"The Popularity of Korean Pop in Asia": Asian Institute of Computer Studies-Central Inc. Senior High School Department

Asian Institute of Computer Studies- Central Inc.
Senior High School Department
THE POPULARITY OF KOREAN POP

IN ASIA
Submitted to:
Mr. Mardocheo Esleta
In Partial Fulfillment of the Requirements for
Practical Research.
By
Jeslie Marie P. Dela Rama
Arlene P. Gloria
Christine Angelica S. Catorce
John Ray Renan Limpio
Santa Rosa City, Laguna
PRACTICAL RESEARCH 2
Chapter 1
Introduction
THE POPULARITY OF KOREAN POP IN ASIA
Korean Pop or K-POP is now a word that has spread around the globe. It is an industry
that jumped to a worth of over a billion of dollars in less than a few decades. How is this
possible? Why Korean Pop industry became so popular?
As the Internet improves connectivity throughout the globe every day, it seems the world
holds an endless amount of fresh art, film, and other media. Ingenious approaches to music
videos, what it means to be talented, and pure hard work set K Pop apart from any other genre.
One of the things K-Pop does so well is creative use of costumes and color in music videos.
Another way that K Pop keeps amassing fans is by utilizing strong storytelling in many songs
and music videos. K-Pop is also well known for its unique, extravagant, and eye-popping
personalities. K-Pop stars, or idols as they are usually known in Asia, have a knack for truly
standing out from the crowd and taking self-expression to a new level. Similarly, K-pop stars
bring a whole new meaning to fashion. Their real life outfits and styles often far surpass western
stars in intensity and originality. K-pop idols never shy away from making a splash, and have a
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decidedly unique way of interpreting current trends. Pop music would be nothing without catchy
hooks and sing along lyrics. K-pop is no different, making use of melodies that are instantly
stuck in your head. Choreography is another area where K pop artists completely dominate.
Groups not only sing and dance, they perform routines so complicated and challenging, they
would usually require truly professional dancers. Unlike young western pop stars who often
grow famous in a short period of time, K pop artists are usually groomed and mentored by
managers or agents for years at a time before recording their first song. Additionally, K-pop
artists almost always act as well as sing. While you can certainly find stars who dont act very
well, usually a true K-Pop idol is just as skilled as an actor as they are as a singer and dancer.
The synthesized music, sharp dance routines, and fashionable and colorful outfits.
Attractive young Korean men and women who're fashionable and talented. Skilled young
dancers that other dancers may feel inclined to view them as role models or copy their dance
styles. Music that is catchy and keeps you entertained even if you don't know what they are
saying. The glitz and the glamour of the K-Pop industry bring in a lot of attentions especially
from other Asian People. But how K-Pop industry came to its success?
K-pop as we know it today got its start in the 90s, but it only came to its presently
recognizable form after decades of cultural blending. Western culture, which arrived in earnest in
the 1950s, largely shaped K-pop. Though there had been an American and European presence in
Korea since at least the 1880s, it wasnt until the Korean War that American stars arrived to
perform for troopsand brought the style and flair of American pop culture along for the ride. It
wasnt until the early 90s, when rap and techno entered the scene that contemporary K-pop
really took off. By the end of the decade, the genre dominated the music scene. Today, K-pop is
no longer just a musical genre; its an entire teenage subculture. While Western culture has
occasionally vilified these practices, the South Korean government has become increasingly
supportive of K-pop as a cultural touchstone and a money-making enterprise. By aiding in the
dissemination of these tunes and videos through social media and investing in the training of new
artists, the government is bolstering a major part of its economy. The emerging of idol singing
groups is where the K-POP industry begins to explode. In the late 20th century, idol groups had
been trend in Korea for a few years with groups such as Seo Tae Ji and The Boys, H.O.T, Sechs
Kies, S.E.S, Baby VOX and Shinhwa among others. However, Korean pop industry back then
was not notable outside of Korea. In 1992 the emergence of Seo Taiji & Boys marked a
revolutionary moment in the history of K-pop. The trio debuted on MBC's talent show with their
song "Nan Arayo" ( , I Know) and got the lowest rating from the jury; however, the
song and album of the same name became so successful that it paved the way for other songs of
the same format. The song's success was attributed to its new jack swing-inspired beats and
memorable chorus, as well as innovative lyrics which dealt with the problems of Korean society.
Their footsteps were followed by a wave of successful hip hop and R&B artists like Yoo Seung-
jun, Jinusean, Deux, 1TYMand Drunken Tiger.
The idol trend cooled down for a few years, and the K-Pop industry slowly spreading first
around Asia. With the influence of actors and solo singer such as Rain and BoA. Through their
help the returning of idol trend in the new millennium proved to be a great success. There are
now too many groups floating around and only a handful of them actually succeed. All of these
groups have appeal, most of these groups have spectacular singing and dancing skills. So what
puts some of them on top of all others?
There are two things that comes to my mind. A notable label company and catchy song.
In Korea there are music companies that are judge above all else. They are SM Entertainment
operates as a record label, talent agency, travel agency, film production company, music
production company, event management and concert production firm as well as a music
publishing house. They are the #1 K-Pop Entertainment Company in Korea based on sales as
well as talent. Super Junior, Girls Generation, and EXO have become international sensations.
The company started with boy band H.O.T. as well as a girl band S.E.S. and with their success
the company really never looked back. Once H.O.T. and S.E.S. left the company, the company
bounced right back with solo female singer BoA and five member group TVXQ. Two years later
the company hit it big with Super Junior and even bigger two years later with Girls Generation.
JYP Entertainment operates as a record label, talent agency, music Production Company, event
management, and concert Production Company as well as a music publishing house. They have
offices in outside of Korea, for example they have headquarters in New York and Beijing. In
2009 they launched Wonder Girls who became international sensations. They became so popular
that they were able to book tours with The Jonas Brothers. Their value has been dropping since
they had to shut down their U.S. headquarters and were never really able to repeat the success of
Wonder Girls. They could be dropping below the top 5 by the end of 2017 if things dont pick
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up soon as other hungry K-Pop entertainment companies look to take them down. And YG
Entertainment operates as a record label, talent agency, fashion clothing line, cosmetics firm,
event management and concert production company, music production company, and music
publishing house. As fast as running a business, YG is considered the best in the business. They
are said to have brought Hip Hop to K-Pop when former member of Hip Hop boy band Seo
Taiji Boys, Yang Hyun-Suk founded YG Entertainment. They are created for making some of
the biggest names in K-pop. Big Bang, PSY, and 2NE1 dominate the K-pop scene today. Big
Bang and 2NE1 members have had successful solo careers which YG Entertainment helped
launch. As far as talent produced, SM might have the volume but YG might arguably have the
quality. This is because YG tends to put a lot of time and money into their product. In 2015,
YG Entertainment invested nearly $100 million (USD) in a new industrial complex, which will
house recording studios and performance facilities, as well as a recreational tourism complex.
The complex should be completed by the end of 2018. This should allow YG to compete with
SM when it comes to the volume of talent produced. Sometime referred to as a HOLY
TRINITY. These companies have produce many idol groups, and most of their groups had
succeeded in the industry. The names of these three companies itself is already huge marketing,
and if a group can sing and dance, they will almost be guaranteed a place in the industry. The
second must is repetitive, catchy song. With the majority being idol music, is very repetitive.
Repetitive enough to stick in your mind for the whole week. Repetitive enough for you to dance
its choreography.
With such popularity in their homeland, K-Pop industry needed somewhere to expand to.
The first stop for the industry was in Asia, specifically in Japan a country that has prided itself
on producing and exporting its own fantastical pop cultureKorean entertainment has come to
gobble up massive portions of melodrama and musical market share. Not only do Korean dramas
air frequently on TV, but in the past year Korean pop groups like Girls' Generation and KARA
have shattered sales records and become primetime fixtures on Japanese television programs,
thanks to a mish-mash of Western club-friendly and a sped-up tempo appropriate for an arcade.
This boom in Korean entertainment isn't just about units moved or appearances on talk shows;
Korean media, especially pop music, has exploded in the Land of the Rising Sun because the K-
Pop architects have embraced everything that the Japanese music industry has shunned for years.
If the Korean industry could influence the one of most notable Asian countries, it would naturally
spread to all other parts of the Asian continent. And it did.
Background of the Study

