Escapism and motivation: Understanding K-pop fans well-being and identity
Abstract
K-pop is a relatively new genre but its fanbase has grown massively in Malaysia for the past few decades. It is also evident that the daily lives of Malaysians have incorporated Korean culture in various social aspects. Thus, this study seeks to explore the well-being of local K-pop fans by underlining the objective to understand the meaning of being a K-pop fan. In order to describe and analyse the social nuances of the well-being being a K-pop fan, several concepts from sociology as well as fan studies were plotted to assist this research such as para-social relationship, identity and social identity, the concept of meaning as well as participatory culture. A qualitative approach was employed by using participant observation and semi-structured in-depth interviews to get into the experiences, views, values, and lifestyles of K-pop fans. Participant observation was conducted in K-pop concerts and fan events to observe fan practices. As for the semi-structured in-depth interview, a total number of eight participants were selected to provide an understanding of K-pop fan's well-being through their experiences and feelings. This study concludes that being a K-pop fan carries its special meaning that transcends a fan of a music genre. It varies from providing a platform for escapism as well as emotional and motivational support through a para-social relationship. Although fan and idol is usually seen as one-sided relationship, it has benefitted the fan’s well-being in some way. This study also proves that the fans can also be seen as active producers and content creators which contradict to the notion of fan as a passive entity.
Keywords: escapism, identity, K-pop fans, motivation, para-social relationship, well-beingFull Text:
PDFReferences
Abida, E., & Rana Eijaz, A. (2011). Challenges of Media Globalization for Developing Countries. International Journal of Business and Social Science, 2(18), 100–106.
Anwar, C. R. (2018). Mahasiswa dan K-pop (Studi Interaksi Simbolik K-popers di Makassar). Jurnal Ilmu Komunikasi UPN Veteran Jatim, 1(1: Komunikasi dan Budaya Urban).
Appadurai, A. (1996). Modernity at Large: Cultural Dimensions of Globalization. Minnesota: University of Minnesota Press.
Ariffin, Z. Z., Othman, K., Abdullah, R. T., & Wan Mohammad Arif, W. N. A. (2013). Analyzing the Dimension of Korean Popular Culture Among Malaysian Adolescent. 5th International Conference on Humanities and Social Sciences, (August 2014), 11–35. Retrieved from http://www.libarts-conference.psu.ac.th/proceedings/Proceedings5/ proceedings5/CD-Proceedings5/1.2-Analyzing the Dimension of Korean Popular Culture Among Malaysian Adolescent.pdf
Batoul, T., & Fawwaz, A.-H. (2017). The Influence of the Korean Wave on the Language of International Fans: Case Study of Algerian Fans. Sino-US English Teaching, 14(10), 598–626. https://doi.org/10.17265/1539-8072/2017.10.004
Baudrillard, J. (1983). In the Shadow of the Silent Majority. New York: Semiotext.
BBC. (2020). BTS Black Lives Matter: Fans Match Band’s $1M Donation. BBC News. Retrieved from https://www.bbc.com/news/world-asia-52960617
Caughey, J. (1984). Imaginary Social Worlds. Lincoln: University of Nebraska Press.
Caulfield, J. (2020). How To Do Thematic Analysis. Retrieved from Scribbr website: https://www.scribbr.com/methodology/thematic-analysis/
Collisson, B., Browne, B. L., McCutcheon, L. E., Britt, R., & Browne, A. M. (2018). The interpersonal beginnings of fandom: The relation between attachment style, trust, and the admiration of celebrities. Interpersona, 12(1), 23–33. https://doi.org/10.5964/ijpr.v12i1.282
Donley, K. M., Sayers, D. L., Morley, C., Desmond, S., Sydney, S., Roberts, C., … Holmes, S. (2017). Early Sherlockian scholarship : Non / fiction at play. 23(Note 1), 1–19.
Dudovskiy, J. (2012). Purposive Sampling. Retrieved from Research Methodology.net website: http://research-methodology.net/sampling-in-primary-data-collection/purposive-sampling/ Hume,
Dzul, Z. (2016, November 28). Korean Wave’s Here to Stay. New Straits Times. Retrieved from https://www.nst.com.my/news/2016/11/192393/korean-waves-here-stay
Goffman, E. (1959). The Presentation of Self in Everyday Life. In The Presentation of Self in Everyday Life. Oxford, England: Doubleday.
