Panelist at KCON 2017 LA!

Crystal S. Anderson (PhD), Director of KPK: Kpop Kollective will be a panelist at KCON 2017 LA! Panel 502B, “Black American Music and K-pop”, will be on Sunday, August 20, 2:30 p.m. – 3:30 p.m. Hope to see you there!

In the meantime, check out some of my work on Black American Music and K-pop.

Not Just Pretty Faces: K-pop Idols and Quiet Storm Masculinity

Black Popular Music and K-pop

Ethnicity, Glamour and Image in Korean Popular Music

How Does It Feel to be a Question?: That (Black) Girl and K-pop

K-pop and Hip Hop

Of Misconceptions About Cultural Appropriation in K-pop

Talking About Asians Behaving Badly: Fan Reaction to the Block B-Jenny Hyun-MBC Blackface Controversies

 

S.E.S: Remember

S.E.S: Remember

By Crystal S. Anderson, PhD

Research Scholar, Longwood University

Formed in 1997 by SM Entertainment, S.E.S debuted the same year as Baby V.O.X, Jinusean and Sechs Kies and became the first successful female group in the Hallyu K-pop era.  Arriving on the burgeoning K-pop scene in the wake of H.O.T’s success, S.E.S represents the beginning of the female K-pop group.  While some, like Yeran Kim, argue that the group “uniformly featured a girlie image mainly appealing to girl subculture groups,” S.E.S’s career shows how female K-pop groups developed its sound and image over time (338). Kim Chang Nam notes how S.E.S distinguished themselves from other female groups: “S.E.S started off with an image as cute-looking girls and later moved toward more mythical and unrealistic characters” (95).  Like many of the first generation idol groups, S.E.S disbanded within five years, in 2002. The members continued to have careers in the entertainment industry. Bada has gone on to appear in musicals, Eugene continued on as a singer as well as actor in K-dramas and Shoo has subsequently recorded music. In late 2016, S.E.S announced their comeback.

LABELMATES

BoA | Kangta | J-Mi | Dana | Sunday | Henry | Taemin | Zhou Mi | Kyuhyun | Jonghyun | Amber | Taeyeon | Ryeowook | Yesung | Tiffany | Luna | Lay | Seohyun | Hyoyeon | TVXQ | TRAX | CSJH The Grace | Super Junior | Girls’ Generation | SHINee | f(x) | EXO | Red Velvet | NCT

COLLABORATIONS

  1. S.E.S X Fin.K.L X Baby V.O.X X H.O.T

 

Image

“S.E.S 20th anniversary project group photo.png.” kpop wiki. http://kpop.wikia.com/wiki/File:S.E.S_20th_anniversary_project_group_photo.png (28 Jul 2017).

Articles

Kim, Chang Nam.  K-pop: Roots and Blossoming of Korean Popular Music. Seoul: Hollym, 2012.

Kim, Yeran. “Idol Republic: The Global Emergence of Girl Industries and the Commercialization of Girl Bodies.” Journal of Gender Studies 20.4 (2011): 333-345. DOI: 10.1080/09589236.2011.617604

Videos

YYgurl. “FinKL, SES, Baby VOX, HOT- Group Concert (1).” YouTube. 25 Oct 2008. https://youtu.be/uMvA8NTH3A0 (28 Jul 2017).

Infinite: Nothing’s Over

Infinite: Nothing’s Over

by Crystal S. Anderson, PhD

Research Scholar of Cultural Studies

Longwood University

Infinite debuted in 2010, the same year as CN Blue, Teen Top and ZE:A. The group is known for their synchronized and complex choreography, Dong-woo wants the group to be known for its music as well:  “Although ‘Come Back Again’ is an old song, when you listen to it again, it’s a song that has a firm structure with plush arrangements. We matured and were able to make a mark through singing and performing great songs” (billboard).

LABELMATES

Dae Yoel & Jae Seok & Dong Hyun | Jang Jun & Young Taek | Joo Chan & So Yoon | Nam Woo Hyun | Lovelyz | Jisun | Joo

COLLABORATIONS

  1. INFINITE X EXO (2014 KBS Song Festival) | 2. INFINITE X N.EX.T X EXO X Beast (2014 KBS Song Festival) | 3. INFINITE X Teen Top (special stage) | 4. INFINITE X Super Junior X 4minute X f(x) (2011 KBS Music Festival) | 5. INFINITE X Lovelyz | 6. INFINITE X Teen Top (Music Bank K-Chart)

Image

alice101. “INFINITE reveal which artists they want to collaborate with.” allkpop. 7 Oct 2016. http://www.allkpop.com/article/2016/10/infinite-reveal-which-artists-they-want-to-collaborate-with (28 Jul 2017).