At the turn of the millennium, we have seen the advent of a new milieu in broadcast
media wherein the flow of media texts has become boundless and widely globalized; thus the
emergence of such trends as Latin telenovelas, Chinovelas, and even Thai movies. But what is
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arguably the most phenomenal and impactful of these developments is the boom of K-pop or
Korean pop. K-pop music have been making waves worldwide since the 90s, but did not really
penetrate into the average Filipinos consciousness until the late 2000s. This is a study about K-
pop fan culture in the Philippines. K-pop entered the Philippines in the mid-2000 along with the
proliferation of Korean dramas or Koreanovelasin local television. Although K-pop is only one
component of the Hallyu or Korean wave(which also includes Korean movies and TV
programs), it elicited the greatest amount of interest among the Filipino audience. A momentous
event in the history of K-pop in the Philippines is the Pops in Seoul concert in 2008. Pops in
Seoul is a Korean music program aired in the cable channel Arirang TV. I started to become
interested in K-pop because of this particular program. In July 15, 2008, Pops in Seoul held an
event at the Manila Film Center as part of its 1000 th episode. This was the first ever fan event in
the country that brought different K-pop fans together, and sparked the creation of many
associations and fan clubs. And then came Nobody. Nobody is a song performed by the Wonder
Girls, a group of female K-pop performers. The effect of Nobody was so tremendous that it
became a nationwide phenomenon. What was once a tiny, marginalized group of fan girlsgrew
to several thousand? Since then, K-pop fandom in the Philippines has grown exponentially,
giving birth to countless fan organizations all over the country. K-pop fans are also remarkably
active in textual production. In the Philippines, quite a number of K-pop fan conventions have
been held since 2009. As a matter of fact, the 1st Philippine K-pop Convention, which was held
on December 5, 2009 was described by allK-pop.com to be not only the first K-pop
convention of the Philippines; this convention is the first of its kind, period. The enthusiasm of
Filipino fans has also caught the attention of Korean producers themselves. Since 2008, several
K-pop artists have already been to the Philippines for concerts and promotions. As of writing, the
popular boy group Super Junior, have already held a concert twice at the Araneta Coliseum,
gaining an audience of thousands of fans all over the world. Singer and actor Kim Hyun Joong,
who was the leader of the now defunct boy group SS501, have also gone to the country twice as
of writing. When asked on his second visit what he thinks of his Filipino fans, Kim remarked,
I like going to the Philippines because Filipino fans are so passionate. This is also why my
fellow Korean artists like to go to the Philippines (Kapuso Mo, Jessica Soho interview, aired
August 27, 2011). Filipino K-pop fans have also caught up with the trend of fan production.
Most active fans have their own fansites, where they blog about their favorite artists, post
fanvidsor fanartwhich they themselves created, and interact with fellow fans. Several K-pop
fans actively participate in K-pop performances and competitions, and have become some sort of
celebrities within the fan community themselves. Fan fiction 4 writing, usually done in fandoms
based on fictional texts and characters, is also now applied to K-pop music fandom. The Korean
Wave has struck the Philippines so powerfully that the Embassy of the Republic of Korea in the
Philippines put up the Korean Cultural Center in the Philippines (KCC) in 2009. The KCC
currently holds regular K-pop singing and K-pop dancing classes on weekends, as well as other
classes in the traditional arts (traditional dance, Korean flute, Korean cuisine). In the midst of the
proliferation of local K-pop fandom, the Philippine K-pop Committee, Inc. (PKCI) was founded.
The group, composed of K-pop fans themselves, staged the first ever Philippine K-pop
Convention (K-pop Con) in 2009, as well as many other K-pop events such as the 2nd Philippine
K-pop Con, the Dream Concert, and the Kpop Ball. Both PKCI and KCC usually include K-pop
dancing and singing competitions in their events. Another group, Kfest Manila Events
Management, also organize fan gatherings and competitions such as the annual K-pop and
Culture Fest, Kfest Idol (June 26, 2011), Kfest Cosplay Con (March 27, 2011), and K-pop Song
Fest (November 13, 2010).
Conceptual Framework
The researcher conceptualized that the different variables of the study are related to the
popularity of Korean Pop in Asia. The aforementioned history of Korean pop and the rest
reached a common point in supporting the indicated variables. As mentioned, popularity of
Korean pop spreading commonly in Asia is determined by the demographic profile of supporters.
The kinds of products they buy in order to support their idols and who are the most influenced by
1. Demographic profile of
Korean pop. Data Collection
the respondents in terms
of:
1.1 Age
INPUT PROCESS OUTPUT
1.2 Gender
2. What product did the
Statistical
fans or supporters of K-
Pop commonly buy in Treatment of Data
terms of: Influence of Korean
Pop in Asia
2.1 CDs and DVDs especially in the
2.2 Tickets for concert Philippines
Data Analysis
3. What are the target
market of K-Pop in terms
of: 10
3.1 Teenagers PRACTICAL RESEARCH 2
3.2 Young Adult
Statement of the Problem
The main objective of this study is to show how Korean Pop affects the lives of people
commonly the teenagers in the countries in Asia especially here in the Philippines.
What are their music and movie choice.
Their choice of fashion and attire.
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Their taste of foods.
Adoption of some cultures from Korea.
Scope and Limitation
The coverage of this study is the effects and influences of Korean Pop in Asia especially
here in the Philippines. This study does not tackle any factors of Korean Pop and does not
generalizing the effects of K-Pop in the world or outside of Asia.
Significance of the Study
Fans are the most active and passionate media audiences. Their lives and their culture are
excellent reflections of how media texts are translated into everyday practices of consumers and
how these texts can actually go beyond the realm of mass media and penetrate other dimensions
of culture and politics. But at the same time, it can also be said that fans are the most
misunderstood media audiences. The simplistic and negative depiction of fans in the media, as
mentioned earlier, has overshadowed the complex culture of fandom which, I believe, is a fertile
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ground for audience research. The present 8 study aims to fill this gap in local media scholarship,
and open new windows for future research. Moreover, fandom does not exist in a vacuum; the
social actors involved in fandom are people who are also players within the political and
economic structures of their society. I believe that this is one aspect that has been left out in the
discussion of fan culture in the Philippines; and this is what I think this study can contribute to
the scholarship of broadcasting. I also believe that this study will benefit the fans themselves.
I hope that this will inspire the fans to assert their own power and facility.
Definition of Terms
Attribute. A usually good quality or feature that someone or something has.
Choreography. The art or job of deciding how dancers will move in a performance.
Convention. A large meeting of people who come to a place for usually several days to
talk about their shared work or other interest or to make decisions as a group.
Decade. A ten year period begin with a year ending in zero.
Enthusiasm. Strong excitement about something.
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Episodes. Television show, radio show, etc. that is one part of a series.
Expand. To increase in size, range, or amount.
Fandom. The state or attitude of being a fan.
Genre. A particular type or category of literature or art.
Glamour. A very exciting and attractive quality.
Glitz. A very fancy and attractive quality that is associated with rich or famous people.
Ingenious. Having or showing ingenuity.
Intensity. The quality or state of being intense.
Marketing. The activities that are involved in making people aware of a companys
products, making sure that the products are available to be bought, etc.
Milieu. The physical or social setting in which people live or in which something
happens or develops.
Millennium. A period of 1000 years.
Notable. Unusual and worth noticing.
Passionate. Having showing, or expressing strong emotions or beliefs.
Proliferation. To increase in number or amount quickly.
Publishing. The business of producing books, magazines, etc. to sell to the public.
Routines. A regular way of doing things in a particular order.
Shun. To avoid someone or something.
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Subculture. A group that has beliefs and behaviors that are different from the main
groups within a culture or society.
Unique. A very special or unusual.
Wave. To move something back and forth.
Chapter 2
Review of Related Literature and Studies
The increasing popularity of the Korean TV dramas in the Philippines coupled with the
mass migration of Koreans to country was bound to affect the entertainment industry in the
Philippine TV (Ayala, 2009). Korean dramas have made it to several households since a number
of local media companies in the Philippines bought box sets of Korean drama episodes from the
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producers and then air them into their local TV networks. In fact, top Philippine TV stations
GMA Network and ABS-CBN are leading the way in importing Korean Dramas (Hicap, 2009).
The two major TV network GMA and ABS-CBN have aired Korean dramas through voice over,
done by hiring local voice talents who dub the lines of the actors from the dramas. Some
Koreanovelas that have been aired in the Philippines and that got high ratings on TV network are
Stairway to Heaven, Lovers in Paris, Boys over Flowers, My Girl, Romantic princess, Memories
in Bali, East of Eden, Artificial Beauty, Only You, Queen Seon Deok, Jumong, The Legend, to
name a few.
Beyond kimchi, K-pop and Koreanovelas, Koreans are becoming a ubiquitous presence
in the Philippines with tourist arrivals estimated to reach the one million mark by yearend, up by
30 percent from 2010.
Based on the data gathered by Inquirer Research, the figure would make them the largest
group of foreign citizens to ever have landed on Philippine soil in a single year
In addition, according to Korean Ambassador to Manila Hye Min Lee, Koreans studying
