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. 

Chan, Brenda. (2011). Of prince charming and male chauvinist pigs: Singaporean female viewers and the dream-world of Korean television dramas. International Journal of Cultural Studies, 14(3): 291-305.doi: 10.1177/1367877910391868

Hung Jen Su, Yu-An Huang, Glen Brodowsky & Hyun Jeong Kim. (2011.) The impact of product placement on TV-induced tourism: Korean TV dramas and Taiwanese viewers. Tourism Management, 32(4): 805-814.

Hien, Phan Thi Thu. (2012). Feminitive attraction of Hallyu (Korean Wave) in Southeast Asia. University of Social Sciences. Accessed 7 December 2016 from http://en.hcmussh.edu.vn/3cms/?cmd=130&art=1344907879368&cat=1329473737740

Lee, Sangjoon. (2012). From diaspora to Drama Fever: Consuming Korean dramas in North America. Presented at the Nam Center for Korean Studies’ Hallyu 2.0: The Korean Wave in the Age of Social Media Symposium. (Watch video of this presentation)

Chuang, Lisa M. & Hye Eun Lee. (2013). Korean wave: enjoyment factors of Korean dramas in the U.S. International Journal of Intercultural Relations, 37(5): 594-604.

Kuotsu, Neikolie. (2013). Architectures of pirate film cultures: encounters with the Korean wave in “Northeast” India. Inter-Asia Cultural Studies, 14(4): 579-599.

Yoo, Jae-woong, Samsup Jo, and Jaemin Jung. (2014). The effects of television viewing, cultural proximity, and ethnocentrism on country image. Social Behavior & Personality: an international journal, 42(1):89 – 96. 

Happy Reading!

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For Your Reading Pleasure: A Hallyu Bibliography, Part 7: IDENTITY & NATIONALISM

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

University of South Carolina Lancaster

Welcome to Part 7 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  and Part 6 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,  D.  Y.  (2004,  March).  A  typology  of  East  Asian  popular  culture  and  Korea’s nationalism.  The  paper  presented  in  the Asian  Culture  Symposium.  Seoul:  Korea. 

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

James, David E., Marsha Kinder, Stanley Rosen, Eunsun Cho. (2006). Transnational modernity, national identity, and South Korea melodrama (1945-1960s). Thesis, University of Southern California. Accessed 7 December 2016 from http://digitallibrary.usc.edu/assetserver/controller/item/etd-Cho-20061114.pdf 

HyeJung, J. (2007). The nature of nationalism in the “Korean Wave”: A framing analysis of news coverage about Korean pop culture. Presented at the 93rd National Communication Association Conference. Accessed 7 December 2016 from http://citation.allacademic.com/meta/p_mla_apa_research_citation/1/8/7/9/2/pages187925/p187925-1.php

Siriyuvasak, Ubonrat & Hyunjoon Shin. (2007). Asianizing Kpop: production, consumption and identification patterns among Thai youth. Inter-Asia Cultural Studies, 8(1): 109-136 

Cayla, Julien and Giana M. Eckhardt. (2008). Asian brands and the shaping of a transnational imagined community. Journal of Consumer Research, 35 (2): 216 – 230. Accessed 7 December 2016 from http://www.juliencayla.com/JCR%20final.pdf

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. 

Yang, Fang-chih Irene. (2008). Rap(p)ing Korean Wave: National identity in question. In C.B. Huat and K. Iwabuchi (Eds.) East Asian Pop Culture: Analyzing the Korean Wave. pp. 191- X. Aberdeen: Hong Kong University Press.

Blitz, Brian. (2009). Blood, birth, imagination: ethnic nationalism and South Korean popular culture. Thesis, Bowling Green State University. Accessed 7 December 2016 from https://etd.ohiolink.edu/rws_etd/document/get/bgsu1245256858/inline

Cho, Young Chul. (2009). Security, nationalism and popular culture: Screening South Korea’s uneasy identity in the early 2000s. East Asia, 26(3): 227-246.

