Korean Wave

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1.0 Introduction
The purpose of this paper is to study a sub-culture by conducting an oral interview with a group of people who belong to a particular cultural group. This interview is carried out to understand their perception of the sub-culture. The people chosen for this oral interview are Helen Xu who comes from China and Hana Yamata who comes from Japan, and both of them are big fans of Korean culture. In order to present their experiences of Korean Wave, this paper will be divided into four sections. The first section will describe demographic characteristics of the Korean Wave group in Asia. The second section is a literature review refering to the cultural background of Korean Wave including Korean pop music, drama, food and so forth. This is followed by an interview conducted with Helen and Hana giving information about their experiences of Korean Wave. The final section will state some steretyping of Korean culture and how to guide the young gereration to look upon the positive impact of Korean Wave.

2.0 Demographic characteristics of Korean wave group
In the late 1990s, due to the explosive popularity of South Korean dance music among Chinese youth, Chinese mass media called this phenomenon “Korean Wave” (Hyun, 2003, p. 144). Since then, Korean wave has been spreading over Asia. It is not just popular in China, but also in Taiwan, Japan, HongKong, Singapore, Vietman, Indonesia, and Philippines (Hyun,2003; Winnie, 2005). In HongKong, more than three quarters of the population watch Korean drama (Winnie, 2005). In Japan, not only do adolescents admire Korean drama, mature aged woman are also fascinate by Korean drama, for example, Winter Sonata recorded a big hit in Japan (Hyun, 2003, 137). In addtion, the young generation in China is the main group of pursuing Hallyu, which is Korean Wave. South Korean dramas are soon sold when they imported to China, and fans imitate Korean fashion style by wearing Korean clothing and hairstyles which they saw on the drama (Hyun, 2003, 139). Consequently, the proliferation of Korean Wave has become a unique cultural identity in Asian.

3.0 Literature review of Korean wave
3.1 Cultural identity
Cultural identity refers to a group of people who hold the same value and emotional feelings. In addition, identity is often constructed by ‘cultural representation’, such as media stories, images, books, films and so on (Hibbins, 2011). Cultural identity contains three types, actual identity, perceived identity and negotiated identity (Hibbins, 2011) . Korean Wave is a form of perceived identity that group members perceive to subjectively exist. Korean wave has become a unique cultural identity through its music, dance, television dramas, movies, hairstyles, clothes, foods, books, games, software and animation (Hyun, 2003, 145). These symbolic forms of Korean wave bring people together to communicate, understand each other and develop their perception of cultural identity, which has become the field of global communication (Ryoo, 2011, 145). Moreover, Korean drama contains descriptions of family lives and social relationships based largely on Confucian values (Park as cited in Hyun, 2003; Ryoo, 2001). Yi (as cited in Hyun, 2003) noted that “Confucian tradions, including emphasis on the family, male-dominane, patriarchy, strong hierarchy, spirit of self-sacrifice among males and female obedience (p.147).” Therefore, Confucian values have an imprint on this cultural wave.

3.2 Cultural difference
There are cultural differences between South Korean, Chinese and Western societies. Asians are more likely to watch South Korean films rather than American and European films because the culture of South Korea is close to its neighbouring countries. Westerners tend to believe both Chinese and Korean societies have a collectivistic culture, which means a culture is concerned about the group than the individual (Hofstede, 1980). Compare to the Chinese, Korean tend to be more group...
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