor Your Reading Pleasure: Introducing A Hallyu Bibliography.”  Click for Part 1 , Part 2, and Part 3 of the bibliography.

This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at kaetrena@mailbox.sc.edu

NOTE:  In order to make it easier to locate authors (and where possible), I’ve modified these APA Style citations by adding full author names where possible.

Global Impact

Dator, Jim. and Yongseok Seo. (2004). Korea as the wave of a future: The emerging dream society of icons
and aesthetic experience. Journal of Futures Studies 9(1): 31–44. Accessed 27 March 2012 from http://www.jfs.tku.edu.tw/9-1/04.pdf?referer=www.clickfind.com.au

Cho, Hae Joang. (2005). Reading the “Korean Wave” as a Sign of Global Shift.  Korea Journal 45: 147–82. Accessed 27 March 2012 from http://www.ekoreajournal.net/issue/view_pop.htm?Idx=3359

Mangliankay, Roald. (2006). When the Korean wave ripples. IIAS Newsletter, 42: 15. Accessed 27 March 2014 from https://openaccess.leidenuniv.nl/bitstream/handle/1887/12766/IIAS_NL42_15.pdf?sequence=1

Yang-hwan, Jeong. (2007). Comics soar as new Korean wave. Korea focus on current topics, 15(1):67-69. Accessed 27 March 2014 from http://www.koreafocus.or.kr/images/upload/pdf/101439.pdf

Shin, Hyunjoon. (2009). Have you ever seen the Rain? And who’ll stop the Rain?: the globalizing project of Korean pop (Kpop). Inter-Asia Cultural Studies, 10(4): 507-523.

 Globalization

Nederveen Pieterse, Jan. (1995). Globalization as hybridization. In M. Featherstone, S. Lash and R. Robertson (Eds.) Global Modernities. pp.45 – 68. London: Sage.Cho, Uhn. 2005. Positioning the Korean wave in the nexus between globalization and localization. Korea Journal, 45(4): 143-146.

Hyun, Oh-seok. 2004. Taking advantage of the Hallyu wave. Korea Focus, 12(6): 47-49.

Lee, Hee-Eun. (2005). Othering ourselves: identity and globalization in Korean popular music, 1992-2002. Thesis, University of Iowa.(see also, Identity and Nationalism)

Kim, Youna. (2005). Experiencing globalization. International Journal of Cultural Studies, 8(4): 445-463.

Kim, Ju Young. (2007). Rethinking media flow under globalisation: rising Korean wave and Korean TV and film policy since 1980s. PhD thesis, University of Warwick. Accessed 27 March 2014 from http://wrap.warwick.ac.uk/1153/1/WRAP_THESIS_Kim_2007.pdf

Seo, Yongseok. (2006). East Asian response to the globalization of culture: perceptional change and cultural policy. In J. Dator, Dick Pratt and Yongseok Soo (Eds.) Fairness, globalization and public institutions: East Asia and beyond. X: University of Hawai’i Press. pp. 319 – X. (see also, Culture)

Yang, J. (2007). Globalization, nationalism and regionalization: The case of Korean popular culture. Development and Society, 36(2): 177-199.

Sung, Sang Yeon. (2008). Globalization and the regional flow of popular music: the role of the Korean wave (Hanliu) in the construction of Taiwanese identities and Asian values. Thesis, Indiana University, Bloomington.

Le, Lan Xuan. (2009). Imaginaries of the Asian modern: text and context at the juncture of nation and region. Thesis, Massachusetts Institute of Technology.  

Ryoo,  W.   (2009).  Globalization,  or  the  logic  of cultural  hybridization:  The  case  of the  Korean  wave.  Asian Journal  of Communication,  19(2),  137 -15I .

Iwabuchi, Koichi. (2010). Globalization, East Asian media cultures and their politics. Asian Journal of Communication, 20(2): 197-212.

Hogarth, Hyun-key Kim. (2013). The Korean wave: An Asian reaction to Western-dominated globalization. Perspectives on Global Development & Technology, 12(1/2): 135-171.

 

 

Happy Reading!

KDK/Nunee (M.S.L.S.)

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License

1sagain: In Love With Love

1sagain

1sagain

1sagain (Park Jin Woo) is a male solo artist signed with Neuron Music. He debuted in 2002 and has consistently released music featuring his unique blend of soulful ballads mixed with elegant, thoughtful rap lyrics. . .Click here to read more at KPOPIANA.

2AM: K-pop’s Balladeers

2AM

2AM

2AM debuted in 2008 under JYP Entertainment. A subunit of One Day (made up of 2AM and 2PM), 2AM has four members: Lee Chang Min (Changmin), Im Seul Ong (Seulong), Jo Kwon (Jo Kwon), and Jeong Jin Woon (Jinwoon). The group is known for their emotional singing and moving ballads, which fits the group name given to them by Jin Young Park, who mentioned that the name 2AM “reflects the band’s sensitivity by capturing the feeling of the early morning, a time when you can sit back and reflect upon your day.” . . . . Click here to read more at KPOPIANA.

Block B: Busting Out

Block B

Block B

Seven member group Block B (short for Block Buster) debuted in 2011 under the Brand New Stardom label. Group members Zico (Woo Ji Ho), Taeil (Lee Taeil), B-Bomb (Lee Min Hyuk), Jaehyo (Ahn Jae Hyo), U-Kwon (Kim Yu Kwon), Kyung (Park Kyung), and P.O. (Pyo Ji Hoon) have made a mark in Kpop due to their rapping and performing skills. . . . Click here to read more at KPOPIANA.

Nell: The Language of Music

NELL_kpopiana

Nell

Nell is a rock band including Kim Jong Wan (vocals, guitar, keyboard), Lee Jae Kyung (lead guitar), Lee Jung Hoon (bass), and Jung Jae Won (drums). Originally an independent group signed with the Goesoo Indigene label, Nell is now signed with Woolim Entertainment. Nell is named after the movie starring Jodie Foster, and the critically acclaimed foursome has become known for their melancholic music, lyrical subject matter, and accompanying visual concepts. . . . Click here to read more at KPOPIANA