A Ca Study on Korean Wave: Focud on K-POP
Concert by Korean Idol Group in Paris, June 2011
Hyunhee Cha1 and Seongmook Kim2
1 Department of Broadcasting, Visual and Performing Arts,
JeongHwa Arts University, Korea
2 Graduate School of IT Policy,
Seoul National University of Science and Technology, Korea
Abstract. The study dealt with Korean Wave focusing on K-POP and analyzed
its success factors, the changes in Korean Wave and the future directions for
development. Also the study has compared the results of the idol groups’
performance, held by SM Entertainment in June 2011 in Paris, and the
绳子英文perspective of Korean and French media. Key reasons were examined to
analyze what led K-POP to play a crucial part in spreading the Korean Wave:
The expansion of the age of its takers ranging from teens to females in their
20s; the fusion of a variety of cultural elements including oriental dance andangel歌词
occidental pop; the systematic system of idol training; marketing activities
progenbad on social media, etc.
For the expansion of Korean Wave including K-POP and its successful positioning in the world market, there are veral suggestions to make which
are inventing the differentiated contents and highly appealing stories,
approaching the local customers while considering local features, operating
英语文章翻译
co-marketing with other cultural products.
Keywords: Social Media, K-POP, Korean Wave, Idol Group.
1Introduction
1.1Background and Purpo of Study
Korean Wave covers the cultural phenomena of people in China, Japan or the regions of East Asia following and learning the Korean pop culture, such as music, drama, movies, etc.1This was conceptualized in the late 1990s when Korean pop culture was acknowledged in China, Southeast Asia and “Globalization,” the national policy, was launched.2 The range of Korean Wave has been expanded to the traditional Korean culture such as Hansik (Korean food), Hangul (Korean alphabet), Hanok (Korean
1 Yongsoo Oh (2010), The changes in Korean Wave and The creation of competitiveness of tourism of Korean Wave, Korean Tourism Policy 2010, Winter, No.42, Korean Culture and Tourism Institute, P78.
2 Woongjae Rhyu (2009), The eclectic globalization and the political discour of country, Korean Media Journal, No. 53, Issue 5
154 H. Cha and S. Kim
traditional hou), Hanbok (Korean traditional clothing), and so on. However, the Korean Wave market has been limited to China, Japan, Southeast Asia and Central Asia, and it is recognized only by a few dramas and stars.
Nevertheless, in the late 2010s, the flow which was reprented by the performances of Korean celebrities including K-POP idol group, has been clearly different from the existing features, the stretch of Korean Wave and the target market. Different marketing approaches have been implemented in the way that the contents were not localized and Korean Wave focusing on new cultural icon was carried out simultaneously in the U.S., the Middle East, and South America. Conquently, the difference in time and place has decread. In this n, ‘SM Town World Tour’ in June 2011 was meaningful in many aspects. As the performance of Korean idol was held for the first time in the center of Europe, the effects on the European market and the strategies of Korean Wave need to be examined.
This study focus on the performance of idols from SM Entertainment in Paris. Also, this study has analyzed the idol group, which is regarded as a key player, and its performance and strategy. Regarding the perspective that Korean Wave targeted the European market, the study has tried to analyze the outcome of the performance while comparing the Korean and European media in an obj
ective manner. Furthermore, this study will suggest the supportive policies and activities that are esntial for the development of Korean Wave in the future.bec
1.2The Precedent Studies
It ems that the academic study of Korean Wave is not sufficient in terms of quantity and quality. Most studies cover the whole Korean Wave or its contents, such as movies, drama and Korean pop. One example is journals bad on the general understanding of Korean Wave, including the evolutionary process. Sungsoo Kim (2010) summarizes the development stage of Korean Wave and suggests “Glocal” convergence for sustainable development of Korean Wave. Hyejung JoHan (2003) analyzes the meaning of Korean Wave depending on articles, commentaries and reviews regarding the early stage of Korean Wave.