Crieghton, Millie. (2009). Japanese surfing the Korean wave: Drama tourism, nationalism, and gender via ethnic eroticisms. Southeast Review of Asian Studies, 31: 10-38. Accessed 2 November 2011 from http://www.uky.edu/Centers/Asia/SECAAS/Seras/2009/SERAS_2009.pdf#page=36 

Shin, Hyunjoon. (2009). Reconsidering Transnational Cultural Flows of Popular Music in East Asia: Transbordering Musicians in Japan and Korea Searching for “Asia.” Korean Studies, 33(1): 101-123. 

Kim, Pil Ho and Hyunjoon Shim. (2010). The birth of “Rok”: Cultural imperialism, nationalism and the glocalization of rock music in South Korea, 1964-1975. East Asia Cultures Critique,18(1): 199-230. 

Cho, Younghan. (2011). Desperately seeking East Asia amidst the popularity of South Korean pop culture in Asia. Cultural Studies, 25(3): 383-404. doi: 10.1080/09502386.2010.545424 

Joo, Jeongsuk. (2011). Transnationalism of Korean popular culture and the rise of “pop nationalism” in Korea. The Journal of Popular Culture, 44(3): 489-504. 

Kim, Gwangseok. (2011). Practicing nationalism: culture, technology and national identity in contemporary Korea. Thesis, University of Texas at Austin. Accessed 22 November 2011 from http://repositories.lib.utexas.edu/bitstream/handle/2152/ETD-UT-2011-08-4267/KIM-THESIS.pdf?sequence=1

Kim, Youna. (2011). Diasporic nationalism and the media. International Journal of Cultural Studies, 14(2): 133-151.

Sutton, R. Anderson. (2011). “Fusion” and questions of Korean cultural identity in music. Korean Studies, 35: 4-24. 

Sung, Sang-Yeon Loise. (2012). The role of Hallyu in the construction of East Asian regional identity in Vienna. European Journal of East Asian Studies, 11(1): 155-171.

Ho, Swee-Lin. (2012). Fuel for South Korea’s “Global Dreams Factory”: The desires of parents whose children dream of becoming K-pop stars. Korea Observer, 43(3): 471-502.

Yoo, Jae-woong, Samsup Jo, and Jaemin Jung. (2014). The effects of television viewing, cultural proximity, and ethnocentrism on country image. Social Behavior & Personality: an international journal, 42(1):89 – 96. 

Han, Gil-soo. (2015). K-pop nationalism: Celebrities and acting blackface in the Korean media. Journal of Media & Cultural Studies, 29(1): 2-16.

Happy Reading!

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Let KPK Introduce You To…Aaliyah

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

University of South Carolina Lancaster

Song: “Play Me (소나타)

Artist: Taemin

Album: Ace

Album Release Date: August 18, 2014

Press Play to Hear “Play Me (소나타)” by Taemin.

“Play Me (소나타)” echoes…

Song: “Rock the Boat”

Artist: Aaliyah

Album: Aaliyah

Album Release Date: July 7, 2001

Press Play to hear “Rock the Boat” by Aaliyah.

ELEMENTS OF NOTE:

  • Similar use of synthesizers to bring out “floating” feeling.
  • Breathy vocals
  • Artists background vocals augmented with lower melody/harmony registers. (“ 공기가 차네요 커튼을 쳐봐요 저 달이 봐요 어서 내 그림자를 입어요” (Taemin); “Baby, I love your stroke” (Aaliyah)
  • Similar tempo and syncopation
  • Songs have definitive end (no fade out).

TRADE OFFS:

  • Aaliyah’s tempo carried by Latin percussive instruments (e.g, conga drums), beats, and rhythms vs. Taemin’s R&B -based human sounds (e.g. “finger-snapping”) bass drum and beats.
  • Aaliyah’s beats filled out with hi-hats vs. Taemin’s fill-outs with guitar.
  • Aaliyah’s one-note chorus line vs. Taemin’s varied chorus

Learn more about Aaliyah.