Articles

Benjamin, Jeff. “Meet INFINITE: Video Q&A with Rising K-pop Superstars.” Billboard. 29 Jan 2013. http://www.billboard.com/articles/columns/k-town/1535974/meet-infinite-video-qa-with-the-rising-k-pop-superstars (29 Jul 2017).

Video

KBS World TV. “INFINITE & EXO – Collaboration [2014 KBS Song Festival / 2015.01.14].” YouTube. 25 Jan 2015. https://youtu.be/5ygpBlBxmP4  (28 Jul 2017).

KBS World TV. “N.EX.T & EXO & INFINITE & Beast – Shin Hae-chul’s Tribute [2014 KBS Song Festival / 2015.01.14].” YouTube. 24 Jan 2015. https://youtu.be/kV5DG27jWaU (28 Jul 2017).

enj ch. “[HD]Infinite & Teen Top – To You @Special stage.” YouTube. 18 Aug 2012. https://youtu.be/xBMtXACqAK0 (28 Jul 2017).

Hope Song. “111230 Super Junior INFINITE 4minute fx Shuffle Dance on 2011 KBS Music Festival 720.” YouTube. 7 Jul 2012. https://youtu.be/jh_4aKsUz3s (28 Jul 2017).

Lovelyz Turkey. “131227 INFINITE – Man in Love with Lovelyz.” YouTube. 6 Nov 2014. https://youtu.be/LO3ZTyRomcE (28 Jul 2017).

KBS World TV. “[Music Bank K-Chart] INFINITE & TEEN TOP – The Chaser & To You (2012.06.29).” YouTube. 3 Jul 2012. https://youtu.be/PPqmMc-lrdc (28 Ju 2017).

 

The Music of 2PM

The Music of 2PM

by Crystal S. Anderson, PhD

2PM’s albums consistently blend R&B-inspired tracks and party songs.

Reviewers do not have consensus on 01:59PM (2009), 2PM’s first album, and Go Crazy (2014). Critical response to the first album suggests that the group was still looking to establish its sound and make use of the individual talents of its members.  Reviewers liked the promotional track, “Heartbeat,” as well as the non-promotional track, “I Was Crazy About You.” Random J says:  ““The military style drums line and smooth piano melody provide a nice musical back drop and the 2PM boys sound strong. This is probably the song on the album where their vocals are strongest” (Random J-pop)Yeeun focuses on the rhythm:  “The steady bass riff physically causes my heart to race as if my pulse was attempting to catch up with the beat of the song” (Yeeun2Grace).   Reviewers of Go Crazy liked the title track, “Go Crazy,” as well as the non-promotional track “Mine,” linking it to artists like Michael Jackson and Prince. A reviewer for Adrienne Stanley says the song “delivers the album into the territory of ’90s inspired R&B, with lyrics by Chansung and Taecyeon. The track channels the sound of artists like Michael Jackson, in a unique and infectious way” (KPopStarz). L suggests that the song “caters to an adult party where everything is slow and sexy. I’m especially partial to the falsetto throughout the chorus as a nod to legendary funk artist, Prince.” (Critical K-pop).

Grown (2013) is 2PM’s most favorably reviewed album. There is critical consensus for “A.D.T.O.Y. (All Day I Think About You )” and “Come Back When You Hear This Song”, but reviewers liked several other tracks on the album. 2PM reaches a sonic achievement with the ballad “Love Song.” Cheyanne draws attention to the unique rhythm:  ““The beat behind their singing in this song is really different to the average K-pop fan. It has this live band vibe to it even though there wasn’t a live band present” (Soju and Koolaid) Krusty95 focuses on the vocals:  “This song had started so strongly. But, it was definitely the chorus with Wooyoung and Junho, singing together for the first time like ever (as I can recall) in the history of 2PM’s music, that sold me already and consolidated its position as my most loved song on the album” (The World of Krusty).  With “I’m Sorry,” 2PM solidifies its R&B credentials.  Cheyanne notes:  “I have to say, they really made a great song for the R&B fans out there. I would never expect a group like 2PM to pull off a song like this. All their voices fit really well with the beat. The harmonizing that is done by some members during their parts add a special, nostalgic feeling to those fans who like music like this.” seoulbeats focuses on the vocals:  “Those slides and slight harmonies in the chorus are to die for. For once, I don’t actually want to chuck the rap out the window, because here, it provides a nice break in all the “smooth like butter” vocal lines.”