or working in the country now number more than 100,000
This is a sign of the strong and growing people-to-people relations between Korea and
the Philippines which help promote mutual understanding between us, he said at the 2nd
Philippines-Korea Partnership Forum held at the Intercontinental Manila last week.
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More than 740,000 Koreans visited the Philippines in 2010, ranking Korea as the top
tourist arrivals. This year, a million Koreans will be visiting the Philippines, an increase of 30
percent compared to last year, Lee added.
According to him, some 115,000 Koreans are residing in the Philippines, drawn by
practical living in the country, English-speaking locals and a shared history and values.
Local Literature
The Filipino fans not only developed an interest in the Koreanovelas or KPOP music but
also the likeness towards the Korean Fashion. This Korean fashion trend exploded among the
students who love to be hip and chic and In with the new. Even sometimes they may look
weird, as long as they tried to imitate the Korean hair, clothing style and shoes, to them the idea
that they copied the Koreans perfectly is what matters.
Nowadays, Korean hairstyle is very popular in the Philippines (Ayala, 2009). Every
Filipinos cut their hair just to feel them comfortable and confident, and the Korean hairstyle is
now at the top of young Filipino hairstyle choices. Sometimes they risk school by violating the
school policy on proper haircut but this does not matter. Again, what matters is they look like
Koreans.
Indeed, the Korean fashion is now trending in the Philippines and it is a big influence to
the Filipinos who are very obsessed to the fashion because with the fashion, they learn how to
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mix and match dresses with different styles and colors. One factor that may lead to this influence
is not the television but the Korean presence in the country since a big number of them are
studying in the Philippines. In their presence, they have influenced their Filipino classmates and
friends to dress and look like them. Because of this, some Filipinos have lost their originality for
trying to imitate everything from the Korean culture.
Apparently, Filipinos have been disgusted by their own brand of fashion. The flashy and
overly stylish Korean fashion has now affected not only the look but the way of life of the
Filipinos.
According to Hicap (2010), the reason of the rising popularity of K-pop in the Philippines
involves attractive young stars and their unique moves in dancing accompanied with how they
dress up which Filipino Youths find it as a complete package. Most popular Korean celebrities
are belong in a bands or groups which are todays most known. One of them is the female group
2NE1 whos having a member that became famous in the Philippines before she reached her
fame in Korea. Her name is Sandara Park which also introduced Korean culture to the Filipinos
(Hicap, 2010).
The popularity of Korean culture really contributed a lot in the country of South Korea
regarding on the rising of their economy because of TV dramas, films and music that attract
tourists that becomes just like a domino effect. These tourists bring billions of dollars into the
country. Korea is now enjoying double boom in economic and cultural fields (Anjaiah, 2011).
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Malm (1977) claimed we Filipinos had a history of colonization that we influenced some
attitudes which we inherit to our colonizers and also to our experienced during the time of
colonization. This experience of Filipinos is related to the issue of choice that Filipino Youth is
experiencing with interest and very fascinated towards popular Korean culture. Most Asian
countries have been distant from their closest neighbors in terms of cultural understanding and
exchanges, and instead having this tendency of connection more closely to the former colonial
empires or advanced Western countries than with neighbors sharing borders. In this case,
because of the boom of Hallyu throughout the world, the local government of Gyeonggi planned
to have an entertainment hub which to be known as HallyuWood. The impact of the Korean
wave has not only permeated popular culture but is also a measure of positive lifestyle for many
Filipino Youths (Kim and Ryoo, 2007).
Most Filipinos make Korean culture as an inspiration to their work in doing movies,
music, work of art, etc. Recently, Filipino movies have already influenced by Korean culture
such as the Filipino movie Kimmy Dora which is a huge box office success followed by a
sequel shot in South Korea as a Korean-inspired shot. Martinez, the writer of Kimmy Dora
illustrates that "Filipinos like Korean films because they are fresher, less formulated and with a
degree of violence and eroticism that appeals to the local audience, who are just being
bombarded by teenybopper and romantic comedies in their local cinemas (Santamaria, 2012).
The Korean wave, has been popular since late 1990s from China, to East Asia including
Taiwan and Japan. The regional distribution of Korean cultural products was begun with trendy
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dramas, then, extended to popular songs, movies, with the growth of Korean media markets
bringing the wave to the Philippines sea shores
According to the Korean Ministry of Culture and Tourism, Korean dramas in the
Philippines, famously known as dramas and movies are also started appearing such as in the
series Koreana, the movies Kimmy Dora and Born to Love You with Korean characters or
Korea-inspired story. After Sandara Park got famous, other Kyoph o or Koreans abroad who
managed to get their way into the spotlight were able to capture the audience such as Sam Oh,
Grace Lee, Ryan Bang and Jinri Park.
Foreign Literature
This special issue responds to the well-established and global subculture of fans of
Korean popular music (K-pop) and Korean television drama (K-drama). K-pop and K-drama are
the products of Hallyu, a cultural movement from Korea directed towards the global stage that
originated in the late 1990s. Recent global successes of Korean artists such as Psy, Girls
Generation, 2NE1 and BigBang as well as K-drama actors such as Lee Min Ho and Jang Geun
Suk represent only a portion of the vibrant and diverse fandom. This special issue seeks to
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examine the uniqueness of K-pop and K-drama fandoms and their contribution to global fandom
scholarship.
K-pop and K-drama represent hybridized modes of cultural production aimed at global
audiences that emerged from Korea in the 1990s. Initially, K-pop fandoms were centered in
Korea and locales in East Asia. As a result of technological advances in digital music and social
media such as Twitter and YouTube, the fandom has grown to more international locations.
Similarly, K-drama saw popularity in Korea and East Asia, and increased international access
through online streaming sites and satellite options contributed to the rise of more global K-
drama fandoms, with some variants. Unlike the U.S. television drama production, K-drama fans
participate in the creation of the show through feedback to the drama series up to the point that
the writers have to change their story lines. This is a very unique strength of K-drama in that
this practice allows continuous communication between producers and audiences.
Overwhelmingly female, the fandoms for both K-drama and K-pop are poised to provide
gendered renditions of cultural production and consumption. The possible polysemy embedded
in Hallyu cultural products may produce a dynamically interesting consumption according to a
different specificity and locality.
The spread of K-pop and K-drama fandoms has spurred scholarship on the subject.
While K-pop and its fandom represent one of the most visible aspects of Hallyu, they receive the
least critical attention from academia. Two groundbreaking collections, East Asian Popular
Culture: Analyzing the Korean Wave (2008), and Hallyu: Influence of Korean Popular Culture in
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Asia and beyond (2011) do not feature any submissions on K-pop. Studies of K-drama fandom
are more plentiful, but tend to focus on the attitudes of fans in East Asia. Moreover, the
theoretical approaches to the fandoms tend to revolve around notions of hybridity and
globalization that de-emphasize the multiple cultures in play. For example, the coverage of fans
in Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols
(2010) is largely limited to the cases in Southeast Asia.
In response to this void, this special issue solicits innovative examinations of all aspects of K-
pop and K-drama fandoms. Papers on the topic could relate to specific ideas given below but are
not restricted to:
New critical and theoretical approaches to the study of K-pop and K-drama fandoms or
reimagined critical interventions associated with theories of hybridity, cultural proximity and
globalization.
-Comparative approaches to the global spread of K-pop and K-drama fandoms, especially
comparisons between fandoms based in East Asia and other parts of the world, such as the
Middle East, Europe, Latin America and the United States.
-Interplay between fans and artists/actors.
-Fan activities and cultural production, including fan art, blogs, mashup videos, cover dance
groups.
-Fan discourse and commentary, such as comments on social media and forums.
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-Economic impact of fan activity, including impact on sales of music and merchandise as well as
advertising revenue.
-Fan philanthropy.
-Fan backlash, including the formation of anti-fan clubs, anti-fan movements, negative/erroneous
portrayal of fans.
-Analysis of the demographic of K-pop and K-drama fandom, particularly with attention to age,
nationality and race/ethnicity.
-In-depth examination of specific fandoms as well as fandoms in specific countries.
Local Studies
We as a Filipino teens we already heard about K-pop, like for example K-pop group, K-
pop music, K-pop style and so on but do we know what is the meaning of this k-pop term? K-
pop means Korean popular music this is somewhat like the other countrys pop music. The very
famous group here in the Philippines which is 1D or One Direction is a boy band and actually an
example of a British pop group their pop music are famous as well. Today, in our generation
pop music, K-pop likely use lot of very fast beats that makes us dance with the beat of the
song. The 2010 K-pop music which entitled no Body became famous at that time, this song is
popularized by the K-pop group wonder girls. When you hear this kind of sound you cant stop
but to dance with it, the dance step is very easy to remember thats why Filipino became an
addict fan of this k-pop music and videos.

