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. Read original at KPK: Kpop Kollective!
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?
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 recent piece for The Chronicle of Higher Education. She suggests assigning less reading: “Long story short: Don’t assign too much reading–and don’t assume you know how much reading is too much for your students.” Why? Because students are pressed for time and, “read only if they have time and if the readings are relatively easy to digest.” Moreover, she suggests that professors avoid long texts: “It may be the biggest reason students are no longer reading the things we assign. They have complained over and over again that a lot of assigned texts are just too boring or too long or–the deadliest of combinations–both at once.”
In her own classroom, MacPhail incorporates other kinds of material, including documentaries and podcasts. She only has students read a few scholarly texts during the course. The result: “My student are getting the information–but in formats with which they are most comfortable. Instead of reading more, they are doing more research and writing.”
There are two things that struck me. One is the idea that learning should be easy and comfortable. Whereas learning shouldn’t be torture, it also shouldn’t be without discomfort. I’m a proponent of meeting students where they are. At the same time, the goal is also to move the student forward, even if it’s just a little bit, and that often means taking the student out of a comfort zone to a new place that is unfamiliar and sometimes scary. But that’s ok! The unfamiliar then becomes familiar; then we move on to more unfamiliar things. What we should be doing is making students comfortable with being uncomfortable, with ambiguity, with not knowing and confident enough to charge ahead and grapple with difficult texts or challenging readings.
The other idea that struck me was placing reading in opposition to research and writing. As a person who designs and implements research programs for undergraduates and trains them to work on my own research, I know the value of reading for research. I know some academics who look down on basic bibliographic research, but that research is the foundation for any subsequent research. An inability to read well at this stage does not bode well later down the road. I have seen students who have never been asked to grapple with a “difficult’ text that challenged them. As a result, they lack the confidence and ability to do so. If a student never has to grapple with a dense text, then a student will never learn how to grapple with a dense text. But it’s about more than grappling with jargon or a boring text. It’s about developing critical reading skills that they can use anywhere.
Rather than denigrating difficult texts, perhaps what we should teach students is how to read smarter, which would really make the best use of their time and engage them with the material. Miriam E. Sweeney offers some great insights in her post, “How to Read for Grad School.” Instead of a cursory review of the material, these suggestions offer a reading strategy to ensure the reader understands the material at a sufficient depth to be able to engage its ideas. There are probably others who have written similarly.
In the 1970s, I remember seeing public service advertisements for the Reading is Fundamental program, which was designed to increase literacy rates. Reading is still fundamental. The way to address student reading is not to encourage students to avoid difficult reading, but to teach them how to engage it.
MacPhail, Theresa. “Are You Assigning Too Much REading? Or Just Too Much Boring Reading?” The Chronicle of Higher Education, 27 Jan 2019, https://www.chronicle.com/article/Are-You-Assigning-Too-Much/245531 (21 Mar 2019).
Miriam. “How to Read for Grad School.” Miriam E. Sweeney. 20 Jun 2012, https://miriamsweeney.net/2012/06/20/readforgradschool/ (21 Mar 2019).
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.
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 lead to improved learning and higher graduation rates. Marjorie Valbrun reports that the study concluded that “the graduation rates at colleges that incorporated all the practices were not higher than those that used few if any of the practices.” Such conclusions suggest that “examining the connection between the recommended practices and institutional outcomes was important because of the widespread use of the practices ‘at the expense of other possible offerings'” (Valbrun). This could lead some to suggest that we abandon high-impact practices for other types of activities.
Soon after, George Kuh, author of High Impact Educational Practices: What They Are, Who Has Access to Them, and Why They Matter (2008), and Jillian Kinzie penned a response in Inside Higher Education, raising an important, overlooked aspect of the study. In addition to the circumstances of the students, they argue that “simply offering and labeling an activity a HIP does not necessarily guarantee that students who participate in it will benefit in the ways much of the extant literature claims.” In other words, the high-impact practice needs to be deliberately structured to achieve certain results. Its mere existence will not create positive results for students.
Much like when we teach classes, we need to envision what we hope to accomplish when we embark on a high impact practice in our institutions and how we seek to meet those goals. More importantly, we have to think about how such experiences will impact the student and what the student will take away from the experience. Are we simply adding a line to a student’s resume for a job or a cv for graduate school? Are merely creating data points for institutional data? Or, are we providing an experience and tangible products from that experience that students can share?
This is something I’m working on as I continue to implement our institution’s Quality Enhancement Plan (QEP) for reaccreditation, which is undergraduate research, a high-impact practice. Creating ways to leverage these experiences will also make them more meaningful to students, who sometimes overlook the continued benefit of the experiences for later in their lives and focus on just doing them. One possible approach is combining high-impact practices. In addition to undergraduate student research, the overview of “High-Impact Educational Practices” published on the Association of American Colleges & Universities site lists other HIPs that may reinforce the positive impact of undergraduate research. I’m thinking of how making undergraduate research collaborative and culminate in projects or encouraging students to create research portfolios from their classwork may increase the positive impact of undergraduate research.
What is clear is that we must give careful thought not just to implementing such practices, but how we implement such practices.
“High-Impact Educational Practices.” Association of American Colleges & Universities https://www.insidehighered.com/views/2018/05/01/kuh-and-kinzie-respond-essay-questioning-high-impact-practices-opinion (10 May 2018).
Kuh, George D. “What Really Makes a ‘High-Impact’ Practice High Impact?” Inside Higher Education 1 May 2018. https://www.insidehighered.com/views/2018/05/01/kuh-and-kinzie-respond-essay-questioning-high-impact-practices-opinion (10 May 2018).
Valbrun, Majorie. “Maybe Not So ‘High Impact’?” Inside Higher Education. 25 Apr 2018. https://www.insidehighered.com/news/2018/04/25/study-questions-whether-high-impact-practices-yield-higher-graduation-rates (10 May 2018).
The Role of Implementation in High Impact Practices by Crystal S. Anderson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
I’ll be a panelist at KCON 2017 LA! Panel 502B, “Black American Music and K-pop”, will be on Sunday, August 20, 2:30 p.m. – 3:30 p.m. Hope to see you there!
In the meantime, check out some of my work on Black American Music and K-pop.