Happy Listening!

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Now at KPK: A Digital Library!

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

University of South Carolina Lancaster

A Screen Capture of the Otlet's Shelf Tumblr Theme.

A Screen Capture of the Otlet’s Shelf Tumblr Theme.

Over at my Academia.edu profile, my analytics place my Hallyu Bibliography posts in my top ten. Since the bibliography posts are helpful to KPK readers, I want to further assist Hallyu scholars and those working in the Digital Humanities (DH) field. To that end, I’ve been working on a project to make even more items (books, mainly) discoverable. As a result, I’m happy to present KPK’s Digital Library, housed in Tumblr using a cool theme called Otlet’s Shelf.

Otlet’s Shelf is a theme that displays books in Tumblr, and it’s also a bookmarklet that allows me to mine Amazon.com for books and insert them into KPK’s Tumblr page. The application pulls book abstract information from Amazon and allows me to add keywords as needed. The keywords help users locate books that cover similar topics in the KPK Digital Library.  The theme displays most recent entries first – when you click the “Next” button, you are accessing older entries. By the way, the first book that had the honor of inclusion is Hallyu: Influence of Korean Popular Culture in Asia and Beyond by Do Kyun Kim.

The first KPK Digital Library Entry

The first KPK Digital Library Entry!

In accordance with KPK’s mission, the KPK Digital Library includes monographs that discuss Hallyu from all of its interdisciplinary aspects – from music and media studies to politics, sociology, and of course fandom research. Because we are also interested in the development of the DH field,  books covering DH are also included. At press time, there are 108 books in the KPK Digital Library, and more will be added as items are published.

Keep in mind that the KPK Digital Library is a discovery resource, not an access portal. Your ability to access items will depend on several factors, including your proximity to and ability to use your local public, academic, or special libraries and their services (don’t forget the glory that is Interlibrary Loan). Additionally, some items may be available electronically via databases or downloadable for use in e-readers. If you want to find out if an item is available for checkout within a certain mile radius, try out WorldCat or WorldCat Mobile (for Android and iPhone)!

To keep up with what’s being added to the KPK Digital Library, login to your Tumblr account and add us. When a new book is uploaded, you’ll see the book cover and its abstract appear in your dashboard. You can also stop by the KPK website anytime and click on the “Resources” link at the top of the page to see the latest activity. And of course, you can always just go directly to our Tumblr page and click on any book to get information.

Consider using the KPK Digital Library as a complement to the Hallyu Bibliography posts. Together, the bibliography and the library are robust tools designed to help scholars develop and expand the Korean Studies, Hallyu Studies, and DH fields. 

Please send your feedback to me – I hope you find the KPK Digital Library “pop”-sitively useful.

Happy Reading!

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만나서 반갑습니다: Let KPK Introduce You To…

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

University of South Carolina Lancaster

tumblr_nz1t8knuom1u7z55eo5_540

BTS is pleased to meet you!

Korean popular music includes many genres – Jazz, Hip-Hop, Rock, Rhythm & Blueseven Ska and Bossa Nova. One of the reasons Kpop is so addictive and has continued its growth globally is because, despite language differences, the music seems so familiar to its listeners, particularly for non-Asian audiences. Fuhr (2015) writes, “K-pop producers strongly follow the formulaic production standards set by Western mainstream pop songs…, but they combine all the well-known elements in a way that audiences in the East and West equally seem to receive as refreshingly new but also familiar.” (pp. 238-239)

Not only do Korean producers strive to mix (and remix) Eastern and Western musical elements, they work closely with Western singer/songwriters and producers or purchase western-based music tracks for use by Korean artists (Note: purchasing tracks is a popular practice in the global music industry. Demo tracks, guide vocals, backing vocals are some terms you can search to learn more).

