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The global music industry has typically been theorized as a recording industry which embraces and controls the creativity of artists while simultaneously seeking to influence the tastes of consumers in order to generate profits. This article critiques conventional accounts by exploring modes of exchange within the Korean music industry. It discusses censorship, control, and policing as the industry emerged in the early 20th century, how it reacted to changing government and media pressures in post-liberation Korea and, with the coming of satellite and cable television, how visual imaging became as important as audio soundtracks. The article shows how the recent rise of transregional entertainment companies has allowed the Korean music industry to leap-frog international “majors,” so that in today’s neo-liberal environment, the music industry’s profits accrue from everything except direct sales of its primary products ? recordings.

본 연구의 목적은 한국의 K-Pop과 일본의 J-Ani를 평가한 중국소비자가 해당 국가의 방문의도에 어떠한 영향을 미치는지를 검증하고자 하였으며, 동아시아의 문화적 측면에서 교차효과가 있는지를 알아보는 것이다. 실증분석을 위하여 한국, 일본의 K-Pop과 J-Ani에 대한 문화콘텐츠를 대상으로 중국 소비자를 대상으로 설문지를 배포 및 수집하였으며, AMOS를 이용해 검정하였다. 이러한 중국소비자를 대상으로 본 연구의 연구가설 분석결과는 다음과 같다. 첫째, 소비시스템접근 측면에서 교차(crossover) 효과는 나타나지 않는 것으로 확인하였다. 둘째, 중국소비자가 인식하는 K-Pop과 J-Ani의 상관관계는 강한 양의 상관관계가 있음을 확인하였다. 셋째, 한국의 K-Pop과 일본의 J-Ani의 문화제품에 대한 평가가 문화제품 만족을 거쳐 방문의도에 영향을 미치는 것으로 나타났다. 그러므로 한국과 일본은 중국소비자 또는 국제소비자를 대상으로 K-Pop과 J-Ani의 문화제품의 질을 극대화하여 한국과 일본의 방문할 수 있도록 노력해야 할 것이다.

This study suggests the direction of policy making which contributes the visiting intention improvement of satisfaction by evaluation of cultural product between K-Pop and J-Ani. This study of research model are typically estimated within the framework of AMOS and related methods such as EQS and LISREL. The results show that statistically positive relationship among a evaluation of cultural product, a satisfaction and the visiting intention. This study reveals that Korea and Japan need to investigate the improvement of the K-Pop and J-ani. Finally, Korea and Japan should strive attract foreigner.

K-Pop hat auf der ganzen Welt unzahlige Fans gefunden und obwohl Musik schon immer ein fester Bestandteil des Fremdsprachenunterrichts war, war K-Pop als Lehrmaterial in der DaF-Szene bis heute kaum im Einsatz. Dieser Beitrag widmet sich einem Didaktisierungsvorschlag, Lernende koreanische Pop-Songs ins Deutsche ubersetzen und dabei verschiedene Ubersetzungsstrategien und ?kriterien bezuglich Musik-Ubersetzung anwenden zu lassen. Durch die Einfuhrung dieses Ubersetzungsprojekts in Kursen wie Deutsche Linguistik oder Deutsche Syntax, die auf die Ubermittlung von Theorien fokussiert sind, sind Lernende in der Lage, Theorie und Praxis zu verbinden und aktiv am Lernprozess teilzunehmen. Die von den Lernenden selbst ausgewahlten koreanischen Songtexte sollen zur Teilnahme am Unterricht anregen. Anhand des Projekts sollen nicht nur die ubersetzerischen Fahigkeiten auf der Sprachebene gefordert werden, sondern Lernende sollten auch auf textspezifisches Ubersetzen aufmerksam gemacht werden.