The other example is analyzed bad on the success factors and the directions for the spread of Korean Wave. In the early 2000, there were many studies predicting the potential for development and evaluating the success factors of early Korean Wave (Hyoojong Kim, 2002; Buhyung Lee, 2004; Sangchul Jung and others, 2001). And there are studies on Korean Wave from a political perspective. Woongjae Rhyu (2009) analyzes ideology regarding globalization and explains Korean
Wave with a frame of globalizing Korea and neo-liberalism. Jungah Rhyu and others (2003) analyze Korea Wave in a political view of cultural exchange policy in Northeastern countries.
Since 2010, idol group has been analyzed as a new icon of Korean Wave (Taesoo Jung, 2010). There are suggestions on the triggers and barriers of Korean Wave, expansion strategies beyond Asia and successful future plans bad on trend analysis (Philsoo Kim, 2011; Sohyun Park, 2011).
A Ca Study on Korean Wave: Focud on K-POP Concert by Korean Idol Group 155
1.3Methodology
As a turning point of new Korean Wave, ‘SM Town World Tour’ in June 2011 was noteworthy. Thus, this study aims to evaluate the perspective of looking at Korean Wave bad on the analysis on performance, analyze the recent changes in Korean Wave and its limitations, and ek the future directions of Korean Wave.
First, the process of Korean Wave focusing on contents of pop culture is discusd. The perspective of interpreting Korean Wave and the supportive policies are examined as well. Second, the evolution of Korean Wave turning into K-POP is covered focusing on the changes for the recent 1 or 2 years.
Third, the perspective of looking at the performance in Paris in June 2011 as an example by the Korean and European media, namely the French media, is compared and analyzed. Bad on this analysis, the perspective of examining Korean Wave is discusd in a balanced manner.
In order to support the study, veral methods such as examining the precedent study, analyzing the cultural industry and the data on cultural policy, and analyzing the comparison of Korean and French media will be ud.
2Development of Korean Wave Popular Culture Contents Although rearchers or thes have differences, it appears to be that most of them agree the following spread process.
2.1The Beginning of Korean Wave (Formation Period, Initial Stage)
With its starting point of Korean Dramas’ export to China in 1996 and export of Korean songs in 1998, the year of 2000 was the first time appearance of the term ‘Korean Wave’ with HOT’s Beijing performance. At first it was discounted as temporary phenomenon and it was focud within China, Taiwan, and Hong Kong. 2.2The Spread of Korean Wave (Developing Period, Secondary Stage)
This is the period of early 2000 to mid-2000, spreading from Chine area to Japan, Singapore, Taiw
an, Mongolia, Russia, and India. Also the contents was diversified into Popular music (Clone, HOT, BOA, etc.), Drama (Winter Sonata, Great Janggeum, etc.), and Online games. Furthermore, it showed the outcome which consumers of Korean Wave spread from teenagers, who mainly consume Albums and Dramas, to 40~50s middle ages with the popularity of Bae Yongjun (Yon sama) and the success of drama Great Janggeum. From this period, Korean Wave expanded to Hansik (Korean food) and traditional culture, connecting tourism packages, and produced outcome in Korean Wave related industry, making the appearance of term New Korean Wave.3
3Jiyoung Chae and others (2005), Basic rearch for developing studies on Korean Wave, P.4. After that, few words such as Korean Wave 2.0, the first Korean Wave were prented but confusion was wor. This disrtation is focud on the fundamental value ‘Commercial success of Korean pop-culture product’ of Korean Wave.