KPK members have noted that Kpop fans may not be familiar with why many songs sound familiar to them. This realization was crystallized when TVXQ released their strong R&B balladBefore U Go,” (2011) which includes a partial guitar riff from the Isley Brother’s songVoyage to Atlantis(1977) – many people, instead, could only reference Chris Brown’s song “Take You Down” (2008)  – which still echoes the musical composition of the aforementioned Isley Brothers song. Moreover, recognition gaps go beyond music composition to include singing styles, choreography, and song instrumentation or arrangement. Additionally, we’ve found that such oversights are glaring in academic literature, which overwhelmingly focuses on K-pop music as a political tool or economic commodity (Lee 2008, Jang & Paik 2012, and see this bibliography).

The “Let KPK Introduce You To…” blogpost series hopes to help Kpop fans discover links between what they hear in Kpop songs (or see in Kpop promotions) and the recent history of American music and popular culture – from a particular song or a musician’s vocal runs to costuming, training, dancing, or overall presentation.  The primarily audio/visual – and brief – blog posts will open with the K-pop artist song,concept, or performance and then readers will be introduced to the “why it sounds familiar” song, concept, or performance. The entry will end with brief biographical or explanatory text of the “original” artist, sound, idea, or concept. Simple right?

Part lay ethnomusicology and part historiography, the series offers a gateway for music enthusiasts to contextualize the foundation and development of Kpop music, and for critics to move beyond discussions of cultural appropriation in K-pop and toward the more likely premise of global creative collaboration.

If you’ve ever heard or seen a Kpop song, dance, styling, or presentation  and and thought “that sounds like/looks like/feels like/reminds me of…,” this series is for you! Look forward to it.

Sources

Fuhr, Michael. Globalization and popular music in South Korea: Sounding out K-pop. New York: Routledge. (2015).

Jang, Gunjoo & Won K. Paik. Korean wave as tool for Korea’s new cultural diplomacy. Advances in Applied Sociology, 2(3): 196-202. (2012).  http://file.scirp.org/Html/22229.html (16 June 2016).

Lee, Keehyeung. Mapping out the cultural politics of the “Korean Wave” in contemporary South Korea. In C.B. Huat and K. Iwabuchi (Eds.) East Asian Pop Culture: Analyzing the Korean Wave. pp. 175 – 189. Aberdeen: Hong Kong University Press. (2008).

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Using Canva for K-pop

 

 

canva-circle-logo

Try Canva for your creative information organizing projects!

 

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

University of South Carolina Lancaster

After several years of curating Kpop music and performers, there’s one thing I’ve learned: Kpop fans and scholars at all levels are talking about and presenting on all aspects of Korean popular culture in academia – from high school to postgraduate work.

A quick online search shows that students use several different presentation and design tools to fulfill assignments (with Korean popular culture as the topic) in many courses, including digital media, linguistics, and economics. These tools are great for longer presentations, but sometimes, you just need something not so lengthy to support a short talk. Other times, you may want to augment a presentation and give your audience an impactful take-away that they can revisit and share quickly with others.

That’s where the infographic comes in. Techopedia defines infographic – and its use – as “a visual representation of a data set or instructive material. An infographic takes a large amount of information in text or numerical form and then condenses it into a combination of images and text, allowing viewers to quickly grasp the essential insights the data contains.” (2016)

News and media distributed via the Internet have increasingly used infographics to support content. Soompi, DramaFever, and more recently, My Music Taste have used the medium to distribute information about Kpop trends. You will also find many Kpop fans and culture bloggers using infographics to promote their favorite groups or Korean food and language.

There are many tools you can use to create infographics, from Piktochart to Easel.ly; however, Canva rises to the top of the list for a few reasons:

  1. It’s free (unlike Piktochart, which has a limited free version)
  2. In contrast to Easel.ly, lots of “turnkey” templates and other drag-and-drop design elements are available in Canva, which means
  3. There’s a low learning curve. A low learning curve means
  4. You can distribute your unique content more quickly
  5. If you need to collaborate on a design, you can easily share work with others to edit.