The purpose of this study was to examine the effect of K-POP cover dance on violence related psychological factors, blood hormones, and neurotransmitters in adolescents. Participants in this study were 30 males and females taken blood sample and surveyed. All participants were performed K-POP cover dance (50~75%MHR, 80 min/day, 3days/week) during 8 weeks. School stress, assumed stress, interpersonal stress, ego stress were composed the stress factors. Body and verbal aggression, propriety, anger were composed aggression factors. School stress, assumed stress, interpersonal stress, ego stress were decreased significantly on K-POP cover dance. Also, body and verbal aggression, propriety, doubt, anger were decreased significantly on K-POP cover dance. Cortisol, melatonin, beta-endorphin, serotonin, dopamin were composed violence related blood factors. Cortisol were decreased significantly, but melatonin and dopamin were no significantly on K-POP cover dance. It is concluded that K-POP cover dance caused positive effects on violence and stress, stress related blood hormones.

This study aimed to explore the fashion design and style features, and differences in BLACKPINK, TWICE, and Red Velvet girl groups. A total of 469 fashion photos (132 BLACKPINK, 217 TWICE, 120 Red Velvet) focusing on 23 title songs (7 BLACKPINK, 9 TWICE, 7 Red Velvet) were collected. Photo classification work was carried out in accordance with the design analysis criteria and the results were derived by combining statistical analysis and content analysis. BLACKPINK's fashion design characteristics showed a lot of complex colors, shade tone, pure tone, contrast color coordination, stylistic pattern, slit, patchwork, checklist method, sexy and avant-garde images. TWICE's fashion design characteristics included warm color, complex color, tint tone, monotone, contrast color coordination, tone-on-tone, geometric & stylistic patterns, cotton, silk, a combination of the same material, frill, beads, ribbon decoration, blouse, skirt, and many romantic and ethnic images. Red Velvet's fashion design characteristics were a cold color, moderate tone, monotone, cotton, velvet, geometric pattern, zipper, sequins, T-shirt, pants, tie, belt, and many retro and active images. The fashion styles of BLACKPINK, TWICE, and Red Velvet were as follows. BLACKPINK was divided into sexy avant-garde, sexy active, sexy romantic styles. TWICE was divided into romantic active, romantic classical, and romantic ethnic styles. Red Velvet was divided into retro active, retro sexy, and retro avant-garde styles.

Objective: The purpose of this study was to provide data on gait characteristics of K-pop professional dancers. Method: Participants were divided into four groups: male dancers (n=10, age: $28.2{\pm}3.4years$, height: $175{\pm}6cm$, weight: $68.9{\pm}5.6kg$), female dancers (n=10, age: $26.7{\pm}3.1years$, height: $162{\pm}4cm$, weight: $52.1{\pm}3.7kg$), non-dancer males (n=10, age: $25.2{\pm}2.6years$, height: $171{\pm}6cm$, weight: $66.4{\pm}5.3kg$), or non-dancer females (n=10, age: $26.2{\pm}3.0years$, height: $161{\pm}5cm$, weight: $56.4{\pm}6.7kg$). Twelve infrared cameras (Qualisys, Oqus 500, Sweden, 150 Hz.) were used to capture three-dimensional motion data. Gait motion data of professional dancers and ordinary persons were obtained. Results: K-pop dancers' dynamic stability during the female toe off event and the male heel contact event was better compared with that of ordinary persons in the front-rear direction. In addition, the results showed a significant difference in the margin of stability (MoS). However, the medial-lateral direction of both female and male dancers during heel contact and the toe off event was more stable compared with ordinary person, who exhibited an increased MoS than did the dancers. Conclusion: This study aimed to investigate the gait characteristics of K-pop professional dancers in comparison with ordinary persons using gait parameters and MoS. The stability of K-pop professional dancers' dynamic gait in the front-rear direction was better than that in the medial-lateral direction. Therefore, further studies in which the dance movements of K-pop dancers are sub-divided and analyzed will be necessary to reduce related injury.