156 H. Cha and S. Kim
2.3The Division of Korean Wave (Diversification, Tertiary Stage)
This is the period of mid-2000 to 2010. After reaching peak in 2005, Korean Wave went slow down for a short while in China and Japan. The reason lied in firstly, cultivating material-insufficient culture
contents with various stories, depending on a few Korean Wave stars, ttling for early success. Second reason was that with emerging ntiment of one-sided encounter, not a mutual exchange of culture, there was a flow named by anti-Korean Wave.4As a result, films, broadcasts, music and other exports were actually showed poor results.5Nevertheless, in Southeast Asia, the popularity continues mainly with popular music, and the Middle East, the United States and Europe have incread the interests in it. Especially idol groups’ entrance to Southeast Asia and Japan played a key role in re-spreading Korean Wave.
Table 1. Reanalysis of Korean Wave changes
Initial stage Secondary stage Tertiary stage
Target market China, Taiwan,
Hong Kong
Japan, Southeast Asia, India,
Russia
China, Japan, Middle East,
America, Europe
Product Drama, Popular
music, Early
idols
Drama, Movie, Game,
Popular music
Popular music, Movie,
自考有时间限制吗Game, Non-verbal
performance
Marketing
Separate
funny
marketing of
dramas, and
singers
Co-marketing of Korean
Wave stars and idols –
Synergy by movies, dramas,
music, and advertiment
Standardized package
bad on project and
system, simultaneous
provision of idol groups
Effect of industry Pop songs,
Drama
Expand to Hansik (Korean
food), Traditional culture,
Broadcasting and Game
Expand to Beauty,
Medical, Fashion, Hangeul
(Korean language)
2.4Korean Pop (K-POP) and Korean Wave
There is Korean popular music, so called “K-POP”. In initial and condary stage, early idol was in charge of one axis of Korean Wave. HOT, Clone and JaeWook Ahn were active in the Chine country market, and BOA and SES has entered Japan. Until this time, the popularity of idol groups w
ere not high when compared with Korean Wave stars like YongJoon Bae(Yon sama), and the popularity of TV dramas such as Great JangGeum. However, in tertiary stage, idol groups largely entered Southeast Asia and Japan, emerging as key players in re-spreading Korean Wave.6
4Jeongmin Ko (2007), Shrinking Korean Wave, SERI. Anti-Korean Wave, For analysis on current state and alternatives, referenced Jiyoung Chae and others (2009).
5Jeongmin Ko (2007), Pilsoo Kim (2011), New Korean Wave, is it sustainable?, Hyundai Rearch Institute, P2.
6Sohyun Park (2011), P147.
A Ca Study on Korean Wave: Focud on K-POP Concert by Korean Idol Group 157
Table 2. Main cas of idol groups’ entrance by each country
Japan Girls’ Generation, ‘Oricon’ monthly 4th (2010.9), Kara, ‘Oricon’ weekly 2ndcappuccino
cdx什么意思(2010.9)
Taiwan Super Junior, Taiwan music site ‘KKBOX KOR, JAP Chart’ 30 weeks
concutively 1st (2009.11)
Thailand Super Junior, Girls’ Generation, monopolized high rank in ‘V Channel International Chart’, ‘MTV International Chart’, etc. (2010)
U.S.A Wonder Girls, ranked 76th in Billboard Single Chart ‘Hot 100' (2009.10), Held SM Town Performance in LA, brought 15,000 people (2010.9)
With the spread of imitating South Korean idol groups’ dancing, singing, and fashion, called 'Cover' phenomenon, there were emerging groups which mimicked Korean idols exactly.7There were veral reasons for idol groups’ ri. First, it was the multi-cultural fusion power, which resolves various cultures. Western pop and choreography have been stylishly modified into like East Asian, removing reluctance from both Western and Eastern. In fact, it is known as both compor and choreographer have knowledge ba for the U.S. POP. Second, it is systematic idol training system. Over the years, they made idol groups to the highest level, training thoroughly with singing, dancing, foreign languages and performance. Large agencies’ long-term investment was esntial. Third, it is using Social Media to maximum. They alerted the world with the individual's ability with SNS, such as YouTube and other media, and induced the network's support of the Korea-American and students studying in abroad (Taesu Jeong, 2010).