In addition to a lot of templates, Canva users also have broad color, font, photo, and icon choices. For those who want to be really fancy, for-cost design elements are just $1.00, and the cost isn’t applied until the final design is saved. Designs can be saved as images (.jpg or .png) or a document (.pdf). Users can also share their work on social media since Canva automatically invites users to tweet or post their work after a design has been saved.

 

shim-changmin

An infographic of Shim Changmin (Max) of TVXQ! Created using Canva. Credit: Kaetrena Davis Kendrick.

 

I created this simple infographic featuring TVXQ’s Max (Shim Chang Min) in a matter of minutes (imagine all I could do with 30 minutes to an hour to spare!).

Canva also has lots of other uses – many users have created CD covers, website banners, postcards, and more using the tool. It’s easy to explore what other users are doing, too – users just click on the “Get design inspiration” link in their account dashboard to check out and comment on the latest designs in the Canva community.

Currently Canva is available for iPad for those who want to design on-the-go.

TIP: To get the most out of Canva, sign up using a .edu e-mail account.

Like it? Try Canva for Work, too!

Sources

Technopedia. (2016). What is an infographic?. Retrieved from https://www.techopedia.com/definition/27808/information-graphic-infographic

 

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For Your Reading Pleasure: A Hallyu Bibliography, Part 6: INTERNET & SOCIAL MEDIA

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

University of South Carolina Lancaster

Welcome to Part 6 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, and Part 5 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.

Nakamura, Lisa. (2003). “Where do you want to go today?” Cybernetic tourism, the internet and transnationality. In G. Dines and J. M. Humez Gender, Race and Class in Media. (pp.684-687).Thousand Oaks: Sage Publications.

Choi, Jaz Hee-jeong. (2006). Living in Cyworld: Contextualising Cy-Ties in South Korea. In Bruns, Axel & Jacobs, Joanne (Eds.) Uses of Blogs. (pp. 173-186). New York: Peter Lang.

Ramesh, Bharadwaj. (2006). A Hallyu Story: Behind the origins and success of the Korean wave in China & the future of content in a broadband world. Accessed 17 June 2016 from http://bit.ly/23ggIuk   

Farrer, James. (2007). Asian youth culture in a globalizing world: Networked and not inhibited. Global Asia, 2(1): 102-110. Accessed 17 June 2016 from https://www.globalasia.org/wp-content/uploads/2007/03/129.pdf

Kang, Seungmook & Hadong Kim. (2009). Korean traditional space creator for digital contents. The International Journal of Virtual Reality, 8(3): 33-37. Accessed 22 August 2012 from http://www.ijvr.org/issues/issue3-2009/6.pdf

Kim, Kyung Hee, Yun Haejin & Youngmin Yoon. (2009). The internet as a facilitator of cultural hybridization and interpersonal relationship management for Asian international students in South Korea. Asian Journal of Communication, 19(2): 152-169. Retrieved 16 June 2016 from http://bit.ly/1rstmZd

Cha, Hyunhee & Seongmook Kim. (2011). A case study on Korean wave: Focused on K-pop concert by Korean idol groups in Paris, June 2011. In T. Kim et. Al (Eds.) Multimedia, Computer Graphics, and Broadcasting. (pp. 153-162). Heidelberg: Springer.

Jung, Eun Young. (2012). New Wave formations: K-pop idol bands, social media and the remaking of the Korean Wave. Presented at the Nam Center for Korean Studies’ Hallyu 2.0: The Korean Wave in the Age of Social Media Symposium. Accessed 16 June 2016 from https://wwwprod.lsa.umich.edu/ncks/eventsprograms/conferencessymposia/hallyu20eunyoungjung_ci   

Jung, Sun. (2012). K-pop, Indonesian fandom, and social media. Transformative Works and Cultures,8. Accessed 16 June 2016 from http://journal.transformativeworks.org/index.php/twc/article/view/289  

Lee, Moonhaeng. (2012). Star management of talent agencies and social media in Korea. In M. Friedrichsen and W. Muhl-Benninghaus (Eds.) Handbook of Social Media Management. (pp.549-564) New York: Springer.