This study examines the impact of metaverse-based brand experiences on brand loyalty and consumer behavior among K-POP fans. The metaverse is not just a digital space but an interactive and immersive environment where consumers engage with brands in novel ways. The K-POP industry has actively leveraged virtual environments to enhance fan engagement and deepen brand interactions. The purpose of this study is to analyze how K-POP fans' brand experiences in the metaverse influence their emotional responses, revisit intentions, and brand loyalty. To achieve this, the study employs sentiment analysis and content analysis, systematically assessing consumer feedback collected from AI-generated metaverse environments that simulate brand interactions. Sentiment analysis categorizes responses into positive, neutral, and negative sentiments, while content analysis identifies dominant themes shaping consumer-brand interactions. The results reveal that metaverse-based brand experiences generate predominantly positive emotional responses, reinforcing brand loyalty. Fans perceive these experiences as immersive and enjoyable, contributing to increased recommendation intentions and revisit behaviors. Emotional engagement, social interaction, and content immersiveness emerge as key drivers of consumer behavior in the metaverse. These findings suggest that brands should develop interactive, socially engaging metaverse experiences to enhance consumer loyalty. As virtual environments increasingly influence brand perception, companies should incorporate AI-driven brand interactions and gamified brand experiences to optimize engagement. This study contributes to academic and industry discussions by providing empirical insights into metaverse branding. Future research should explore how these brand experiences affect consumer behavior across different industries and demographics, further assessing their long-term impact on purchasing behavior and sustained brand loyalty.

A now dominant frame with which to view K-Pop is ‘cultural hybridity’. Its explanatory appeal is clear. By describing K-pop’s heavy borrowing of American hip-hop, rap and EDM in terms such as glocalization, cultural reconfiguration and third space transnationalism, it is relieved of the anxiety of provenance. Hybridity theory recontextualizes the ‘local’ into a migratory landscape in which it does not seem to matter whether something is culturally authentic or not since everything is influenced by something else, and borrowing has been a tradition as long as there has been human history. Yet almost as many have called out the hybridity of Western ‘form’ and Korean ‘content’ as a euphemism for cultural hegemony of Western pop. On this view, Korean features in K-pop are but a veneer of local packaging, devoid of any meaningful cultural substance. This paper attempt to move beyond this binary and puts forth an alternative case by situating the language of K-pop in Korean cultural history, tracing back K-pop’s interlingual conviviality back to sixth century hyangga songs.

Korean pop has been growing in presence in the global entertainment sector, serving as a distinc- tive element of Korean culture and its soft power. Bearing this in mind, this study analyzes the inter- connections between the credibility of K-pop idols and foreigners’ attitudes, desires, and purchase intentions toward Korean food. This study develops foreigners’ behavior to enhance our understanding of the effect of foreigners’ purchase intentions toward K-food, by utilizing the source credibility model. We obtain these causal relationships by analyzing the effect that the credibility of K-pop idols has on K-food purchase intentions. The data comprising 249 questionnaires were obtained through an online survey company target- ing Americans who are interested in K-pop idols. The results show that the credibility of K-pop idols was found to have a positive effect on Americans’ attitudes toward K-food, attitudes were found to have a pos- itive impact on their desire for K-food, and ultimately their desires had a positive effect on K-food purchase intentions. However, the attitude of Americans did not directly affect the intention of purchasing K-food. Based on these findings, various academic and practical implications were derived regarding the globalization and sustainable growth of K-food.

From the highest points of Psy’s and BTS’s popularity, K-pop fans worldwide have continued to experience the Korean Wave through different media, contexts, and perspectives. In search of the intersections between the Hallyu phenomenon and femininity, this article investigates K-pop women singers’ media presentations and performances that are critical in understanding women’s positionality in contemporary South Korea. In this paper, we will focus particularly on the recent configuration of ssenunni (strong sister) that evokes a feeling of empowerment in young women K-pop fans. Examining how the diverse and often contradictory messages of women’s liberation and freedom have been produced, disseminated, and consumed, using the strong femininity implied by the notion of ssen-unni before and after Hallyu, we argue that the contemporary representations of femininity by women artists in the K-pop world reveal not only limitations, but also potentials in the changing cultural topography of Korean society.

