You are currently browsing the tag archive for the ‘kpop research’ tag.
Crystal S. Anderson, PhD
Last week, I wrote a piece, Who Can Speak For K-pop, for my public blog, High Yellow and received a huge response. As I suspected, there are a variety of fans in the United States whose voices are not being heard in the larger discussions of K-pop. In order to capture those opinions, my iFans project has added a new survey! U.S. K-pop Fan Study seeks to understand the attitudes and opinions of all K-pop fans in the United States, but especially African American, Asian American and U.S. Latino fans. In other words, it is the first academic survey that wants to understand the K-pop experience of U.S. fans of color. To take the survey, click here. Tell your friends!
If you keep with research on K-pop, you may be aware of the iFans: Mapping Kpop’s International Fandom project. The surveys that make up the qualitative studies seek to understand how the fandoms differ from one another and their relationship to the groups they support. K-pop fans know that the fandoms are unique. Because they have detailed knowledge of the groups they support, they provide a unique perspective on the appeal of their respective groups. Too often, commentators make assumptions about K-pop fans, while the iFans studies goes to the source: the fans.
As the chart above shows, fans of 2NE1 and BigBang have participated the most in the surveys, while fans of Shinhwa and Aziatix have participated the least. Other groups with high participation rates include SHINee and TVXQ, while other groups with low participation rates include Epik High and f(x).
These participation rates are interesting, because groups like Super Junior and Girls’ Generation have very active global fandoms, yet those numbers are not reflected in participation rates. Rates may not reflect all fans, just fans who are likely to take (and complete) a survey. Participation rates may be affected by the activity of the groups.
The iFans Case Studies survey is still active, and now, individuals can take the survey for multiple or individual groups.
Now that a good deal of data has been collected, look for new research reports on what K-pop fans say about their favorite groups!
Kaetrena Davis Kendrick, M.S.L.S.
University of South Carolina Lancaster
Last month I shared why my background in Library and Information Science matches so well with the mission and work of KPK: Kpop Kollective. One of the roles I play is information provider (billed “Research and Information Clearinghouse” on that fine chart from last month’s blog). More and more frequently, visitors to our site are government employees, graduate students, and university faculty members from all over the world who have a strong academic interest in Hallyu. Since July 2011, I have been collecting and organizing citations of conference presentations, scholarly articles, book chapters and books covering all aspects of Hallyu, including popular music, television, fans, and more. In an upcoming series of posts, I’ll be sharing with you unannotated citations of items that I’ve discovered as I’ve mined information.
She Is Straight Gangster: Challenging Gender Roles in Korean Dramas
Dr. Crystal S. Anderson
Hawaii International Conference on Arts and Humanities
January 8-13, 2012
Korean television dramas (Kdramas), particularly those that are historically based, represent sprawling stories that blend history with culture. Often consisting of high production values and unfolding over 50+ episodes, these Kdramas reconstruct historical narratives and legendary stories. They also infuse a contemporary sensibility by drawing on nontraditional notions of gender, heroism, cunning and valor. While such Kdramas are broadcast to Korean audiences, non-Korean, English-speaking audiences from around the world also view these dramas via Internet sites such as Drama Fever and Crunchyroll.com. These global audiences construct alternative femininities related to the female characters that challenge traditional notions of gender. Using qualitative methods and discourse analysis, I argue that global audiences construct female characters in ways that challenge traditional notions of gender. In the 2009 critically-acclaimed and popular Kdrama, Queen Seondeok, Korean women are represented as aggressive major power brokers in national politics, rather than passive bystanders, even as they occupy more traditional historical roles for women. They also exert power over men who are characterized as more powerful both politically and martially, using cunning rather than their feminine wiles. Finally, women also engage each other in ways that showcase their intellectual talents. Such constructions by global audiences allow for more diverse notions of gender in popular culture.