Horton, D., & Wohl, R. R. (1956). Mass Communication and Para-social Interaction; Observations On Intimacy at a Distance. Psychiatry, 19(3), 215-229. https://doi.org/ 10.1080/00332747.1956.11023049
Jenkins, H. (1992). Textual Poachers: Television Fans & Participatory Culture. https://doi.org/10.1017/CBO9781107415324.004
Jindra, M. (2017). It’s About Faith In Our Future. Religion and Popular Culture in America, 223–241.
Joyce, J., & Pacis, C. (2012). Popping the K-Pop Bubble: a Study on the World of K-Pop Fandom As a Subculture. University of the Philippines Diliman.
Ko, N. C., Kim, J. N., No, S. I., & Simoes, R. G. (2014). The Korean wave Hallyu in looking at escapism in Peruvian society. Perspectives on Global Development and Technology, 13(3), 332–346. https://doi.org/10.1163/15691497-12341305
Lin, A., & Tong, A. (2008). Re-Imagining a Cosmopolitan ‘Asian Us’: Asian Modern Femininities. In East Asian Pop Culture: Analysing the Korean Wave (pp. 91–125). Hong Kong University Press.
Manago, A. M. (2015). Media and the Development of Identity. Emerging Trends in the Social and Behavioral Sciences, 1–14. https://doi.org/10.1002/9781118900772.etrds0212
Mead, G. H. (1934). Mind, Self, and Society from the Standpoint of a Social Behaviorist. In Mind, Self, and Society from the Standpoint of a Social Behaviorist. University of Chicago Press: Chicago.
Ministry of Youth and Sports Malaysia. (2019). National Youth Development Policy..
Monika, B. M., & Iveta, J. M. (2016). The Beginning of The Fan movement: Brief History of the First Fandoms. Palacky University Olomouc.
Murphy, E. (2020). How BTS Fans Utilized Social Media to Help Others. Showbiz Cheat Sheet. Retrieved from https://www.cheatsheet.com/entertainment/bts-army-social-media-records-mark-millar-australian-wildfires-james-corden-ashton-kutcher.html/
Newman, L. (2013). Social Research Methods: Pearson New International Edition : Qualitative and Quantitative Approaches. Harlow: Pearson Education Limited.
Ni, G. X. (2019). A Qualitative Study on The Soft Power of Korean Popular Culture on Consumer Behaviour in Malaysia. Universiti Tunku Abdul Rahman.
Rahim, A. A. (2019). Online Fandom : Social Identity and Social Hierarchy of Hallyu Fans. The Journal for Undergraduate Ethnography, 9(March), 65–81. https://doi.org/10.15273/ jue.v9i1.8885
Rhee, Y. C., Wong, J., & Kim, Y. (2016). Becoming Sport Fans: Relative Deprivation and Social Identity. International Journal of Business Administration, 8(1), 118. https://doi.org/ 10.5430/ijba.v8n1p118
Ryff, C. (1989). Happiness is everything, or is it? Explorations on the meaning of psychological well-being. Journal of Personality and Social Psychology, 57(6), 1069–1081. https://doi.org/https://doi.org/10.1037/0022-3514.57.6.1069
Seoulbeats. (2012). K-pop and escaping real life. Retrieved from https://seoulbeats.com/2012/ 10/k-pop-and-escaping-real-life/
Soheili, K. (2019). Grueling gym routines, restrictive diets, and no dating: K-pop stars tell us about the dark side of their industry. Insider. Retrieved from https://www.insider.com/kpop-dark-side-gym-diet-dating-great-guys-crayon-pop-2019-10
Stever, G. S. (2009). Parasocial and Social Interaction with Celebrities Classification of Media Fans. Journal of Media Psychology Theories Methods and Applications, 14(3).
Thomas, P. A. (2018). I Wanna Wrock! The World of Harry Potter- Inspired “Wizard Rock” and Its Fandom. McFarland & Co.
Tinaliga, B. (2018). “ At War for OPPA and Identity ”: Competitive Performativity among Korean-Pop Fandoms. Master’s Projects and Capstones, (768).
Tsay-Vogel, M., & Sanders, M. S. (2017). Fandom and the search for meaning: Examining communal involvement with popular media beyond pleasure. Psychology of Popular Media Culture, 6(1), 32–47. https://doi.org/10.1037/ppm0000085
Um, H. (2014). K-pop on The Global Platform: European Audience Reception and Contexts. Seoul, Republic of Korea.
Refbacks
- There are currently no refbacks.