Hands Up (2011) was equally well-received. In addition to its titular track, the album also features several tracks that attracted reviewers attention. Jessie Zhao declares “Like a Movie” the best track of the album:  “It starts out all calm and soothing with the members’ beautiful vocals. A gorgeous piano melody is slowly combined with snare drums and the feeling builds up. This track could have easily been labeled as another ballad that a group inserts just for the heck of it, but with the harmonious vocals from 2PM and amazing composition, this track is able to stand out” (Ningin).  Arnold Artega describes “Don’t You Know” as a quintessential K-pop song: “It’s not trying too hard to sound Western like a lot of Kpop tends to do. Instead, 2PM polishes what Korean pop music is all about and lays down some catchy (but not gimmicky) melodies that are less pretentious and way more fun to jive to” (One Kpop).

However, 2PM has also mastered the up-tempo party track.  “Magic” from No.5 (2015) foregrounds its instrumentation. Eric_r_wirsing notes the song ““starts with insistent horns and has an urgent tone to it. It never loses its body-moving groove throughout, and there’s some hints of guitars in here as well. It’s a powerful, catchy tune and is just what the doctor ordered to shake things up some” (allkpop).  Elaine Lewis echoes this sentiment:  “The horns used in the song were amazing and definitely sped the tempo a little bit giving it a sense of urgency. The lyrics are also very flirty and playful” (Amino Apps).

Spotlight Tracks: 1. Heartbeat | 2. Go Crazy | 3. I Was Crazy About You | 4. Mine | 5. Love Song | 6. A.D.T.O.Y (All Day I Think About You | 7. I’m Sorry | 8. Come Back When You Hear This Song | 9. Magic | 10. Like A Movie | 11. Don’t You Know

Sources

Image

“2PM – Grown (Photoshoot).” K-pop. 10 May 2013. http://kpop-u-luv.blogspot.com/2013/05/2pm-grown-photoshoot.html. (7 Aug 2016)

 

Reviews

Artega, Arnold. 2012. “[Review] ‘Hands Up’ by 2PM.” Review of Hands Up, by 2PM. One Kpop, January 23, http://onekpop.com/693/review-hands-up-by-2pm/.

Cheyanne. 2013. “A Review on 2PM’s Album: Grown.” Review of Grown, by 2PM. Soju and Koolaid, May, http://sojuandkoolaid.blogspot.com/2013/05/a-review-on-2pms-album-grown.html.

Eric_r_wirsing. 2015. “[Album Review] 2PM.” Review of No. 5, by 2PM. allkpop, June 15, http://www.allkpop.com/review/2015/06/album-review-2pm-no-5.

Guest. 2013. “2PM, Let’s See How Much You’ve Grown.” Review of Grown, by 2PM. seoulbeats, May13, http://seoulbeats.com/2013/05/2pm-lets-see-how-much-youve-grown/.

Krusty95. “2PM ‘Grown’ Album Review.” Review of Grown, by 2PM. The World of Krusty, June 11, https://theworldofkrusty.wordpress.com/2013/06/11/2pm-grown-album-review/.

L. 2014. “Review: 2PM’s Go Crazy!” Review of Go Crazy, by 2PM. Critical K-pop, October 10, http://www.criticalkpop.com/2014/10/review-2pms-go-crazy.html.

Lewis, Elaine. 2016. “2PM – No.5 Album Review.” Review of No.5, by 2PM. K-pop Amino, January 9, http://aminoapps.com/page/k-pop/9888602/2pm-no-5-album-review.

Random J. 2010. “Album Review: 2PM – 1:59PM.” Review of 01:50PM, by 2PM. Random JPop, January 4, http://randomjpop.blogspot.com/2010/01/album-review-2pm-159pm.html.

Stanley, Adrienne. 2014. “Album Review: 2PM Delivers Jazzy Party Tracks on ‘Go Crazy![Audio].” Review of Go Crazy, by 2PM. KPopStarz, Sept 15, http://www.kpopstarz.com/articles/111688/20140915/album-review-2pm-delivers-jazzy-party-tracks-on-go-crazy-audio.htm.

