#011 The Hallyu Phenomeon, Economy and Culture, and Korean Identity with Dr. Gyu-tag Lee

Hallyu is not a sudden phenomenon, Dr. Lee says. It’s been an international culture since the 1990s. But from about the 2010s, enjoying Korean popular culture for non-Asians has become a new trend in cyberspace. This means Korean popularity is closely connected to technological changes in the media environment and industry. The two are interdependent. Despite the earlier popularity of Japanese cultural products, the promotion strategies used then were not very effective and there was not a concerted effort at spreading it to the rest of Asia. Locally, Dr. Lee talks of how one of his friends at high school was punished for playing a Japanese song at lunchtime.

Eventually, economic difficulties domestically pushed Korean cultural products outside of the country and seeking new markets. China’s change from communism to capitalism provided a very fortuitous suitable landing pad for many of these products. In Korea, Dr. Lee suggests K-pop is normally considered music for teenagers. There is a social consensus that it is not really appropriate as a genre for people in their 20s. Thus, many people stop listening to it (or perhaps hide their interest) due to cultural conventions. However, international fans are not affected by such attitudes. Conversely, for them, the more knowledge and depth of understanding they show of K-pop, the trendier they are seen. K-pop can also serve as a gateway into other genres. For international fans, K-pop is not mainstream. Instead it speaks to minority and alternative cultures.

For Dr. Lee, K-pop should not just be understood as music: it is related to fashion, fan relationships, videos, and choreography. The fans now believe they are responsible for the artists’ success. Thus they expect the idols and entertainment agencies to listen to their requests and desires. However, that democratic culture of fan-led artists is slowly being consumed by capitalism and the entertainment industry like punk and hip-hop were in the past. Moreover, despite K-pop being apolitical in nature, it’s been used by the Democratic Party in the United States. Musicians and entertainment companies are aware of this politicization and it has become necessary for them to follow the trend and remain loyal to their fans.

Dr. Lee finishes by questioning what will happen to Hallyu going forward if it continues to internationalize. If the only thing remaining is the Korean ethnicity of the performers, then what will this mean for the culture industry and, more importantly, Korean identity in general. Can a balance be found?