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Indonesia’s embrace of foreign popular music began during the colonial era, with recordings of jazz and similar forms imported from Europe and the U.S. In recent decades, as Indonesians developed an indigenous popular music industry, other foreign influences have entered the popular music scene in Indonesia. Most prominent among these recently is Korean pop (“K-pop”)—which swept into Korea suddenly in the early 2000s along with a flood of Korean TV dramas. Few Indonesians could have named a Korean pop star in the 1990s, but by 2005 Korean dramas occupied primetime slots on several major TV networks and legal and pirated CDs of Rain, Se7en, and earlier stars (S.E.S., H.O.T., Shinhwa) were sold widely. BoA, born in Korea but producing CDs in Japan, was more closely associated with J-Pop, but came to be known as another KPop star. How and why did these stars from Korea gain the attention and the fandom of Indonesians? The sudden surge in awareness of Korea due to TV dramas is part of the picture, but fanrelated print media and, above all, social media have contributed in a spectacular fashion. Based on field work in Indonesia in 2005, 2008, 2010, 2013, and 2016, and extensive exploration of internet sources, I trace the contours of K-pop fandom in Indonesia, assessing the methods of distribution, the factors articulated by Kpop fans as contributing to their involvement with and enjoyment of K-pop music and its key figures. I consider the ways in which Indonesians are constructing notions of “Koreanness” in their interaction with Korean popular culture and the reasons underlying its appeal in relation to other popular musics transmitted transnationally. I conclude by considering whether the “Korean Wave” in Indonesia represents a new Asian cosmopolitanism more than an interest in “Korea” per se, as is claimed by the Korean media, and comment on the recent decline in K-pop fandom in Indonesia.

This study aims to demonstrate the impact of the recent growth in K-POP on the increase in the number of international tourists visiting South Korea. Consequently, not only Seoul but also regional areas such as Busan, Jeonju, and Gwangju have witnessed a rise in foreign visitor numbers. To substantiate the influence of K-POP on tourism in Korea and its regions, this study leverages the K-Prototype algorithm, a clustering analysis method known for its efficacy in handling mixed datasets. The dataset employed in this study is derived from the ‘2022 Foreign Tourist Survey’ conducted by the Korea Culture and Tourism Institute. The primary objective is to create clusters based on the behavior patterns and preferences of foreign tourists. Through this clustering process, distinct groups of foreign tourists originating from different countries can be defined, allowing for the identification of their common interests and preferences, particularly related to K-pop as a motivating factor for their tourism activities.

한류로 지칭되고 있는 K-POP은 현재 글로벌 경쟁력을 가지고 꾸준히 성장하고 있으며 소셜네트워크서비스(SNS)를 중심으로 전 세계적인 팬덤(fandom) 조성을 통해 인지도를 높이고 있다. 본 연구는 전 세계적으로 주목받고 있는 한국의 아이돌 그룹 방탄소년단을 중심으로 텍스트마이닝 기법과 인터뷰 방법의 두 가지 방법을 이용한 혼합적 연구방법을 활용하여 K-POP의 주요 성공요인을 분석하고자 한다. Twitter의 온라인 게시글 들을 수집 한 후, 세 가지 텍스트마이닝 기법: 토픽모델링, 키워드 추출, 단어빈도 분석을 통해 방탄소년단이 글로벌 팬덤을 형성할 수 있었던 주요 성공 요인을 분석한다. 이와 동시에 실제 팬들과 연예계 관계자들을 대상으로 인터뷰를 실시하여 주요 성공요인을 파악한다. 두 가지 연구방법으로 도출된 분석 결과들을 융합한 것을 바탕으로 K-POP의 주요 성공 전략 방안을 제안하고자 한다.