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The Music of 2PM by Crystal S. Anderson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Shinhwa: Music and Video

Shinhwa: Music and Video
Shinhwa

By Crystal S. Anderson, PhD

Associate Professor of English, Longwood University

Shinhwa’s longevity is in part due to the quality and consistency of their music production seen in their comeback releases.

The Return is Shinhwa’s highly anticipated release following a four-year hiatus. Overall, critics note a  dual nature to the album, juxtaposing the classic sound of the group with more contemporary flourishes. Many praise “Venus” as the title track.  “On the Road” elicited positive reviews as well. Jung Bae (hellokpop) notes that the track “is an unexpected Brit-rock track, courtesy of Shin Hye-sung; while he rightfully takes control of the track, the other members join in and do their parts.” Nicole Rivera (Pop Reviews Now) notes the simplicity of the track, “with soft drum rolls laced with a pretty piano line and some cymbals here and there, before a very low-key verse that just spirals into this tear-jerkingly stunning chorus.” Testamentvm‘s (McRoth’s Residence) description of “Red Carpet” focuses on “its clubby supersaw lead and progressive house anthem,” while Rivera focuses on “the presence of a melody, and how the vocals deliver it in relation to the rest of the song.”  Jung Bae was impressed with “Let It Go,” which breaks “ballad molds and instead opting for a deceptively uptempo melody powered by electric guitar.”

Reviews of We are mixed. There was no critical consensus on the best tracks on the album aside from “Sniper,” the title track. Pakman (allkpop) identifies musical key elements:  “The whistle by itself is enough to pique anyone’s interest. The pre-chorus and chorus is what make you stay. Those impassioned vocals, the smooth, high-pitched turns accompanied by that lean-back dance move just scream all kinds of cool. The beatboxing interwoven in the instrumentals is a total bonus and a complete throwback to the 90’s.” Tam Huynh notes the centrality of Eric, Jun Jin and Andy, the rappers of the group, on “Give It 2 Me. Guest critics for seoulbeats points out “I Gave You” as an unusual track, with its acoustic instrumentation and harmony.

Shinhwa also brings a sophistication to their music videos.  In “Sniper,” Vincenlya Susanto (The AU Review) points to how Shinhwa “is again experimental in incorporating a classic and contemporary structure not only in their sound but also in their music video settings and wardrobe choice. The music video contrasts Junjin’s typical destroyed underground set with Hyesung’s chic white maze and contemporary framed art display Eric inhabits.” Maria Hunt (Ppcorn) points to experimentation in the choreography: “The seventh and final scene is a group scene of SHINHWA accompanied by backup dancers. With the set designed as an empty dark room with a center square-raised stage, the members and dancers perform the choreography. SHINHWA is known for usually having bold and energetic dance routines, but the last couple of years have seen SHINHWA experimenting with their dance style.” Minnimonmon (Kpop On My Mind) points to the choreography for “This Love“: “All of the movements were so crisp and well-rehearsed.  Whereas a lot of dance songs with fast, complicated dance moves often feel rushed, this dance was detailed, yet very refined.  I loved the hand movements in the first chorus and how the members looked like they were tapping piano keys in their dance moves during the piano parts.”

For more commentary on Shinhwa’s music and video, see Shinhwa: Unchanging

Sources

Guest. “Shinhwa’s Comeback: The Legend and ‘The Classic’ .” seoulbeats. 23 May 2013. (28 Mar 2016)

Jung Bae. “Album Review: Shinhwa – The Return.” hellokpop. 15 April 2012. (9 Apr 2016)

Maria Hunt.”Shinhwa: ‘Sniper’ Music Video Review.”   Ppcorn.  16 Mar 2015. (28 Mar 2016)

Minnimonmon. “Shinhwa ‘This Love’ Music Video Review.” Kpop On My Mind. 2 Jun 2013.

Nicole Rivera, “Shinhwa – ‘The Return.” Pop Reviews Now. 23 Mar 2012. (9 Apr 2016).

Pakman. “[Album and MV Review] Shinhwa – ‘WE’ .” allkpop. 4 Mar 2015. (9 Apr 2016)

SHINHWA OFFICIAL. “그룹 신화 (SHINHWA) – 표적 (Sniper) _Official Music Video.”: YouTube. 25 Feb 2015. https://youtu.be/y_VJHT6y-NI (12 Jun 2017).

