Korean Pop

Topics: K-pop, Super Junior, Bubblegum pop Pages: 21 (6850 words) Published: October 18, 2012
“Korea had become trendy because it provided what the youth wanted throughout the region. The phenomenon can be partially explained by noting how Korean popular culture catapulted forward during the 1990s, leaving much of Asia behind as it abandoned conservatism and censorship, diversifying, appropriating, absorbing and innovating. In its fusions, it created an Asian equivalent of European and American pop. Japanese pop, of course, had long had this function throughout the region, but the 1990s was a time for re-examining the Pacific War’s legacy, and Korea offered a less-tainted alternative to Japan.” - Keith Howard

Background of the Study

The global world widely perceives modern mass media. With the recent technology enhancements present today, media become first in disseminating information, providing communication, moreover, in catering entertainment. Mass media provides entertainment; best examples of which are through watching television shows and surfing the internet. These things greatly influence its target audience to the extent that some already live by it, these people are called fanatics.

[1] fa•nat•ic
noun /fəˈnatik/ 
fanatics, plural
A person filled with excessive and single-minded zeal, esp. for an extreme religious or political cause A person with an obsessive interest in and enthusiasm for something, esp. an activity - a fitness fanatic

Early 2003, Meteor Garden, a Taiwanese drama, was aired on Philippine television. The Filipinos embraced this fresh genre of drama, which resulted to the replacement of Filipino dramas and Mexicanovelas’ reign in Philippine television. It was, perhaps, Meteor Garden, that started it all. After it, the Korean dramas, or Koreanovelas as they have been called, dominated the Filipinos, most of which are teenagers. These kinds of dramas’ penetration through modern media brought about the Filipinos’ openness and awareness of the East Asian culture and its entertainment; the “Asian style” had been well-accepted.

Filipinos were only drawn to Koreanovelas, especially when Boys over Flowers, the Korean version of Meteor Garden, was aired on Philippine television. However in early 2009, the *Korean Wave or *Hallyu Wave was born. The Korean wave includes the *viral spread of Korean shows, music and culture, basically, on the field of entertainment. It primarily established its name in the Philippines when Sandara Park, a Korean celebrity who began her career in the said country, debuted on a Korean girl group 2NE1. The response of the Filipinos was overwhelming. The single “Fire” was played everywhere and it indeed, captured the hearts of the Filipino masses. Later came Super Junior with “Sorry Sorry” and Wonder Girls with “Nobody.” It seems like language was not, and had never been, a barrier for fans of the Korean wave. Through its melody and catchy visuals, the Filipinos, especially the teenagers, perceived the Korean wave and accepted it. Since then, the Korean Wave, as a source of entertainment, has become urgency in Philippine media, satisfying *fandoms all over the country.

After it created its name in the Philippines, Korean songs topped and stayed in music charts for weeks. Music companies circulated Korean albums in the country, which became best sellers in music stores. Asia Myx (2009) and Pop Myx: Korean pop Edition (2010) were launched in MYX channel2 as a response to KPop fans’ increasing hunger for *Korean pop media content. The year 2010 marked another milestone for the Korean pop fandom among Filipino teens. Numerous Korean pop groups like Shinee, 4minute, FT Island, Super Junior, U-kiss, Beast, Kim Hyunjoong, and Rain visited the Philippines to perform for their supporters, the Korean pop fandoms. Even little kids know how to dance Psy’s “Oppa Gangam Style,” which became an instant dance craze. Next year, on January, Girls’ Generation, EXO, Infinite, U-kiss and Tahiti are reported to perform at the Mall of Asia...

References: Ramos, R and Tanglao, K. “Pinoy Teen Fan: Adolescent Celebrity Fandom and Self-Concept” (College of Mass Communication, University of the Philippines, Diliman, 2009).
Doobo, S. “Hybridity and the Rise of Korean Popular Culture in Asia,” Media, Culture and Society 28, no. 1 (January 2006): 25-44.
Haejeong, C
[4]Leung, S.. “Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music, 2012
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