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The K-pop fandom among Filipino teens become widespread and even the other country
are obsessed with it. There are emotions invested in the part of life of the fan such as adoration,
Idolization and other extreme feelings of fondness, a simple of a media text may result to a
regular consumption. Another example of K-pop music that Im sure until now this are still on
your list, the Oppa Gangnam Style this K-pop music is popularized by Psy a Korean pop star,
this song became famous last year and it is sang in every occasions like for example parties,
gatherings, and so on. Because of this K-pop fandom, Filipino fans in the country flamed by
activities of an clubs and organizations, like the very famous social networking sites which is
Facebook, in this sites Filipino fans especially the Filipino teens are very fun of making and
posting some photos and stolen shots of their favorite K-pop group for them to see the faces of
their K-pop Idol. All you need is to like and comment about this posted photo or page and
express your feelings about the K-pop group that you like, some K-pop fans downloaded the
music and videos or their bias k-pop group, and of course in twitter many k-pop fans talk about it
and even after the drama series are end they still talk about it.
Here are some famous K-pop group; Girls Generation, shinee, EXO, U kiss, Beast and
SUJU. Some K-pop fans for them to express their admiration about their K-pop idol they watch
it in YouTube they use some of their allowances for this things, some also like and comments
about the music and videos that some fans make a fan made videos about their k-pop idol. I think
most k-pop group got famous or became famous because of their beautiful and handsome faces
and second their music and videos. Everywhere I go I hear people playing those K-pop hits with
their cellphones, MP4, PSP etc. I dont know why they love it even though they dont really
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know the content or the songs theyre playing. Well maybe, its because of the groove and the
beat of the songs have, but still, singing something that you dont quite odd. And yet, the people
love it. No matter what the language is as long as it has The beat theyre been looking for. The
beats or their music songs attracts Filipino teens that enables them to choose and get addicted to
it. We can observe that nowadays, Filipino teens are imitating some of their k-pop groups how
they look like, moves, style and so on, it is because of their admiration about them. To tell you
the truth, theres nothing wrong with admiration k-pops and pop etc. but too much admiration
leads to imitation., and I just want to warn you though that admirations is not the proper excused
to be a photocopy of the celebrities whom you idolize because of originality is still the best you
have to be you, you dont have to mimic those k-pops to be noticed. I was amazed at first when i
heard the single album of xlr8 "You're so Hot",Because I thought it was a Korean group who
sang that single but when the Filipino twang lines was sung my mouth hanged open, and when at
last I saw the video a couldn't believe that these dudes here are Filipinos because they look like
more of a Korean boy band to me.
Foreign Studies
The Korean wave refers to the significantly increased popularity of South Korean culture
around the world; it is also referred to as hallyu, in the Korean language. The term was coined in
China in mid-1999 by Beijing journalists surprised by the fast growing popularity of Korean
entertainment and culture in China (Kim, 2007, p. 15). Broadly speaking, it can be said that the
25
popularity of Korean pop music and television soap operas in China and Taiwan sparked the
Korean wave abroad. The outbreak of hallyu can be traced back to 1997, when the Korean TV
drama, What Is Love All About, broadcast on state-run Chinese television, CCTV, set the stage
for hallyu in China, following an MBC-TV drama, Jealous, which was imported as the first
popular cultural product from South Korea in 1993 (Kim, 2007, p. 15). Since then, the boom of
Korean popular culture in the neighboring Asian countries has remarkably increased and
significantly penetrated them over the past several years, and in the years 2000 through 2002,
according to one source, the Korean wave moved forward to diverse parts of Asia, including
Southeast and Central Asia, and therefore this wave reached an active penetration stage
(Hyejung, 2007, p. 6).
Interestingly, though every country in Asia had a common reaction toward the Korean
wave at first, each had a slightly different outlook. This is because each country has a
different ethos, and based on this, its audience decodes and responds to cultural products in
different ways (Kim, 2007, p. 24). For example, in Taiwan, Daejangguem had the best
reception of any Korean drama, whereas in Japan, Korea Herald was most popular (Kim, 2007,
p. 24). The trend soon spread out from the mainland to Taiwan, Hong Kong, affecting ethnic
Chinese in other Asian countries and eventually Japan, leading all these Asian peoples to be
fascinated by not only Korean music and drama, but also its films, food and fashion.
Accordingly, Korean cultural products have become a catalyst for curiosity about Korean
culture and Korea itself. Korean dramas in particular have served as an important bridge for the
different countries to encounter Korean culture.