Tam Huynh. “Shinhwa ‘We’ Album Review.” KultScene. 4 Mar 2015. (9 Apr 2016)

Testamenvm. “[Review][Album] Shinhwa – “The Return.” McRoth’s Residence. 2 Apr 2012. (18 Jul 2012)

Vincenlya Susanto. “Music Video Review: Shinhwa ‘Sniper’ (South Korea, 2015).” The AU Review. 5 Mar 2015. (28 Mar 2015)

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Shinhwa: Music and Video by Crystal S. Anderson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Global Promotional Strategies in K-pop

Credit: Pixabay

by Crystal S. Anderson, PhD

Globalization remains key to K-pop’s spread around the world, but it is not one size fits all. As time goes on, Korean agencies adopt a range of promotional strategies to spread K-pop throughout the world.

It is not secret that K-pop utilizes globalization. Writers have sought to identify singular strategies and apply them to the entire K-pop world. In the article “The Globalization of K-pop: Korea’s Place in the Global Music Industry,” Ingyu Oh focuses on the “L” component in what she describes as the G-L-G globalization process:  “K-pop’s differentiation strategy to make the ‘L’ process attractive to a global audience is roughly threefold: (1) numbers; (2) physique; and (3) voice-dance coordination” (400).  Patrick St. Michel argues in his Atlantic article, “How Korean Pop Conquered Japan,” that “K-Pop stars out-sex their J-Pop counterparts. The members of Girls’ Generation show a fair amount of skin in their music videos, while many fans were drawn to KARA by a chunk of choreography Wikipedia dubs “the butt dance.”  He mentions BoA, but doesn’t apply this theory to explain her longtime success in Japan. His argument also does not explain the success of male groups in Japan, including TVXQ, SHINee, BigBang and 2PM.

Instead, Korean agencies use a range of strategies to promote their groups globally.

Language and Training

Oh does a good job of summarizing the training process for Korean “idol” stars: “Trainees go through vocal, dancing, language, and theatrical acting lessons for at least five hours a day in the evening after school” (402). While the results of vocal and dance training is evident in performances, language acquisition is key to appealing to global audiences because of the appearances where fans can see the group.  For example, Key from the K-pop group SHINee shows off his multi-lingual skills, sharing the group’s greeting in Chinese, Korean, English and Japanese:

Increasingly, members of K-pop groups are learning different languages. GOT7‘s member Jackson speaks Cantonese, Mandarin, Korean and English. Rookie group Varsity features members who speak Korean, Chinese, English, Arab, and French. The choice of languages that K-pop members speak is not random. They reflect areas of the world to which K-pop agencies seek to spread. While the acquisition of Chinese and Japanese would allow the group to engage with potential fans in China and Japan( the largest music markets closest to Korea), the acquisition of English, Arabic and French belie aspirations that go beyond East Asia.

Releasing tracks in Korean another language

Korean artists will debut in various countries in addition to debuting in Korea. BoA debuted in Korea, but developed a substantial career in Japan. More recent groups tend to debut in multiple countries. UP10TION debuted in Korea, China and Japan.  SF9 debuted in Korea and Japan.  UKISS also debuted in Japan after debuting in Korea. Such debuts increasingly involve releasing their  Korean tracks in other languages.  EXO releases entire albums in both Korean and Chinese. SHINee rereleased some of their most popular early Korean hits in Japanese as part of their debut in Japan, including “Juliette,” “Lucifer,” and “Replay.”

Releasing original tracks in another language

Another promotional strategy is when groups release new material solely in a different language. TVXQ have a long track record of releasing singles as well as entire albums in Japanese without a Korean counterpart, including Tense, Tone, Time and Tree. 

Foreign members of groups

Increasingly, K-pop groups are featuring foreign members. Super Junior paved the way by including Chinese member Zhou Mi and Chinese-Canadian member Henry in their subgroup, Super Junior M. Since that time, Korean agencies have been trying to gain foreign fans with the inclusion of foreign members. Rookie group Pentagon has members from other countries, including Yuto, who was born in Japan, and Yan An, who was born in China. Groups will also have Japanese stage names to reach out to foreign fans, such as Hoshi in Seventeen and Wei in UP10TION.

Rather than rely on one mode of globalization, K-pop continues to diversify its promotional strategies.

Sources

EMI Records Japan. “SHINee – JULIETTE[Japanese ver.] Music Video Full.” YouTube. 7 Apr 2011. https://youtu.be/lT-iBCuoNS4 (26 May 2017).

