Chapter

Korean Pop Music in China:

Rowan Pease

in Cultural Studies and Cultural Industries in Northeast Asia

Published by Hong Kong University Press

Published in print May 2009 | ISBN: 9789622099746
Published online September 2011 | e-ISBN: 9789882206793 | DOI: http://dx.doi.org/10.5790/hongkong/9789622099746.003.0010
Korean Pop Music in China:

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Authenticity and nationality are closely linked for fans of South Korean popular culture in China, as well as for the Korean cultural establishment. Bringing gender into the equation, this chapter focuses on the mainly young female fans of Korean boy bands and idols. It was in 2000 that South Korean pop music became fashionable in China, as part of a regional phenomenon commonly dubbed “Korean Wave.” The chapter discusses the role of Korean cultural industries in supporting Korean popular music as part of a broader national promotion, and their complex relationship with agencies in China and the fans who reworked it into “an intensely pleasurable, intensely signifying popular culture” that undermined the intended messages of nationalism and regionalism. The conflicting notions of gender, authenticity, and modernity throw up new questions about alterity within East Asia. The chapter draws on the work of Cho Hae-Joang on Hanliu discourse, and Kōichi Iwabuchi's work on fans' self-reflexivity and transnational consumption.

Keywords: authenticity; popular culture; China; Korean Wave; South Korea; popular music; nationalism; regionalism; gender; Cho Hae-Joang

Chapter.  7039 words. 

Subjects: Society and Culture

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