The purpose of this paper is to explore the celebrity culture in K-pop. Specifically, it examines why the dual features of the self are described in K-pop celebrities and how the dual identity of the self as well as the image of the self can be described in everyday life and on the performance stage of K-pop idols. The images of K-pop idols were imposed externally by the entertainment companies. Even though K-pop idols have the true self presenting one’s sensory experiences and ideas with sincerity, they should have to represent the manufactured image on the stage. In order to explore the dual features of celebrities between personality and constructed identity, this paper investigates the deliberate adoption of the cute aesthetic in K-pop, primarily examining Erving Goffman’s notion of Self-presentation and Graeme Turner’s Celebrity. Through the documentary film I AM (2012), this paper could be presented as commodification of K-pop idols typical of a neoliberal project.

K-Pop is a new buzz word in the global music industry. Korean pop singers such as TVQX, SNSD, Wonder Girls, and Psy currently attract unprecedented followers in Asia, Europe, and North America. The dominant explanation behind this unique cultural phenomenon rests on the concept of cultural hybridity or Pop Asianism (i.e., continuation and expansion of Japanese, Chinese, and Indian subcultures in the global cultural market). I argue that the globalization of K-Pop involves a much more complicated process of globalizinglocalizing-globalizing musical content that originates from Europe than what hybridity or Pop Asianism arguments suggest. Specifically,the rise of K-Pop in the global music industry involves a new technique of locating new musical content in Europe or elsewhere,modifying it into Korean content, and then redistributing it on a global scale. Furthermore, K-Pop represents an effort to network global talent pools and social capital in the formerly disconnected music industry rather than an effort to emulate and slightly modify Japanese pop culture. As such, within the global music industry,Korea occupies a structural hole that exists between Western and East Asian music industries.

This paper examined 700+ Korean pop songs to probe the frequency and pattern of English mixing across six main genres: trot, rock, ballad, dance, R&B, and hip-hop. Since genres have fairly predictable sets of regularly occurring and conventional forms, English use in each genre is expected to differ. Frequency of mixing was measured using the proportion of songs that contained English in each genre, while mixing pattern was investigated using a mixing scale that contained seven levels. Then, I suggest factors that trigger English mixing: time of introduction, theme of lyrics, and key of melody. Combining these factors accounts for the general tendency of English use in different genres.

본 연구는 중국인이 지각하는 한류의 K-pop 속성이 국가이미지에 미치는 영향과 국가이미지가 행동의도에 미치는 영향관계에 대하여 연구하였다. 연구의 공간적 범위는 상해지역에 거주하고 있는 중국인으로 한정을 하였고 자기기입식 설문방식 설문지를 사용하였다. 한류의 K-pop에 관한 문항으로는 소재와 내용 4문항, 시각적․음향적 효과 4문항, 문화적 관심 3문항으로 구성하였다. 국가이미지에 관해서는 15문항으로 구성하였다. 행동의도에 관해서는 3문항으로 구성하였다. 설문지는 500부 배포하여 최종 360부를 유효응답으로 사용하였다. 분석방법은 SPSS 12.0을 이용하여 빈도분석을 하였고, 연구모형과 가설검증을 위한 확인적 요인분석은 공분산구조분석 프로그램인 LISREL 8.52를 활용하였다. 연구의 결과 첫째, K-pop의 소재와 내용은 국가이미지에 긍정적인 영향을 미치는 것으로 나타났다. 둘째, K-pop의 시각적․음향적 효과는 국가이미지에 긍정적인 영향을 미치는 것으로 나타났다. 셋째, K-pop을 통한 한국 문화의 관심은 국가이미지에 긍정적인 영향을 미치는 것으로 나타났다. 넷째, 한국에 대한 국가이미지는 행동의도에 긍정적인 영향을 미치는 것으로 나타났다.

The purpose of this study is to examine the effects of Korean Wave contents on country image and behavioral intentions based on Chinese potential tourists. Three hundred sixty respondents at Shanghai were selected and were invited to participate in this study. Structural Equation Modeling(SEM) with LISREL 8.52 analysis highlighted the structural relationship between Korean wave contents, country image, and behavioral intentions. Results of this study found that Korean wave contents(topics and themes) had a positive effect on country image. There was also a positive, significant relationship between Korean wave contents(visual and sound effects) and country image. Korean wave contents(Interests of Korean culture) had a positive effect on country image. Additionally, SEM supported a positive relationship between country image and behavioral intentions. Future study could explore what determinants affect country image and behavioral intentions at other destinations so that tourism practitioners or marketers might aware of the diversity of the groups' experiences. Additionally, future study may need to focus on qualitative approaches to measure the relationship between Korean wave contents, country image, and behavioral intentions.