Whereas, looking at the process of development of Korean Wave until now, the constraints become also clear.
First, barrier to experiences between Korea and Asia, and Asia and non-Asia might be a main constraint of spread of Korean Wave. Barrier to cultural experiences should be overcome in order to spread throughout the America, Europe, and so one apart from Asia. Second, ability of producing appropriate contents to global standard or killer contents beyond the barrier of cultural experiences is not enough. If the spread of Korean Wave is developed by trend of pop-culture, purcha of derivative Korean product, and preference of Korea, producing contents which suit the America and Europe and strategy of distribution should be vigorously carried forward.8
3Analysis on Tendency of the Recent K-POP of Korean Wave The performance of Korean idol group of SM Entertainment in Korea, held on 10 and 11 June 2011 in Paris as part of “SM Town World Tour”, was a typical event which
7Pilsoo Kim (2011), New Korean Wave, is it sustainable?, P1. Taesu Jeong (2010), New Korean Wave, idol group. P3.
8Park Sohyun and the others (2011), Trend of Culture and Art in 2011, Korea Culture and Tourism In
stitute, P.145, re-referenced. Jeongmin Ko (2010), Korea, China and Japan overcome the crisis of Pop-culture, Herald Economy, 2010.10.31.
158 H. Cha and S. Kim
has showed the factors of the success and the limit of Korean Wave. The performance of Korean idol groups such as Girls’ Generation, Super Junior, SHINee and so on has been held in ‘Le Zenith de Paris’, all ticket for both days has been sold out and it was crowed of around 14,000 people. Not only Korean media but also French one including European one were very interested in the performance and they have reported it. It is regarded as symbolic incident in a n that nationality of fans was consisted of 14 countries such as France, U.K and Spain etc. and they filled almost of at despite the first live K-POP performance in Europe.berio
3.1News of Korean Media
[Now, Korean Wave is begun to be transferred to western strong culture countries cross over Japan, veral Asian countries. The audience of 14,000 for two days has song along with Korean songs which they had never spoken before. The youngster in Paris was enthusiastic with the huge idol group flied from a small oriental country. Le Monde and Le Figaro focud on the main of the enthusi
asm and reported “K-POP, already succeeded in Asia, has entered the European market.” At the same time, they have talked about the success of the performance and the spread of Korean Wave. After the performance for 2 days, Europe has focud on Korean Wave. The music of Korean idol group has satisfied the western emotion becau of the perfect harmony amongst dance, song and looks and active recruiting of European and American compors. The performance is regarded as a myth of Korean Wave that K-POP was spread into the world through SNS.
The center of world pop-music is New York and that of western history and culture is Paris in France and London in U.K. It might be proud enough of culture that K-POP fascinated local European people not Korean living in Europe. If Big Band and 2NE1 do the performance following Girls’ generation and DVSQ, it appears that the acclamation will be able to be continued.] 9
In addition to this, it has been reported the reasons for success in the performance of K-POP. Firstly, there are no idol singers like Korean one. While English music is more about band and French one is more about appreciation of lyrics, singers specialized in dance, song, visual as Korean idol are rare in Europe. Secondly, planned idol training system is existed only in Korea not in Japan or China. SM Entertainment let compors in Europe and USA make emotional songs which can be impressive to western people. With combining making looks by stylist, Korean idol group became a c
ultural product which can be impressive in world. Thirdly, Youtube, Twitter or Facebook message contributed to the spread of K-POP. Idol singer has more advantage to put contents on Youtube rather than artist type of good singer becau idol singer satisfies both vision and hearing.10
3.2News of French Media
The study took Le Monde and Le Figaro as examples, reprented conrvative and progressive media of each in France. Their news about the performance of SM Town is not different from Korean media.
9Arrangement of Korean newspapers’ reports on 13-16 June 2011, Herald Economy.
10Herald Economy, reported on 14 June 2011.