26
The appeal of Korean pop culture to Asians is especially meaningful for the Korean government
since the countrys national image has not always been positive in neighboring countries
(Doobo, 2006, p. 6). Many Asian countries have been distant from their closest neighbors in
terms of cultural understanding and exchanges, and instead have had a tendency to link more
closely to the former colonial empires or advanced Western countries than with neighbors
sharing borders (Ryoo, 2007, p. 144).
The impact of the Korean wave has not only permeated popular culture but is also a
measure of positive lifestyle for many Asian people (Ryoo, 2008, p. 144). Many Asians did not
know much about South Korea or knew only a few simple, often stereotypical things about
South Korea. Images associated with South Korea were negative and related to events such as
the Korean War, cycles of poverty and political instability (Lee, 2007, p. 29). These negative
images have diminished dramatically due to trendy entertainers, new technology, and the image
of contemporary South Korean lives through dramas and movies.
Rhoo wrote, Regional cultural affinities also help explain this phenomenon in the sense that the
success of the Korean wave is closely related to the ability of South Korean culture and media to
translate Western or American culture to fit Asian taste (2007, p. 45). Western popular
cultural artifacts will not likely succeed because of a certain non-negotiable cultural
heterogeneity, Rhoo predicted (2007, p. 45). South Korean popular culture is much more
readily relatable and accepted to Asian audiences. The cultural affinity between South Korea
and neighboring countries in the region may thus function as an effective bridge or buffer
between the West and Asia (Ryoo, 2007, p. 145). South Korean television shows and movies
27
portray themes that Asian audiences can relate to more easily than those of Western
entertainment because Korean dramas typically deal with family issues, love and filial piety in
an age of changing technology, and often reinforces traditional values of Confucianism (Ryoo,
2007, p. 140).
Observers generally agree that the most likely explanations for the popularity of South
Korean shows, singers, and movies throughout Asia include South Koreas high income levels,
the close cultural proximity and affinity they share with neighboring Asian countries (Ryoo,
2007, p. 140). As a result of these and other economic developments, South Korea is now the
twelfth largest economy in the world, and its entertainment companies are able to finance shows
and movies with production values much higher than in most of Asia (Ryoo, 2007, p. 140).
As seen above, the Korean wave has had a marked impact in various ways regarding transaction
with other countries. Local sentiment towards Korea has not been respectable in the past, but the
Korean wave has fundamentally changed the national image of Korea in a positive way. The
Korean wave ultimately improved Koreas image in foreign countries, which in turn created a
ripple effect that has extended much farther than just the Korean economy or peninsula.
Such a fast change in the economic and cultural status of Korea raises important
questions regarding the Korean wave and how it is covered in the media. This paper will
examine this Korean experience as a primary case in which various political, cultural, economic,
and historical factors are at play in shaping the perception of a nation.
28
Chapter 3
Methodology
The four purposes of this chapter are to (1) describe the research methodology of
this study, (2) explain the sample selection, (3) describe the procedures used in designing the
instrument and collecting the data, and (4) provide an explanation of the statistical procedures
used to analyze the data.
Research Design
Burn & Grove (2009) define a research design as a blueprint for conducting a study
with maximum control over factors that may interfere with the validity of the findings. Parahoo
(2006) describes a research design as a plan that describes how, when and where data are to be
collected and analyzed.
This study focuses on the popularity and influences of Korean pop in several countries
that it has reached. For the purpose of this study, descriptive research method was used. To
define the descriptive type of research, Creswell (2004) stated that the descriptive method of
29
research is to gather information about the present existing condition. The emphasis is on
describing rather than on judging or interpreting. The aim of descriptive research is to verify
formulated hypotheses that refer to the present situation in order to elucidate it. Moreover, this
method allows a flexible approach, thus, when important new issues and questions arise during
the duration of the study, further investigation may be conducted.
30
Respondents of the Study
Unprofessional
RESPONDENTS ACCORDING TO AGE

