The readings for this week focus on the utilization of Kpop and how Hallyu 2.0 has given it a worldwide influence. I was most interested in the concept of fan engagement with the music artists and their products. While this connection can be found in any “fandom,” I feel that it is especially impactful in K-Pop, as both the fans and the artist / companies greatly benefit from fan engagement. In K-Pop Idols, Social Media, and the Remaking of the Korean Wave, Jung notes how one of the only differences between the third and fourth (current) wave of Hallyu K-Pop is the dramatic increase of international attraction. Jung cites fan-organized Flash Mobs as a type of “outreach” to get artists’ attention, in hopes of having them perform in their area. While this often comes from the fans, the artists and companies mutually benefit from the organic exposure. On the other side, labels often create competitions for dance covers, in which the artists’ labels, fans, and Korea’s efforts in utilizing K-Pop for Hallyu all benefit: “One of the biggest K-pop cover dance contests, 2011 K-Pop Cover Dance Festival, was supported by the Ministry of Culture, Sports, and Tourism, Korean Culture and Information Service, Korea Tourism Organization, and Asiana Airlines, confirming Korea’s nationwide support of Hallyu K-pop” (82). This festival alone had 1,700 international contestants, which proves how influential K-Pop cover dances have become.
Kent A. Ono and Jungmin Kwon’s Re-worlding culture? YouTube as a K-pop interlocutor notes how YouTube’s formation of easily accessible media has created “viral sensations” which gives YouTubers the potential to achieve overnight fame. As many of these Flash Mobs and Dance Covers are uploaded to YouTube, it allows for K-Pop’s exposure to all, whether they intend to find it or not. In Pop Cosmetics and K-Pop Video Culture, Michelle Cho discusses the sensation of “reaction videos,” and highlights “[Very Funny] PSY Gangnam Style Music Video Reaction Collection.” People who reacted in this video pointed out how Hyuna makes a cameo appearance in “Gangnam Style,” which gives the reaction video the aspect of fan interaction. As we have discussed in recitation, fans clearly have power in how well a K-Pop idol can be received / promoted by other fans, and how fandoms are able to establish connections over seemingly small things such as noticing Hyuna’s cameo in “Gangnam Style.”
Through these readings, I continue to consider the impact of K-Pop as a cultural product and an international phenomenon (activity through dance and covers?). As we continue to explore K-Pop’s origins and claims of cultural appropriation in its music and video production / idols’ aesthetics, I often wonder about the impact that urban dance has had on the industry and culture as a whole. I know that many US choreographers such as Ian Eastwood, Keone Madrid, Sorah Yang, Ellen Kim, etc. have choreographed for K-Pop idols, and I would like to know more about the relationship between a choreographer and the artists, with questions of monetary compensation, recognition, and authenticity in mind. I also wonder about how much crossover there is in fans of urban dance and fans of K-Pop (do fans of K-Pop become fans of urban dance, or does K-Pop take priority?)
The Politics of K-Pop 