Kwon Yoo Shin. “TVXQ – Time Works Wonders.” YouTube. 27 Dec 2014. https://youtu.be/4vKKgAO6vBQ. (26 May 2017).

Oh, Ingyu. “The Globalization of K-pop: Korea’s Place in the Global Music Industry.” Korea Observer 44.3 (2013): 389-409.

PinkyGirlxoxo. “SHINee Key speaking in 3 languages.” YouTube. 4 Apr 2012. https://youtu.be/h0we-mNztdE (17 Apr 2017).

St. Michel, Patrick. “How Korean Pop Conquered Japan.” The Atlantic. 13 Sept 2011. https://www.theatlantic.com/entertainment/archive/2011/09/how-korean-pop-conquered-japan/244712/ (17 Apr 2017).

 

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Global Promotional Strategies in K-pop by Crystal S. Anderson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Let KPK Introduce You To…Black Greek Fraternity/Sorority Stepping

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

University of South Carolina Lancaster

Choreography and costuming for: “Maximum”

Group: TVXQ

Album: Keep Your Head Down

Album Release Date: January 5, 2011

Press Play to watch a live performance of “Maximum” by TVXQ.

“Maximum” choreography and concepts echo the traditional stepping performances of …)

Fraternity: Alpha Phi Alpha (AΦA) (the oldest African-American/Black Greek Letter Organization).

Founded: December 4, 1906 at Cornell University

AΦA’s signature stepping choreography: “Train,’” including synchronized hand or arm movements evocative of ancient Egyptian culture.

AΦA’s common performance elements, particularly for neophyte (new member) debuts: militarized or stealth-like costuming and/or masks/face coverings and hoods.*

Press Play to watch AΦA members perform a “train” step sequence (timestamp 2:51).

Press Play to watch AΦA neophytes (new members) debut on their campus.

ELEMENTS OF NOTE:

Introduction of individual members with ultimate group performance

  • Performer entrance is intense with high drama
  • All-male performers
  • Presentation points are to manifest gravity and high levels of athleticism, endurance, and self-confidence
  • Train step (footwork)
  • Synchronized and staggered arm movements
  • Hoods and covered faces, use of black military-like/stealth-like costuming
  • Songs or chants center on challenging others and overcoming obstacles, male posturing is performed (see English interpretation of “Maximum” lyrics)
  • Call-and-response performance

TRADE OFFS:

  • AΦA’s Egyptian hand formations vs. TVXQ’s mostly neutral hands or closed fists (TVXQ’s choreography includes general index-finger pointing throughout and a quick Kung Fu salute at 4:21)
  • AΦA’s call-and-response limited to fraternity members vs. TVXQ’s call-and-response with fans (who are not TVXQ group members)
  • AΦA’s militarized costuming evokes Black Panther significance in African-American culture vs. TVXQ’s stealth costuming evokes history of martial arts reconnaissance and stealth in Asian culture.

*KPK recognizes that masks are also used in Kpop talent training to disguise the identity of company trainees (those who are “pre-debut”). We also note that masks are worn by Black Greek neophytes to protect their identity until they are finally revealed at their probate (debut) show.

Learn more about Alpha Phi Alpha.

What is stepping?

See also: SHINee echoing Delta Sigma Theta Sorority, Incorporated; Rain/Bi echoing Kappa Alpha Psi Fraternity.

Happy Watching!

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For Your Reading Pleasure: A Hallyu Bibliography, Part 8: KOREAN DRAMA VIEWERSHIP and HABITS

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

University of South Carolina Lancaster

Welcome to Part 8 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 titled For Your Reading Pleasure: Introducing A Hallyu Bibliography.”  Click for Part 1 , Part 2, Part 3, Part 4,  Part 5 , Part 6, and Part 7 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.

Lee Minu and Chong Heup Cho. (1990/2003). Women watching together: An ethnographic study of Korean soap opera fans in the United States. In Gail Dines and Jean M. Humez (eds.) Gender, race  and class in media. Thousand Oaks: Sage Publications. 

Kim, Youna. (2002). Women, television and everyday life: Korean women’s reflexive experience of television mediated by generation and class. Thesis, University of London.

Park, Jung-sun. (2004). Korean American Youths’ Consumption of Korean and Japanese TV Dramas and Its Implications. In Koichi Iwabuchi (Ed.) Feeling Asian Modernities: Transnational Consumption of Japanese TV Dramas.  Pp. 275-300. Hong Kong: Hong Kong University Press.

