The first time I learned about K-pop was in 2011. I was introduced to 2NE1’s ‘Hate You’ via YouTube. I thought the animations were cool and all, but I wasn’t that interested in it. Years later, I became curious about 2NE1 again and by then CL had done some solo projects. Again, I enjoyed the songs and music videos but there was something missing that didn’t make me believe fully in the power of K-pop.

Until 2016, when while scrolling through Facebook, I saw someone had re-posted a video of EXO-K performing a cover of ‘Sabor a Mi’ live in Mexico.

Let me break down my reaction process for you: 1) ‘Koreans singing in Spanish?!?!” 2) Koreans singing in Spanish in Mexico!?!??! 3) Koreans know of Mexican classics!??!

It was surreal. And like Erica Vogel suggests in her findings from her fieldwork exploring K-pop fandoms in Mexico City, it was realizing that a Korean group recognized Mexico and their cultural products enough to honor them with this special performance. It was understanding that there was a large enough audience of fans in Mexico for them to take the time to practice the pronunciation of the lyrics (which was, indeed, phenomenal). It was hearing the euphoria of Mexican fans when they recognized a familiar sound projected by idols that came from so far away.

And why did I care about Mexicans getting recognized by K-pop acts when I’m not even Mexican myself? Because it gave me hope that if they presented an interest in singing in Spanish, then they might become interested in other countries and cultures nearby. It mattered because I grew up listening to this song too (the version by Luis Miguel) and I felt connected to Korea via Mexico.

It was also, as Vogel put is, the idea of feeling worthy of their acknowledgement.   

Key word: worthy. If Mexican fans (and fans from other places outside of Korea) must act and behave in a certain way to earn the attention of not just their favorite idols, but from Korean entertainment companies to “send more groups,” then there’s a clear hierarchy at play. As Vogel elaborates, competitions arise among fandoms from other countries close to Mexico to prove which is more devoted, worthy and organized (e.g. Mexico vs Peru or Mexico vs U.S.).  These power dynamics between South Korea and Mexico, then, become manifested through these devoted fans who participate in unpaid labor to promote Hallyu and satisfy the South Korean government’s agenda — all for the possibility of having fleeting (online) interactions with their idols at most.

As the South Korean government continues to acknowledge their flash mobs and “good Mexican behavior,” there more Mexican youth (and, again, other K-pop fans in places throughout Latin America and the world) become engulfed by the cross-cultural Korean entertainment empire that’s been slowly creeping up under our noses.

Brace yourselves, because this mini K-drama I’m going to introduce you to is one for the books.

The Curious Case of Oh My Grace

Oh My Grace (2017) was DramaFever’s first original K-drama/K-web series starring Grace Subervi and Kyung Hwan Kim. The plot goes something like this: aspiring fashion designer is failing at achieving her dream career in New York, alcohol makes her magically appear in South Korea, she meets a wealthy boutique owner, then an aspiring K-pop idol, and all three fight for their dreams. Please go ahead and cringe through this teaser:

Cute concept. Poor execution.

But that’s not so important! What’s interesting here is that Warner Bros (owner of DramaFever) was looking for a Latina actress to star in a K-drama because they were aware of the growing fans of Hallyu within Latin America.

Here enters Grace Subervi: a Dominican actress raised in New York who’s been involved with the Korean Entertainment industry in America for over a decade. As you would expect, she speaks Korean fluently and travels to South Korea often enough. She’s worked as a host and interviewer for MTV K, KCON, and DramaFever (which is why she was considered for the role in Oh My Grace).

If, like me, you had the same reaction to this headline, then you might be wondering: does the curious case of Oh My Grace mean that a K-drama can be called as such even if one or more main actors are not Korean? Would the introduction of other non-Korean/Asian ethnic groups into doramas affect the appeal of the genre to foreign communities?

These are valid questions to ask during this new era of global media ecosystems, where the flow of visual media is multidirectional and slowly becoming less U.S./Euro-centric.

Although there is no right answer to these questions, a central issue of this case is the assumption that non-Korean fans want to see themselves represented K-dramas. The appeal of Hallyu to fans from around the world is not just about good pop songs or feel-good dramas. I would argue that the shared experience of learning Korean and exploring Korean culture is central to the globalized euphoria for Hallyu.

Social Media and the Adaptation of Korean Dramas

Thanks to social media, language barriers and cultural differences have served as benefit, rather than a hindrance. Social media has allowed for non-Korean fans to create their own online communities where share their love, knowledge and translations of their favorite K-dramas.

Sites like Soompi.com have a Spanish counterpart (Soompi.com/es) for Spanish-speaking fans around the world to access and discuss the latest Hallyu news and content.

In fact, K-dramas have been so prominent in Mexico for the past ten years that they are starting to influence Mexican productions. The Mexican telenovela Mi Marido Tiene Family (My Husband Has Family) is an adaptation of the South Korean series of the same title.

The Mexican version, which is one of the most watched shows in Mexico, aired its first episode in 2017 and culminated this past February after two seasons and 256 episodes. It would be interesting to explore in detail what aspects of the Korean original are replicated and which ones are, indeed, adapted to suit a general Mexican/Latin@ audience.

It’s clear that the consumption of Korean entertainment is no longer just expanding within online fan communities. The Korean formula is starting to impact local entertainment in other countries and Hollywood is no longer the only place where artists are heading to for opportunities.

Waves come and go. K-dramas (at least) are here to stay.

Side note: Yes, I share the same last name as Grace Subervi. Yes, I am Dominican too. No, I don’t know if we’re cousins.