이 연구는 디지털 환경 변화에 대응하기 위해 수익구조를 온라인으로 전환하고 팬덤 기반 마케팅을 강화하는 국내 팬덤 커머스 플랫폼을 대상으로 케이팝 콘텐츠 업데이트 주기와 가격의 변화가 소비자 구매 의사에 영향을 주는지에 관한 실증연구이다. 이를 위해 팬덤 플랫폼 전문가를 대상으로 FGI를 실시하고 이를 기반으로 디자인한 결합분석을 활용하여 설문조사를 수행하여 콘텐츠 업데이트 선호주기에 따른 가격탄력성의 차이를 확인하였다. 그 결과 케이팝 콘텐츠 가격탄력성의 비탄력적인 특성을 확인할 수 있었으며 콘텐츠 업데이트 선호주기에 따른 가격탄력성의 변화는 통계적으로 유의하지 않았다. 이 연구는 앞으로 성장하게 될 팬덤 커머스 시장의 마케팅 전략을 세우는데 활용할 기초자료를 제공한다.

This study is an empirical study on whether the interval of K-pop content updates and price changes consumer purchasing intentions for domestic fandom commerce platforms that turn their profit structure online and strengthen fandom-based marketing to cope with changes in the digital environment. FGI and a survey was conducted using a conjoint analysis designed to confirm the difference in price elasticity according to the content update interval. As a result, the price elasticity of K-pop content was found to be an inelastic characteristic, and the change in price elasticity according to the content update interval was not statistically significant. This study provides basic data to be used to establish a marketing strategy for the fandom commerce market that will grow in the future.

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이 글은 ‘소녀’와 ‘남성’이라는 각 젠더 주체를 입각점으로 삼아, 젠더가 자명한 실체가 아니라 역사상의 결절 속에서 서로를 대타항으로 두고 재구성되는 이데올로기적 산물이라는 점을 추적한 『소녀들』과 『그런 남자는 없다』를 경유하여 지금-여기의 젠더 정치와대항 서사로서의 젠더 재현이 함의한 문제점들을 살펴보았다. 『소녀들』과 『그런 남자는 없다』는 오늘날 페미니즘의 최전선에서 가장 문제적 화두 중 하나인 젠더 정체성의 계보를 탐사한다. 궁극적으로는 남성중심사회의 공고화에 젠더 규범과 이원적 젠더체계가 어떻게 공모하며 작동해왔는지, 그 질서 안에서 개별 주체들이 어떻게 역사화되며 자기보존과 변신을 꾀해왔는지를 규명하며, 고정된 ‘젠더정체성’에 대한 통념을 깨뜨린다. ‘남성성’과 ‘여성성’은 한 시대의 질서와 아이덴티티가 어떻게 구성되고 작동하는지, 그 질서의 편재 하에 사람들에게 무엇이 사유될 수 있고 경험되고 정해지는지를 보여주는 표징이다. 근대국가는 언제나 이상적인 ‘남성성/ 여성성’을 제시하고 규율해왔지만, 젠더성과 젠더 규범은 자명한 범주가 아니다. 오히려 ‘남성성/ 여성성’은 서로를 대타항으로 두고 상호구성적으로 정립되는 헤게모니적 구성물이다. 특정 젠더 주체가 스스로를 어떻게 호명하고재현할 수 있는가의 문제는 곧 위태로운 정체성을 재구성하고 인입을 승인하는 장치로서의‘젠더’와, 젠더 이외에 개인의 정체성을 구성하는 준거들에 대한 성찰을 요청한다. 이제 ‘페미니즘’은 ‘차별’에 대한 문제제기와 폭로에서 나아가 ‘여성성/ 남성성’이란 무엇인가에 대한 발본적인 물음을 던지고 있다. 젠더성-젠더규범에 대한 타자화와 위계화는 결코동질화될 수 없는 ‘성 정체성(남성성/ 여성성)’을 균질적인 것으로 착시하게 하고 계급과 계층, 인종 사이에서 발생하는 차별과 불평등을 은폐해왔다. 이원화된 젠더 분할은 특히 ‘노동’ 과 ‘자본’을 가치화하는 과정에서 그 차별적 구조를 내면화하도록 만드는 장치로 기능했다. 성차는 보편적이거나 고정적인 것이 아니며, 사회적으로 코드화되는 성질의 것임에도 불구하고 ‘남성성’과 ‘여성성’은 서로를 ‘구성적 외부’로 두고 분리와 변별을 통해 재구성되어 왔던 것이다. 또한 여성숭배까지를 포괄한 여성혐오는 호모포비아와 더불어 남성사회의 공고화와 남성성의 규범화에 공모해왔다. 오늘날 젠더 정체성에 대한 스펙트럼은 확장되고 교란되고 있다. LGBT 등에 대한 논쟁과끊임없이 허물어지고 재구축되는 ‘여성성/ 남성성’의 경계는 단지 담론 차원에서 맴도는 논박이 아니라, 당사자들의 실존과 결부된 절박한 삶의 투쟁이다. 그것은 가해와 피해, 정상과비정상, 다수자와 소수자, 남성성과 여성성이라는 이분법적 구도의 접근으로는 내파하기어려운, ‘얼굴과 목소리를 가진’ 주체들의 투쟁이다. 타자가 내린 정의와 결박에서 벗어나이제 막 스스로의 입으로 자신을 설명할 ‘언어’를 찾아 나선 주체들의 목소리에 귀를 기울이는 것으로부터 ‘정확한 희망’은 도래할 것이다.