케이팝은 아시아 시장에서 큰 성공을 거두었다 그러나 유럽에서는 케이팝의 인기가 매우 적을 뿐만 아니라 케이팝엔터테이먼트 회사들의 지속적인 투자에도 성과를 거두지 못하고 있다. 왜 같은 상품이 한 국가에서는 인기가 많고 다른 나라에서는 인기가 없는 것일까? 이에 아시아에서 케이팝 성공전략을 분석하고 유럽에는 어떤 전략으로 진출해야 성공할 수 있을지를 비교 분석해서 결론을 도출 하고자 한다

It is a known fact that K-POP has become a global art form, understood within an aural, musical context. But the role of dance as a primary engine (primarily through the form of the music video) is rarely discussed. Even less considered is the fundamental, universal aspect of dance’s appeal and origins in the cognitive workings of kinesthetic empathy as actualized by mirror neurons and their role in the creation of the hybridic sense of visual proprioception that lies at the heart of felt artistic expericece on the part of an observer. This sense of visual proprioception lies at the heart of enjoyment of various media whose currency is vicarious pleasure, whether one is enjoying an action film, dance performance, cooking show, or pornography. K-POP dance’s success lies in visual proprioceptively mediated art forms as projected on millions of interconnected screens across the globe, and the key to understanding K-POP dance’s success lies in understanding K-POP as a representational art form at a time when Korean popular culture is trending worldwide, and as an art form that was hyper mediated at just he right time in the beginning of an era in which the world has only recently become visually connected across screens. The power of K-POP dance is not in the individual moves contained within it, but in its ability to maximally leverage itself within the Age of Screens and while utilizing the mechanism of visual proprioception to form a global language of dance.

The present study is to examine the nature of morpho-syntactic characteristics of code-switching in K-Pop lyrics and its intelligibility. For this purpose, this study adopts the Matrix Language Frame model (MLF model) to analyze specific switches between the English and Korean language. The qualitative analysis of code switching found in CPs (Projection of Complimentizer: a unit of analysis) shows the use of nativized English affecting the intelligibility of lyrics. The results of analysis also indicate that the MLF model and its two principals, the System Morpheme principal and the Morpheme Order principal, account for the code-switching in K-pop lyrics. Moreover, the switches display the development of nativized variety of English in Korean society.

The COVID-19 pandemic has caused much damage to the Korean cultural industries, yet, embedded in the crisis are hopes and discourses of opportunity for the post-COVID era. In the commercial field, K-pop entertainment companies have used the crisis as an opportunity to expand their online performance offerings and promote platform development. In contrast, the field of performing arts is still seeking to adopt effective, non-contact digitalization strategies capable of attracting audiences with lower technical skills, such as streaming existing performances online. In this paper, we compare the responses to the pandemic of the popular music industry and the performing arts sector through the lenses of sector resilience and government support. We found that, due to the economic structure of the idol-centric entertainment industry, K-pop entertainment companies with digital platforms have proven to be significantly more resilient in response to the COVID-19 crisis than the performing arts sector. Along with the digitalization and commercialization of their performance and idols, the K-pop entertainment companies have shown increased resilience and accommodated a larger audience with stronger relationships. We also analyze the effects of the government’s COVID-19 support policy on the music industry, the performing arts sector, and individual cultural workers in three main areas: mitigation policy, innovation policy, and recovery policy. We recommend that the performing arts sector build a more strategic understanding of audience relations and that the government promote innovation policies for the performing arts sector while taking into account differences between the resilience levels of various sectors.

