The iFans project rolls on with more cover dance! The second section of the exhibit, Dance Like Everybody’s Watching: K-pop Cover Dances, features Girls’ Generation‘s “Into the New World Remix.” Click HERE to view K-pop fans from around the world performing one of the most complicated dance routines by a girl group.
In addition to the case studies, the iFans project documents other mode of fan activity. The first section of the new exhibit, Dance Like Everyone’s Watching: K-pop Cover Dance, is up! Click HERE to view K-pop fans performing some of the most difficult K-pop dance routines.
The 1960s girl group concept makes regular appearances in K-pop. While some think that this kind of image represents a lack of ethnic identity in a quest for mainstream acceptance, I suggest that the 1960s girl group image promoted by women of color represents an ethnic glamour aesthetic.
K-pop girl groups tend to be described as sexy, fierce or cute. Some suggest that images of fierceness encourage girls to be empowered, while images of cuteness take away their agency. However, responses by fans of f(x), a K-pop female group, suggest that fans prefer unique and diverse images of women.
If you keep with research on K-pop, you may be aware of the iFans: Mapping Kpop’s International Fandom project. The surveys that make up the qualitative studies seek to understand how the fandoms differ from one another and their relationship to the groups they support. K-pop fans know that the fandoms are unique. Because they have detailed knowledge of the groups they support, they provide a unique perspective on the appeal of their respective groups. Too often, commentators make assumptions about K-pop fans, while the iFans studies goes to the source: the fans.
Some people think that male K-pop groups are all the same. However, research suggests that fans differ in their attitudes towards individual male K-pop groups. Responses collected from fans of Super Junior and BigBang reveal that they also hold different opinions on their music and group dynamic. Such responses suggest that while some do not distinguish between male K-pop groups, fans do.
Kpop is subject to a lot of criticism. A LOT. The most repeated charge against Kpop is that it is manufactured. But is that really true? Usually when critics level this charge, they make sweeping generalizations about the whole landscape of pop. In doing so, they perpetuate stereotypes about the lack of originality in Asian popular culture.
Yeah, I know all the cool kids are into SNSD and Super Junior and BigBang and SHINee. I like them too. You get to see them doing stuff nearly every day. But it takes commitment to be a Changjo, a fan of Shinhwa, an Orange Princess.
Cassies always keep the faith and all, but try being an Orange Princess. It is no secret that I LOVE Shinhwa. How do I love thee? Let me count the ways: Andy, Eric, Dongwan, Minwoo, Hyesung, Jun Jin:
People, you have been fooled! SM Entertainment has distracted you with multi-year contracts, lawsuits and tales of exploitation, but I know what the REAL conspiracy is.
Are you ready?
SM is CLONING idols!!! YES! I am 84.7 % positive that SM has a team of scientists whose sole job is to clone idols. You haven’t noticed a slew of attractive Korean men who have cheeky cheeks and sing really well? Look!
Exhibit 1: Hye Sung of Shinhwa
Cheeky cheeks? Check! Pouty lips? Check! I suspect that Hye Sung is really the original, from which SM is taking genetic material for other idols. He is quiet and seems fairly sweet, and some have referred to him as a prince. These are things we will encounter with the clones. Oh, and let’s not forget about his singing ability!
So, Nabi has given you a pretty good overview of the book and our general observations of it. Chapter 2 includes Sun Jung’s reading of the masculinity represented by Bae Yong Joon. We here at KPK have pretty strong opinions because most of the time, we are fairly confident in what we’re talking about. This is the reason why I’m not going to talk about Sun Jung’s analysis of Bae Yong Joon. I haven’t seen Winter Sonata, so I can’t tell say anything about her reading of the way “middle-aged Japanese women” (her phrase) read Bae Yong Joon’s masculinity.
But that’s doesn’t mean I don’t have things to say about this chapter, because she talks about more than Bae Yong Joon…..