This article considers the problems of gender politics and representations of gender issue as a counter-narrative in here(Republic of Korea) and now(2017) through ideas, There are no man who you think and Girls. These two books, There are no man who you think and Girls explore the genealogy of gender identity which is the most problematic in Korean society recently. Ultimately, these books seems like try to reveal how the dual( heterosexual-centered) gender system has worked in cartel of male-centered society and gender norms. Ideas, ‘Masculinity’ and ‘femininity’ are representations which shows how social orders and gender identities of one age are composed, and what could be experienced and prescribed by people who should be under the domination of the social order. Modern nations has always proposed and governed the ideal “masculinity / femininity.” However, a gender reflected and gender norms are not self-evident. Rather, ‘masculinity / femininity’ is a hegemonic construction which is established in inter-constructive way between them as the opposite term. How the gender subject calls or represents her / himself? This question requests introspections about ‘gender’ as an essential element for self-identity making, also other elements except ‘gender’. Now, an issue of ‘feminism’ change from the question and exposure of ‘discrimination’, to fundamental questions for what is ‘femininity / masculinity.’ Otherizations and hierarchizations of gender reflected and gender norms have caused an illusion to regard ‘gender(masculinity / femininity)’ as homogeneous, which never be homogenized. Also it has concealed the discrimination and inequality that arises between class, stratum and race. Dualized gender classifications functioned as a device to internalize the discriminatory structure in the process of valuing ‘labor’ and ‘capital’. Sex differences are not universal or fixed, but socially encoded. Nonetheless, ‘masculinity’ and ‘femininity’ have been reconstructed through segregation and discrimination by being ‘constitutive outer’ for each other. Today, the spectrum of gender identity is expanding and disturbing. The controversy over LGBT and the breakdown of ‘femininity / masculinity’ is not just disputes over discourses, but desperate struggles for life associated with the existence of the minorities. It is a struggle of ‘subjects with face and body’ that can not approach or impose, the dichotomy of injustice and damage, normal and abnormal, majority and minority, masculinity and femininity.

