Hallyu
The term “Hallyu” emanated from the Japanese reference to the Korean wave that was marked by a regional trend and preference for popular culture from South Korea, including music and television series that had transcultural elements (Jung, 2013, p. 108). Hallyu, therefore, refers to the wave or trend that marked the international acceptance of Korean productions, including movies, music, and celebrities. The trend resulted in a redefinition of transcultural dynamics, especially in the Asian region. Hallyu has transcended the Eastern part and is currently a phenomenon in other areas, such as the United States. The present paper entails a critical review of Hallyu, including its historical trajectory and characteristics. Moreover, the paper will involve a critical analysis of the scholarly depictions of hybridity in Hallyu stars. Lastly, the article will postulate a possible direction for the next wave of Hallyu that will transcend existing limitations, especially in the expression of sexuality and gender.
Historical Trajectory of Hallyu
The Korean Wave replaced the Japanese popular culture, which had dominated the Asian region before the 1990s (Jung, 2009, p. 72). However, a declining preference of the Japanese popular culture was influenced by its legacy as a colonialist, the overt violence and sexuality that was evident in its content. Consequently, Hallyu provided an alternative that was immediately embraced within the Asian region. The television drama series was the first element of Korean popular culture to permeate the Asian area. In 1997, the national station in China began airing the Korean drama, “What on Earth is Love,” which immediately garnered extensive viewership due to the portrayal of family values that resonated with the Chinese people (Jung, 2009, p. 72). In 2003, the “Winter Sonata,” another drama series, marked the breakthrough of the Korean Wave in Japan (Jung, 2009, p. 73). A fandom culture dedicated to one of the characters of the show, Yon-sama, further exacerbated the Korean wave. Conversely, popular Korean music was developed during the 1990s, albeit the breakout artists, Rain, and BoA, who made it part of the Korean wave, began their careers in the early 2000s. In 2006, Rain made his debut album in the United States (Jung, 2009, p. 77).
Characteristics of Hallyu
According to Jung (2013), Hallyu is characterized by transnationality, trans-textuality, and trans-sexuality, all of which are deliberately employed by Korean creators to attract more extensive viewership globally. The transnationality of Hallyu is observable from the use of elements from different cultures, especially America, to attract a broader global audience. Jung (2013, p. 111) notes that Korean entertainment companies specifically train their artists to produce “a culturally hybridized pop product.” For instance, BoA’s music combined both Japanese and American elements, with her looks and images emanating from the former while her dance styles were acquired from Michael and Janet Jackson.
The trans-sexuality in Hallyu is further evidenced by the promotion of artists who promote soft masculine images that appeal to a broader audience (Jung, 2013, p. 115). Through versatility in images, voices, and gestures, K-pop boy bands appeal to more consumers’ desires, as noted in the “Mirotic” video by TVXQ, who wore their hair in traditionally feminine styles. The trans-textuality of Hallyu is marked by the use of different media technologies to increase viewership. Television dramas, such as “Boys over Flowers,” were not only broadcasted through television channels but also uploaded on platforms such as YouTube, thereby attracting an international audience, whose viewership was facilitated through the use of subtitles.
Scholarly Interpretations of Hybridity Embodied by Hallyu Stars
Hallyu stars lack cultural authenticity, due to the hybridity they embody. Jung (2009) notes that Hallyu artistes are driven by the need to appear Western to appeal to wider audiences. Consequently, artistes such as Rain have undergone numerous cosmetic procedures to attain a more Western physical appearance, including an increase in their height. Therefore, Hallyu is not reflective of the Korean culture, as it does not materially claim the identity. Similarly, Jung (2013) notes that BoA was trained to portray a hybrid of Japanese and American cultural elements. The complete disregard for the roots of Hallyu, which are in Korean culture, present a social problem that may result in a lower valuation of Korean elements. Hallyu does not promote the Korean culture, and by appropriating Japanese and American culture, it alludes to their superiority. Hallyu should utilize Korean features and improve the Korean culture to enhance national identity and pride.
Jung (2013) also states that the hybridity embodied by Hallyu stars is detrimental to the Korean wave since it limits the performance of the artists globally. The lack of authenticity does not resonate with international audiences, especially in America. Jung (2009) notes that Rain, for instance, did not perform well with American audiences, as he was perceived as a copycat of Justin Timberlake. Similarly, Boa’s appearance at position 127 on the Billboard Charts, despite the extensive commercial efforts that were invested in her success, was attributed to her adopted of the Britney Spears style (Jung, 2013). Although hybridity is not in itself a problem, the disregard for the Korean culture in the creation of Hallyu stars is detrimental to their success and the tenacity of the Korean wave.
The Next Wave of Hallyu
The next wave of Hallyu should transcend its limitations in the expression of gender and sexuality through increased liberalization of content creation to attract a wider international audience. Although Hallyu should maintain elements of Korean culture, it should match its global competitors, including Hollywood. Consequently, Hallyu should adopt a more liberal approach, especially in movies and television dramas. Alternatively, Hallyu should exceed its conservative limitations by incorporating more Western Actors and producers in collaborative efforts to promote the content it creates, and to appeal to an international audience. The incorporation of Hollywood Actors and collaboration with international artists will also be reflective of the increasing liberalization that is occurring globally, especially about gender and sexuality.
Conclusion
Although Hallyu has led to the international exposition of artistic content that is created by Korean artistes, it lacks authenticity in its cultural underpinnings. Instead, Hallyu is mostly representative of American and Japanese culture. Other characteristics of Hallyu include trans-sexuality and trans-textuality, both of which are used to increase global viewership. However, the hybrid nature of Hallyu deprives its content of authenticity, thereby making it less appealing, especially to Western audiences. In the future, Hallyu artistes and stars should collaborate with other Western creators, especially in Hollywood, to transcend existing limitations about gender and sexuality. Television dramas and movies, for instance, should incorporate female actors from Hollywood, which would enhance liberal approaches to the content creation within Hallyu.
Bibliography
Jung, E. Y. (2009). Transnational Korea: A critical assessment of the Korean Wave in Asia and the United States. Southeast Review of Asian Studies, 31(2009), 69-80.
Jung, S. (2013). K-pop beyond Asia: Performing trans-nationality, trans-sexuality, and trans-textuality. In Asian popular culture in transition (pp. 120-142). Routledge.
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