Age No. of Respondents Percentage
16 3 4.23%
17 26 37.14%
18 33 47.14%
19 6 8.57%
20 1 1.43%
22 1 1.43%
TOTAL: 70 100%
RESPONDENTS ACCORDING TO GENDER

Gender No. of Respondents Percentage
Male 39 55.71%
Female 31 44.29%
TOTAL: 70 100%
QUESTION #1
Answer No. of Respondents Percentage
YES 51 72.86%
NO 19 27.14%
31
TOTAL: 70 100%
QUESTION #2
YES 30 42.86%
NO 40 57.14%
TOTAL: 70 100%
QUESTION #3
YES 41 58.57%
NO 29 41.43%
TOTAL: 70 100%
QUESTION #4
YES 25 35.71%
NO 45 64.29%
TOTAL: 70 100%
QUESTION #5
YES 25 35.71%
NO 45 64.29%
TOTAL: 70 100%
32
QUESTION #6
YES 28 40%
NO 42 60%
TOTAL: 70 100%
QUESTION #7
YES 49 70%
NO 21 30%
TOTAL: 70 100%
QUESTION #8
YES 48 68.57%
NO 22 31.43%
TOTAL: 70 100%
QUESTION #9
YES 26 37.14%
NO 44 62.86%
TOTAL: 70 100%
33
QUESTION #10
YES 50 71.43%
NO 20 28.57%
TOTAL: 70 100%
Professional
RESPONDENTS ACCORDING TO AGE