The purpose of this study is to present global online distribution strategies for K-pop through a case analysis of “Gangnam Style” (hereafter GS). For it, this study reviews the literature concerned with traditional global strategy before the digital economy and discuss a new approach feasibility of the Web 2.0(hereafter Web2) theory for new global online distribution. Based on these, the author conducts an analysis. Firstly, it is examined what kind of success factors are mentioned about GS. Then, The Web2 is examined in light of the factors that led to the success of GS and this study proposes a direction of global online distribution strategy of K-pop in the future.

The success of K-pop’s global drive has provoked scholarly interests from various perspectives and disciplines. The multidisciplinary interest in K-pop reflects the wealth of K-pop success factors that are either exogenous (i.e., emphasizing global factors) or endogenous (i.e., highlighting Korean factors). This article focuses on the endogenous factors of K-pop’s success, given the fact that the majority of the extant studies on K-pop analyze the impact of global factors on K-pop’s popularity in different regions of the world. Thus, this study seeks to find if non-stereotypical Korean particularities that cannot be accounted for by exogenous explanations exist within the K-pop industry. We posit that the Korean peculiarities in the K-pop industry can be traced back to time/space hybridity, the “red queen’s race,” and cosmopolitan striving. This article finds that these three specific features within modern Korean culture explain why K-pop songs are still different from American or European pop music, despite their similarities due to the globalization of pop music. The differences between K-pop music and their counterparts in America and Europe are: the contemporaneity of the uncontemporary, the synchronized dancing to melodic music (vis-a-vis beat music), and the multi-top dancing formation. We conclude that the aforementioned Korean factors are responsible for these musical variations in K-pop.

South Korea’s LCC (Low Cost Carrier) industry, which started from the 2000s, brought upon a new lifestyle within the country. In Korea, unlike European or U.S. markets, air travel was limited and previous domestic airlines mostly focused on the business sector. The LCC industry had a shaky start with high initial investment and low load factors, but soon started to take root as they started to take over the domestic market and competed for overseas routes, making air travel a reality for the masses. Today, profitability of low-cost airlines have been improving as their routes expanded and load factors went up, especially in routes connecting China, Korea and Japan. Also, greater aircraft usage by utilizing “red-eye” flights to Southeast Asian destinations greatly improved the efficiency of aircraft operations. Further, the decrease of the public’s initial rejection of low-cost airlines also served as a contributing factor. A significant portion of the market for domestic flights is now owned by low-cost airlines. The market share of domestic flights for low-cost airlines, which was only 2.17% in2006, increased to 9.72% in 2008, to 27.35% in 2009, and to 34.1% in 2010. In the first half of 2011, the market share for domestic flights went over 40%. An industry specialist pointed out, “because domestic flights have short travel distances, price is more of a significant factor than service. Comparatively, this provides a structure in which low-cost airlines can easily advance.” Even in short-distance international flights such as flights to Japan, the advancement of low-cost airlines is continuing as of today. Jeju Air, which has shown the fastest growth rate among all domestic low-cost airlines, has exceeded 2 billion won in sales in 2011. Since its inaugural flight in 2006, its average yearly growth rate was 91%, and it has been earning surplus profits since the second half of 2010. In 2011, Jeju Air’s sales from international flights began to exceed those of domestic flights. In the fast growing market for low-cost airlines, there are many airlines from other Asian countries competing in the same market. In terms of price, Korean LCCs are positioned somewhere between a full service carrier (FSC) and a traditional LCC which charges as low as 50% of the FSCs fare. The ticket cost of domestic low-cost airlines is about 70%~80% that of major airlines such as Korean Air, or Asiana. In the following case study, we will examine and analyze the results of brand building strategies of Jeju Air, which has secured a new competitive advantage in the intensifying competitive landscape and is pursuing a significant leap as an Asian LCC. Specifically, we will analyze and contrast the brand building strategies, various customer satisfaction activities, and service management programs of successful global LCC firms such as Air Asia, Jetstar, and JetBlue. Jeju Air has benchmarked their success factors, and such principles have been reflected in Jeju Air’s brand building strategies, which began in April of 2012. Through the analysis of customer feedback collected in September of the same year, we aim to show the effectiveness and limitations of Jeju Air’s brand building strategies as well as present future challenges.