Recent developments involving award and competition shows reveal the impact of mainstreaming on K-pop. As stakes increase for industry and media, accolades and competition are perceived as metrics for quality. However, they largely measure popularity, which is subject to manipulation. . . . Read original at KPK: Kpop Kollective!
Scholars frequently use the neoliberal capitalism frame to contextualize K-pop within the Korean wave, but the over-reliance on critiquing capitalist forces further silences the creative personnel of K-pop. If we approach K-pop using the “history from below” framework, we can reveal the perspectives of the individuals in the industry.
Many professors bemoan the failure to do the assigned reading on the part of their students. But is that a reason to shy away from giving students challenging texts? After regaling readers with the common experience of encountering students in the classroom who have not done the reading, Theresa MacPhail offers a solution in a … Continue reading If Not Now, When?: Students and Difficult Reading
The mere existence of high impact practices does not produce results. Much depends on the way such practices are implemented. High impact practices are a set of experiences that have been shown to improve student learning. Recently, Inside Higher Education reported on research published in The Journal of Higher Education that suggests that such practices do not … Continue reading The Role of Implementation in High Impact Practices
2PM, a six-member male group from JYP Entertainment, may be the model for K-pop’s beast-like masculinity, which primarily depends on appearance, but they also participate in the black male soul tradition, which uses vocal ability to inform a different kind of masculinity.
One Thing That All Humanities Scholars Can Do To Integrate The Digital Into Their Humanities I recently gave a presentation at the Council on Undergraduate Research 2016 Biennial Conference on undergraduate research and digital humanities. The session was well-attended. Some the individuals who attended were not only interested in undergraduate research as a co-curricular activity, but … Continue reading Digital Humanities for the Rest of Us
The Music of SHINee is a digital exhibit, part of the digital humanities project KPOPCULTURE. It provides an overview of the music of K-pop group SHINee, including promotional tracks as well as deep cuts and song credit information.
Research is one of the most inefficient processes on the planet, and mine is no exception. While Soul in Seoul will have all kinds of insights about the way African American popular music informs K-pop, there is a lot of things (a lot!) that will not make it into the book. What to do?
The new exhibit on KPOPCULTURE, Yoo Young Jin, provides an overview of one of K-pop’s most influential music producers. Not only has Yoo worked on some of the most recognizable and enduring K-pop songs, he has also produced his own material. The exhibit provides an overview of his most popular work as well as a Curated Playlist that delves into other tracks with the groups with whom he works the most, including SHINee, TVXQ, Super Junior and Shinhwa (when they were on the SM Entertainment label).
This exhibit is part of the KPOPCULTURE digital humanities project, which curates modern Korean popular music (K-pop) and the culture that surrounds it through digital exhibitions of music, choreography, fandom and industry.
Many institutions, including my own, include creative activity from art, music, theatre and other disciplines as part of undergraduate student research. Given the creative nature and output of these disciplines, what can this look like?
The K-pop fandom landscape has changed in the past few years. Data suggests that the general K-pop “idol” fandom is more divided than it was less than 10 years ago and challenges some widely held notions about the preferences of global K-pop fans. Read more at KPK: Kpop Kollective…..
OMO!: Korean and Chinese Drama and Commentary is my newest digital humanities project, which curates information on dramas and the global response to them in the form of reviews. It represents not only resource creation but also an examination of how global audiences make meaning of this transnational popular culture.
The project also includes the work of undergraduate researchers, providing the valuable experience of working on a research project. The first exhibit, City Hunter (2011), includes an analysis of the promotional poster as well as an overview as well as short-form and longer reviews compiled by De’siree Fairley, undergraduate research assistant. Users can view complete reviews in Evernote. As the project includes more dramas, we hope that we can determine a pattern in the consumption of dramas by global audiences.
Fan identity is at the heart of fandom studies, and one of the most contested issues revolves around differentiating types of fans based on their knowledge, behavior or both. Fan hierarchy and fan continuum are two concepts that attempt to answer this question, with different implications.
In Understanding Fandom, Mark Duffett defines a fan as “a person with a relatively deep, positive emotional conviction about someone or something famous, usually expressed through a recognition of style or creativity. He/she is also a person driven to explore and participate in fannish practices” (18). As a result, a fan differs from a general member of an audience, for “contemporary culture still marks out an emotional and rhetorical divide between the identities of the fan and the ordinary audience member” (45). By definition, fans are emotionally attached to the object of fandom, while ordinary audiences are just not as attached. Fans can be identified by what they know and how they engage in a variety of fan activities.
Perhaps it is this emotional attachment that also factors into the way fans see themselves in relation to each other. In Fan Cultures, Matt Hills refers to the notion of fan hierarchy, which he argues involves both fan cultural capital, or “the knowledge that a fan has about their object of fandom,” and fan social capital, or “the network of fan friends and acquaintances that a fan possesses, as well as their access to media producers and professional personnel linked with the object of fandom” (57). Hill’s issue is more with academics who study fans and how they arrange fans in relation to each other. Fan cultural capital is based on knowledge alone, whereas fan social capital is based on interaction with other fans and larger fan culture. This tends to lend itself to comparisons and valuing certain kinds of fans over others, privileging those who have more knowledge or more interaction with the larger fandom.
But Duffett realizes that this may not capture the complexities of fan culture. It also may reinforce a negative appraisal of fans. Remember that Duffett defines fan activity as positive. Instead, he proffers the notion of a fan continuum “that stretches between the least committed fans and the most dedicated fans” and allows for the consideration of other kinds of fan characteristics, including “fan self-identification, community participation, consumption of publicity material and archiving” (44).
This move attempts to get us away from thinking about “good” fans and “bad” fans, and more on what fans do and how they think of themselves. It recognizes as a fan anyone who has any level of the emotional attachment to the fan object. In this way, if you think you are a fan, then you are one. At the same time, it allows us to make distinctions based on how fans operate. We might be fans, but we are not the same type of fans. Some fans have a superficial engagement with the fan object, while others have deep knowledge. Hills acknowledges this when he notes that one can have high fan cultural capital, but low fan social capital. This doesn’t take away a fan’s identity, but it does describe a different mode of fandom. Fan continuum allows us to recognize the differences in fan practices without passing judgement on fans or questioning a fan’s authenticity.
Duffett, Mark. Understanding Fandom: An Introduction to the Study of Media Fan Culture. New York: Bloomsbury Academic, 2013.
Hills, Matt. Fan Cultures. London and New York: Routledge, 2002.
Can’t decide which K-pop group or artist is your favorite? You are not alone! Global fans of K-pop tend to support several groups and artists at the same time, while their Korean counterparts tend to support only one group or artist. But why? And which groups tend to be in a global fan’s multi-fandom? This study seeks to answer these questions in survey that uses open-ended and multiple-choice questions. Take the survey and tell your friends!
One of the things that happens when conducting qualitative surveys is that they can raise more questions than they answer. This is what happened with the preliminary data from Last Fans Standing: Longtime and Adult Fans of Korean Popular Music (K-pop). Response rates were unusually low, which was unusual given the rising number of fans who have been fans for more than five years. I speculated that respondents may think that only adult fans who had also been fans for five years or more could take the survey. So, I revised the survey to focus solely on veteran fans of K-pop, individuals who had been fans for five years or more. The revised survey can be found here: https://www.surveymonkey.com/r/vetfans !
Newer male K-pop groups are increasing the complexity of their choreography. UP10TION, who debuted in 2015, features 10 members. This large group is gaining popularity for their execution of complex dance moves with precision. Find out more with the Revised UP10TION Dance Collection exhibit!