Age No. of Respondents Percentage
17 5 16.67%
34
18 6 20%
19 3 10%
20 6 20%
21 4 13.33%
23 6 20%
TOTAL: 30 100%
RESPONDENTS ACCORDING TO GENDER

Gender No. of Respondents Percentage
Male 9 30%
Female 21 70%
TOTAL: 30 100%
QUESTION #1
YES 11 36.67%
NO 19 63.33%
TOTAL: 30 100%
QUESTION #2
YES 9 30%
NO 21 70%
35
TOTAL: 30 100%
QUESTION #3
YES 7 23.33%
NO 23 76.67%
TOTAL: 30 100%
QUESTION #4
YES 3 10%
NO 27 90%
TOTAL: 30 100%
QUESTION #5
YES 4 13.33%
NO 26 86.67%
TOTAL: 30 100%
QUESTION #6
YES 5 16.67%
NO 25 83.33%
TOTAL: 30 100%
36
QUESTION #7
YES 0 0%
NO 30 100%
TOTAL: 30 100%
QUESTION #8
YES 24 80%
NO 6 20%
TOTAL: 30 100%
QUESTION #9
YES 19 63.33%
NO 11 36.67%
TOTAL: 30 100%
QUESTION #10
YES 13 43.33%
NO 17 56.56%
TOTAL: 30 100%
37
Research Instruments
The researchers used Survey Questionnaire, specifically the close-ended questionnaire as
instrument of this study. It is prepared based on the statement of the problem and also through
the aid of primary and secondary data. The proponents consulted knowledgeable persons for the
validity of the questionnaire. Survey was conducted in 100 correspondents. After the survey, the
questionnaire was finalized based on the corrections and suggestions to arrive in its absolute
form.
Data Gathering Procedures