Oh, Ingyu & Gil-Sung Park. (2012). From B2C to B2B: Selling Korean pop music in the age of social media. Korea Observer, 43(3): 365-397.

Ahn, JoongHo, Sehwan Oh & Hyunjung Kim. (2013). Korean pop takes off! Social media strategy of Korean entertainment industry. 10th International Conference on Service Systems and Service Management. IEEE. Pp. 774-777. Doi 10.1109/ICSSSM.2013.6602528

Oh, Chong-jin & Young-gil Chae. (2013). Constructing culturally proximate spaces through social network services: The case of Hallyu (Korean Wave) in Turkey. International Relations / Uluslararasi Iliskiler, 10(38): 77-99.

Oh, Ingyu and Hyo Jung Lee. (2013). Mass media technologies and popular music genres. K-pop and YouTube. Korea Journal, 53(4): 34-58. Accessed 17 June 2016 from http://www.iwahs.org/research/data/3)%20Mass%20Media%20Technologies%20and%20Popular%20Music%20Genres%20K-pop%20and%20YouTube,%20Ingyu%20OH%20and.pdf

Jin, Dal Yong & Kyong Yoon. (2014). The social mediascape of transnational Korean pop culture: Hallyu 2.0 as spreadable media practice. New Media & Society. Doi: 10.1177/1461444814554895.

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Kim, Yonghwan, Dahee Lee, Jung Eun Hahm, Namgi Han & Min Song. (2014). Investigating socio-cultural behavior of users reflected in different social channels on K-pop. Proceedings of the 23rd International Conference on World Wide Web. (pp. 325-326). Accessed 17 June 2016 from http://dl.acm.org/citation.cfm?id=2577324  Doi 10.1145/2567948.2577324

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Happy Reading!

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It’s a K-pop Thing(Link)….

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

University of South Carolina Lancaster

You’ve finally convinced a friend/co-worker/parent/spouse/transit-seat partner/random stranger that your favorite group is worth taking a closer look at, and *gasp* they’ve asked a K-pop Fan Gateway Question (while feigning nonchalance): “which one is [member]”?

As a K-pop fan, you already know this game: such a question is already an indication that the questioner would like to know more…way more. But you don’t want to overwhelm them with information – rather, just give them a comprehensive overview of the group or member. You know…to “satisfy” (read: further ignite) their “casual” curiosity. To prepare for this moment – and help emerging K-pop fans everywhere – what can you do? Where can you send them?

Try ThingLink.

ThingLinklogo

Make K-pop artist overviews featuring websites, videos, and more using ThingLink.

ThingLink is a web and mobile application that allows its users to create interactive images and videos for use in social media, on websites, and more. Users can augment photos with links to websites, videos, audio, and more.   After images/videos are posted to ThingLink, community users can search for images and “Touch” (like) other interactive images and videos, too.

If you make ThingLinks for several groups from different entertainment companies, consider organizing them by Channels – a feature in ThingLink. You can also decide what you want everyone to see by choosing if your TLs will be public or private. One drawback: if you want browsing users to locate your work, you’ll need to make a title that has the search term(s) you think people will use since ThingLink doesn’t really make use of traditional hashtags as a finding aid.

ThingLink is free and also offers expanded options for different fees. It is available on Google Play and the App Store!

Here’s a ThingLink I made for …well, you know…(drag your mouse over the image to interact with it):

Enjoy!

P.S. Taemin is on second left. You know, in case you were wondering…casually. 🙂

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Screencast-O-Matic and Distance Education

 

Screencast O Matic logo

Screencast-O-Matic logo.

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

University of South Carolina Lancaster

It used to be that if you wanted to browse a library’s bookshelves, check out a book, or ask a quick (or deeper) reference question, you had to visit the brick-and-mortar library building. However, that is not the case anymore – modern libraries have online catalogs that users can search, and those catalogs often include electronic books that can be downloaded into commercial e-readers and tablets. For those of us who prefer paper versions, those same catalogs offer features like remote requesting, book reservations, and even tagging options so you can tell other readers about the book using short and sweet descriptors.  

