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Korean Popular Music
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What Is the K in K-pop? South Korean Popular Music, the Culture Industry, and National Identity
John Lie*

In the early 2010’s, the expansion of South Korean popular culture around the world is led by popular music, usually known as Kpop. In this paper I seek to answer two questions. First, what are the sources of its success beyond the South Korean national border? Secondly, what does it say about contemporary South Korean society and culture? Key Words: K-pop, Korean Wave, Hallyu, South Korean Popular Culture, Popular Music

I. Introduction

T

he phenomenal success of the Korean Wave has generated collective celebration in South Korea.1 In the early 2010s, the national self* John Lie is C.K. Cho Professor of Sociology at the University of California, Berkeley, U.S.A. He received his Ph.D. in Sociology from Harvard University. His forthcoming books include The Global University and The Consolation of Social Theory. E-mail: johnlie@berkeley.edu. 1. The Korean Wave is the literal translation of the term which originated in China ( ; Hánliú). The first character refers to “Korea” and the second usually evokes “flow” or “current,” signifying “style.” The same Chinese characters

KOREA OBSERVER, Vol. 43, No. 3, Autumn 2012, pp. 339-363.
© 2012 by THE INSTITUTE OF KOREAN STUDIES.

340

John Lie

congratulation is especially manifest for the popularity of South Korean popular music (K-pop), which has spread from neighboring Asian countries, such as Japan and Taiwan, to farther ashore in Europe, the Americas, and the Middle East.2 The K-pop World Festival in December 2011 attracted wannabe K-pop singers from sixteen different countries and confirmed its global appeal to South Koreans (Choe and Russell, 2012). K-pop news generate media headlines. The South Korean government, intent on enhancing its soft power along with its export prowess, has actively promoted K-pop. Many younger South Koreans are eager to embrace the global success of K-pop,



References: Abe, Yasuyuki, K-pop Pa fekuto Book [The Perfect Book on K-pop] ¯ ¯ (Tokyo: I suto Puresu, 2012). Austerlitz, Saul, Money for Nothing (New York: Continuum, 2007). Bougon, François, “Notes D’ambassade en Corée du Sud,” Le Monde (Culture & Idées), June 16, 2002. Cho, Yong-pil, Pusanko e Kaere [Return to Pusan Port] (Tokyo: San¯ shu ¯sha, 1984). Choe, Sang-hun and Mark Russell, “Bringing K-pop to the West,” The New York Times, March 4, 2012 ([http://www.nytimes.com/ 2012/03/05/business/global/using-social-media-to-bring -korean-pop-music-to-the-west.html?pagewanted=1&_r=1]). Cho Wo ˘n, K-Pop (Tokyo: Sho ˘n, ˘l-so ¯gakkan, 2012). __________, Kinjiraretauta [Banned Songs] (Tokyo: Chu ¯Ko ¯o ¯ron Shisha, 2008). Deuchler, Martina, The Confucian Transformation of Korea (Cambridge: Harvard University Asia Center, 1992). Dexter, Dave, Playback (New York: Billboard Publications, 1976). Frith, Simon, Sound Effects (New York: Pantheon, 1981). Hopper, Paul, Understanding Cultural Globalization (Cambridge: Polity, 2007). Kang, Myong-sok, “Me Gahanasenaikanojotachi” [Can’t Take Eyes off These Women], Asiana May (2012). Kikuchi, Kiyomaro, Nihon Ryu ¯ kahenboshi [History of Japanese Popular ¯ko ¯ Songs] (Tokyo: Ronso ¯sha, 2008). Kitahara, Minori, “Nippon Supponpon” [Naked Japan], Shu ¯kan Asahi, June 1, 2012 . Koizumi, Fumio, Kayokyoku no Kozo [The Structure of Popular Songs] ¯ ¯ ¯ What Is the K in K-pop? 363 (Tokyo: To ¯jusha, 1984). Kot, Greg, Ripped (New York: Scribner, 2009). Le Monde M Magazine, “La France Bilingue en Pop Coréenne,” February 3, 2012. Lie, John, Modern Peoplehood (Cambridge: Harvard University Press, 2004). __________, Multiethnic Japan (Cambridge: Harvard University Press, 2001). __________, Han Unbound (Stanford: Stanford University Press, 1998). Nakamura, Ko ¯suke, Seiyo no Oto, Nihon no Mimi [Western Sounds, ¯ Japanese Ears] (Tokyo: Shunju ¯sha, 1987). Onoda, Mamoru, Kankokuentame Nihon Shinkosenryaku [South Korean ¯ Entertainment’s Strategy for Japanese Advances] (Tokyo: Fuso ¯sha, 2011). Paek, Won-dam, Dong-Asea ui Munhwa Seontaek Hallyu [Cultural Choice of East Asia: Hallyu] (Seoul: Pyentaguraem, 2005). Pihl, Marshall, The Korean Singer of Tales (Cambridge: Harvard University Asia Center, 1994). Russell, Mark James, Pop Goes Korea (Berkeley: Stone Bridge Press, 2008). Sakai, Mieko, Naze K-pop Sutawatsugikaratsuginikurunoka [Why Do K¯ pop Stars Keep on Appearing] (Tokyo: Asahi ShinbunShuppan, 2012). __________, K-pop Bakkusteji Episode [K-pop Backstage Episodes] (Tokyo: ¯ Kawade Shobo Shinsha, 2011). ¯ Sato Go Ue o Muitearuko [Let’s Walk Looking Up] (Tokyo: Iwanami, ¯, ¯, ¯ 2011). Takatsuki, Yasushi, Kanokugeinouramonogatari [The Underside of South ¯ ¯, Korean Entertainment Industry] (Tokyo: Bungei Shunju 2011). The Economist, “This Year’s Model,” February 18, 2012. Ugaya, Hiromichi, Karaoke Hishi [The Secret History of Karaoke] (Tokyo: Shincho ¯sha, 2008). __________, J-poppu to Wananika [What Is J-pop?] (Tokyo: Iwanami, 2005). Van Der Merwe, Peter, Origins of the Popular Style (New York: Oxford University Press, 1989).

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