본 논문은 K팝 열풍의 양면성을 분석하며 한국 기독교 선교와 교육을 위한 적절 한 방향을 모색한다. 세계인들을 사로잡은 K팝의 성공 요인은 전통적이기보다 혼성화 또는 융합 능력에서 기인한다. 혼종성은 단순한 짜깁기가 아니라 섞을 수 있는 문화 적 트랜드를 파악하여 새로운 문법으로 재창조할 수 있는 사고방식과 융합력이 요구 된다. K팝 성공의 또 다른 외적 요인으로는 비교적 저자본으로도 글로벌 확산을 가능 하게 한 동시대 디지털 미디어 기술 혁신을 통해 가능할 수 있었다. 이를 통해 K팝은 ‘디지털 원주민’으로 표현되는 전 세계 ‘Z세대’ 문화 감성을 공략할 수 있었다. 하지만 K팝 산업의 이면에는 치열한 경쟁과 자본주의적 시스템의 문제점을 지닌다. 이는 지 난날 한국의 산업자본주의의 착취구조가 문화자본주의로 지속된 것이다. 이런 가운데 BTS는 음악에 진정성있는 메시지를 담아내며 주목받는다. BTS와 그 팬덤이 보여준 행보은 K팝이 단지 문화적 유행과 재미를 넘어 자신의 현실에 대한 자각과 더 나은 사회를 위한 대안을 모색하며 K팝의 적절한 방향을 제시했다. 한국교회는 K팝을 젊 은 세대와의 소통의 가교로 또한 디지털 선교 현장의 전략적 도구로 활용할 필요가 있다. 이는 단순히 프로그램이 아닌 구조적 전환을 요청한다. K팝을 통해 본 논문이 제안한 기독교 다음 세대 사역자들의 과제는 매력적인 기독 인재를 어릴 때부터 육성 하는 시스템을 마련하고, 이들이 다양한 협업을 통한 창의적인 콘텐츠를 개발할 수 있도록 격려하는 것이다. 그 콘텐츠는 개인의 정체성과 현실적 실존에서 출발해 더 나은 세상을 지향하는 하나님 나라 세계관으로 연결해야 한다. 또한 신세대의 문화적 속성을 반영해, 기독 콘텐츠의 간결하고 속도감있는 양식 전환도 필요하다. 이를 통해 ‘작지만 단단한 취향의 연대’를 이루어 통해 공동체적 확산으로 이어져야 한다. 소수 취향의 연대는 소셜 미디어 환경에서 새로운 판로를 찾고 있다. 온라인에는 가치관의 차이로 인한 충돌도 있지만, 나만 좋아한다고 여긴 취향을 공유한 동지들을 엮어준다. 창작자와 수용자 모두 이런 공감의 연대를 통해 그 영역을 확장해 갈 수 있다. 한국 교회의 변화는 ‘변방’의 매력적인 시도들이 상호 영향을 주고받으며 점차 주류를 흔드 는 방식이 될 것이다. 그 운동은 복음의 고유한 메시지가 새로운 문화 감각과 스타일 로 옷 입을 때 가능하다. 그런 새로운 운동의 주도자들은 아직 미숙하지만, 다음 세대 그리스도인들의 창의적 시도들에서 시작될 수 있을 것이다.

This thesis analyzes dual dimensions in the global success of K-Pop. It is for finding effective methods for Christian ministries especially for the youth. K-Pop has focused on its ‘idol music’ system with cultural hybridity and Korean collective ethos. Its global success can be possible through the contemporary media innovation such as digital music technologies and social network services. Today K-Pop is very popular and influential among the global youngsters of ‘Gen-Z’. They are often called as ‘digital natives.’ However there are serious problems of strong competition and capitalistic system in the other side of K-pop industry. However, BTS was emerged as an alternative of K-Pop, with showing the possibility of coexistence of both idol and artist. The members of BTS have actively participated in musical production with their own authentic messages. Moreover, BTS has achieved many good collective social actions with its global fandom. It could be a good model for the better future of K-Pop culture. Korean churches can learn helpful insights from the successful history of K-Pop. Its ‘CT’(Cultural Technology) challenges to the Korean churches for its structural transformation especially for the ministries for the youth. This thesis suggests five methods which are inspired by K-Pop: 1) Preparation of system to discover and nurture gifted Christian youth, 2) Collective works for more creative Christian contents, 3) Building up Christian worldview of ‘Kingdom of God’ with focusing on individual identity and existential life issues, 4) Making more short and playful media contents, and 5) Networks with small but solid alliance for Christian culture. It could be possible for new vitality in Korean church when it works traditional gospel message together with new cultural senses and styles. Probably it would be started by the fresh and creative approaches by young Christians.