All of that is very exciting, but what happens if you’re not familiar with how libraries work (and you don’t want to drive/use transit to visit a library to find out)? After all, library anxiety is a real phenomenon that affects lots of library users. The term, coined by Mellon (1986), describes the initial fear that library users (in her study, college students) face when having to look for information in an academic library. Significant reasons behind their worries included:

  • the perception that their ability to use the library is lacking while others’ skills are good
  • their lack of skill is a source of shame
  • asking for help will expose their inability to use the library effectively  (160)

Subsequent library anxiety studies echo Mellon’s findings, expanding them to other library user groups and focusing on affective aspects  (Qun & Onwuegbuzie, 1998; Onwuegbuzie & Qun, 2000).

To help mitigate users’ concerns about the library (and to avoid that pesky physical library visit), I use tools that help me implement distance education. One tool I use is Screencast-O-Matic, which I discovered during my work here at KPK.

What is Screencast-O-Matic?

Screencast-O-Matic (SOM) is an online tool that records computer screen activity. The service also hosts SOM videos, creating a library for account users. Users can make their videos public via Screencast-O-Matic, download the files to their personal computers, or upload their files directly to YouTube.

SOM is a freemium service: a basic account with some features is free, and users can pay a yearly fee to get advanced features like longer recording times, video editing tools, and more. One cool feature that comes with the free version: users can annotate sections of videos – a great help for referencing web links, readings, and other important points that may be discussed in a teaching video.

Screencast-O-Matic at KPK

As I mentioned earlier, I learned about SOM while doing research for KPK projects. I needed a tool that would record Hallyu-related websites, and I also wanted to be able to keep videos showcasing artists and groups from the same entertainment company together. I also wanted to be able to host all of the videos in one place and download the files for future maintenance or archiving if needed. Since SOM allows me to do all of these things, I began using it for KPK’s Digital Documentation project. At post time, there are over 500 video recordings, which are included in other KPK projects, including KPOPIANA.

Distance Learning with Screencast-O-Matic

One of the things I do as an academic librarian is create tutorials that help people understand how to effectively use library tools like the online catalog, article link resolvers, and databases. I also give lectures to students in graduate Library and Information Science (LIS) programs.

SOM allows me to create on-the-fly tutorials for students when they stop in for Research Consultations or pop-in for a virtual visit at our library’s Ask A Librarian chat page. Since SOM creates unique links for each video, I’m able to send it to users and alert them to download the file for their own use whenever they need a refresher (yay, library anxiety reduction!). 

I also use SOM in tandem with Prezi, a presentation software, for my LIS graduate school lectures. That unique SOM link means that I can teach asynchronously – students can access my lectures on their own time and leave comments about my talk at the video site. I often use the video annotation feature to reference portions of my talk with readings they’ve been assigned.

Information Literacy Standards*: 1, 3, 4

The Screencast-O-Matic Interface.

The Screencast-O-Matic Interface. Credit: Kaetrena Davis Kendrick, M.S.L.S.

SOM is very easy to use. All that’s needed is a computer, an Internet connection, and if you plan to talk, a good quality headset. Do you use screencast software? Which ones are your favorites and why? Share what you’re doing and what you’ve learned during your own screencasting activities in the comment section.

*ACRL Information Literacy Competency Standards for Higher Education published in 2000. ACRL is currently updating these standards, and you may find the ACRL’s more current Framework for Information Literacy for Higher Education document helpful.

 

Sources

Mellon, C. (1986). Library anxiety: A grounded theory and its development. College & Research Libraries, 47(2): 160-165.

Onwuegbuzie, A. J. & Qun, G. J. (2000). “I’ll go to the library later: The relationship between academic procrastination and library anxiety.” College & Research Libraries, 61(1), 45-54.

Qun, G.J. & Onwuegbuzie, A. J. (1998). “Perfectionism and library anxiety among graduate students.” Journal of Academic Librarianship, 24(5), 365-71.

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