Park, Sora. (2004). China’s Consumption of Korean Television Dramas: An Empirical Test of the “Cultural Discount” Concept’, Korea Journal 44: 265–90.

Han, Kyung-Koo. (2006). From housewives to butterflies: Hallyu and the fantastic journey to Korea. Korea Journal, 46(2): 269-274.

Kwon, Dong Hwan. (2006). Is it too early to talk about “Hallyu” in the Phillipines? Koreanovela and its reception among Filipino audience. Cultural Space and Public Sphere in Asia

Shim D. (2006). Korean women television viewers in Singapore. Cultural Space and Public Sphere in Asia. 

Kim, Dae Do and Su Na Mi. (2007). Consuming Korean TV Dramas in China: Analysis of a new cultural flow, “Hanryu”, in the Asian context. pp. 233-261.  

Lin, Angel and Avin Tong.  (2007). Crossing boundaries: male consumption of Korean TV dramas and negotiation of gender relations in modern day Hong Kong. Journal of Gender Studies, 16(3): 217-232.

Shim, D. (2007). Korean wave and Korean women television viewers in Singapore. Asian Journal of Women’s Studies, 13(2): 63-82.

Hirata, Yukie. (2008). Touring ‘Dramatic Korea’: Japanese women as viewers of Hanryu dramas and tourists on Hanyru tours. In C.B. Huat and K. Iwabuchi (Eds.) East Asian Pop Culture: Analyzing the Korean Wave. pp. 143 – 156.. Aberdeen: Hong Kong University Press. (see also, Tourism)

La Torre, Nichole S. (2008). Hallyu: Discourses of Korean drama viewership in China. Thesis. Accessed 7 December 2016 from http://scholarspace.manoa.hawaii.edu/bitstream/handle/10125/20412/M.A.CB5.H3_3489_r.pdf?sequence=2

Kim, Do Hyun et al. (2009). Television drama, narrative engagement and audience buying behavior: The Effects of Winter Sonata in Japan.The International Communication Gazette, 71(7): 1-17. Accessed 7 December 2016 from http://utminers.utep.edu/asinghal/Articles%20and%20Chapters/Kim-Singhal-et-al-2009-Winter-Sonata-0purchasing-behavior-Gazette-1.pdf 

Lee, Soobum and Hyejung Ju. (2010). Korean television dramas in Japan: Imagining “East Asianness” and consuming “nostalgia.” Asian Women, 26(2): 77-105. 

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Not the Only One: Multi-Fandoms and K-pop

 

Crystal S. Anderson, PhD

Associate Professor of English, Longwood University

Can’t decide which K-pop group or artist is your favorite? You are not alone! Global fans of K-pop tend to support several groups and artists at the same time, while their Korean counterparts tend to support only one group or artist. But why? And which groups tend to be in a global fan’s multi-fandom? This study seeks to answer these questions in survey that uses open-ended and multiple-choice questions. Take the survey and tell your friends!

Link: https://www.surveymonkey.com/r/kpopmultifandom

REVISED Last Fans Standing: Veteran Fans of K-pop

Crystal S. Anderson, PhD

Associate Professor of English, Longwood University

One of the things that happens when conducting qualitative surveys is that they can raise more questions than they answer. This is what happened with the preliminary data from Last Fans Standing: Longtime and Adult Fans of Korean Popular Music (K-pop). Response rates were unusually low, which was unusual given the rising number of fans who have been fans for more than five years. I speculated that respondents may think that only adult fans who had also been fans for five years or more could take the survey. So, I revised the survey to focus solely on veteran fans of K-pop, individuals who had been fans for five years or more. This means all you fans of ZE:A, CN Blue, SISTAR, Infinite, Miss A, Teen Top, Nine Muses, T-ara, f(x), BEAST/Highlight, SHINee, UKISS, 2PM, IU, Wonder Girls, KARA, FT. Island, Girls’ Generation, SS501, Super Junior, BoA, Dynamic Duo, Epik High, Lee Hyori, Kangta, Se7en, TVXQ, K. Will, Big Bang, 2NE1, 4Minute, Fly to the Sky, g.o.d, H.O.T, Jinusean, S.E.S, Sechs Kies, Shinhwa, and any other group that debuted more than 5 years ago need to get on it!

The revised survey can be found here: https://www.surveymonkey.com/r/vetfans