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The television series Reply 1997, portraying events in Korean popular culture of the 1990s, recounts the rise of fan obsession with celebrities. As opportunities for fans to interact with celebrities were limited, people opted to become "Sukso fans", or sasaeng fans who stay outside a celebrity's house all night until they get to see their idol.
Additionally, the rise of Korean cultural diplomacy through organizations like the Korean Cultural Center in Nigeria has facilitated cultural exchanges between Korea and Africa. For example, K-pop competitions and K-culture events are regularly organized in African countries, allowing fans to express their love for the genre and participate in ...
K-pop (/ k eɪ p ɒ p /, Korean: 케이팝; RR: Keipap), short for Korean popular music, [1] is a form of popular music originating in South Korea. [2] It includes styles and genres from around the world, such as pop, hip hop, R&B, rock, jazz, gospel, reggae, electronic dance, folk, country, disco, and classical on top of its traditional Korean music roots. [3]
As the bottom of Korean society is constituted by the repressive role of gap and submissive attitude of eul, individuals follow the culture of the elite. In other words, the cause of gapjil is a cultural tendency for people to merely perform the roles which are shaped by the high power distance in Korea.
The contemporary culture of South Korea developed from the traditional culture of Korea which was prevalent in the early Korean nomadic tribes. By maintaining thousands of years of ancient Korean culture, South Korea has split on its own path of cultural development away from North Korean culture since the division of Korea in 1949.
In South Korea, fandom culture has largely formed around K-pop idols and Korean dramas. These fandoms support a large market for official and unofficial fandom memorabilia. Fan culture in South Korea emerged post-war, and has contributed to South Korea's economic growth. [ 1 ]
Though beauty is an ever-present ideal for Korean popular culture, these time periods represent shifts in beauty norms and K-pop ideals. [2] The early 1990s brought a young, individualistic cuteness to the scene with stocky builds and chubby faces, following the Korean beauty norms of the 1980s.
In the South Korean media, female K-pop artists and actors often face harsh criticism for speaking about gender inequality. For example, Irene of the girl group Red Velvet commented on the book Kim Ji-young, born 1982, a feminist novel talking about the daily gender inequalities experienced by women in South Korea. As a result, she experienced ...