38
The researchers prepared the questionnaire based on the problem statement and through
the aid of reference materials including primary and secondary data from articles, books and
other brochures related to Korean Pop.
In order to gather pertinent data and information using a survey questionnaire, the data
gathering procedure started by searching important details and important information from
different websites in the internet.
References
http://www.neontommy.com/news/2014/11/korean-pop-culture-has-international-influence
http://aargueta.weebly.com/literature-review.html
https://www.google.com.ph/amp/s/fanstudies.org/2013/08/09/cfp-k-pop-and-k-drama-fandoms-
journal-of-fandom-studies-special-issue/amp/
http://mysimplyprincess.blogspot.com/2013/06/korea-influencing-philippines-beyond.html
http://koreasinvasion.blogspot.com/
http://batangpinoyrorl.blogspot.com/
39
http://www.ijssh.org/vol6/740-SH013.pdf
http://kharimahdimatanday.blogspot.com/2013/03/k-pop-understand-filipino-teens.html
https://en.wikipedia.org/wiki/K-pop
http://www.rappler.com/entertainment/12681-hallyu-growing-in-ph
http://www.asianentrepreneur.org/spread-k-pop-industry/
http://www.newyorker.com/magazine/2015/10/19/sorry-not-sorry
http://www.wheninmanila.com/k-styled-distinguishing-korean-fashion-and-koreas-2014-trends/
http://filebookph.blogspot.com/2012/08/the-kpop-invasion-why-filipinos-are.html
http://journal.transformativeworks.org/index.php/twc/article/view/289/219
http://iskwiki.upd.edu.ph/images/d/d5/Alanzalon,_Sarah_Kristine_Masiglat_04-
11_Kpopped!.pdf
https://storify.com/ishabonus/k-pop-invasion-the-rise-of-korean-popular-culture
http://newsinfo.inquirer.net/109439/filipinos-attracted-to-korean-culture-k-pop-koreanovelas
http://apjjf.org/2016/07/Ainslie.html
http://www.neontommy.com/news/2014/11/korean-pop-culture-has-international-influence
http://aargueta.weebly.com/literature-review.html
40
https://www.google.com.ph/amp/s/fanstudies.org/2013/08/09/cfp-k-pop-and-k-drama-fandoms-
journal-of-fandom-studies-special-issue/amp/
http://koreasinvasion.blogspot.com/
http://batangpinoyrorl.blogspot.com/
http://www.ijssh.org/vol6/740-SH013.pdf
http://kharimahdimatanday.blogspot.com/2013/03/k-pop-understand-filipino-teens.html
https://en.wikipedia.org/wiki/K-pop
41

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Asian Institute of Computer Studies- Central Inc.

Senior High School Department

THE POPULARITY OF KOREAN POP

Mr. Mardocheo Esleta

Senior High School Department

In Partial Fulfillment of the Requirements for

Jeslie Marie P. Dela Rama

Christine Angelica S. Catorce

John Ray Renan Limpio

Santa Rosa City, Laguna

THE POPULARITY OF KOREAN POP IN ASIA

possible? Why Korean Pop industry became so popular?

supportive of K-pop as a cultural touchstone and a money-making enterprise. By aiding in the

jun, Jinusean, Deux, 1TYMand Drunken Tiger.

puts some of them on top of all others?

SM when it comes to the volume of talent produced. Sometime referred to as a HOLY

spread to all other parts of the Asian continent. And it did.

Background of the Study

Fest (November 13, 2010).

reached a common point in supporting the indicated variables. As mentioned, popularity of

Statement of the Problem

What are their music and movie choice.

Their choice of fashion and attire.

Adoption of some cultures from Korea.

Scope and Limitation

generalizing the effects of K-Pop in the world or outside of Asia.

Significance of the Study

Attribute. A usually good quality or feature that someone or something has.

Decade. A ten year period begin with a year ending in zero.

Enthusiasm. Strong excitement about something.

Expand. To increase in size, range, or amount.

Fandom. The state or attitude of being a fan.

Genre. A particular type or category of literature or art.

Glamour. A very exciting and attractive quality.

Ingenious. Having or showing ingenuity.

Intensity. The quality or state of being intense.

Millennium. A period of 1000 years.

Notable. Unusual and worth noticing.

Passionate. Having showing, or expressing strong emotions or beliefs.

Proliferation. To increase in number or amount quickly.

Routines. A regular way of doing things in a particular order.

Shun. To avoid someone or something.

groups within a culture or society.

Unique. A very special or unusual.

Wave. To move something back and forth.

30 percent from 2010.

or working in the country now number more than 100,000

Philippines-Korea Partnership Forum held at the Intercontinental Manila last week.

percent compared to last year, Lee added.

that they copied the Koreans perfectly is what matters.

trying to imitate everything from the Korean culture.

Filipino Youths (Kim and Ryoo, 2007).

bringing the wave to the Philippines sea shores

Grace Lee, Ryan Bang and Jinri Park.

this practice allows continuous communication between producers and audiences.

in Hallyu cultural products may produce a dynamically interesting consumption according to a

different specificity and locality.

(2010) is largely limited to the cases in Southeast Asia.

not restricted to:

Middle East, Europe, Latin America and the United States.

-Interplay between fans and artists/actors.

nationality and race/ethnicity.

-In-depth examination of specific fandoms as well as fandoms in specific countries.