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| Srl | Item |
| 1 |
ID:
181151
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| Summary/Abstract |
Contemporary scholars in the intersecting field of popular culture and Islamic studies have argued for the importance of researching the ways Muslims engage with, make meaning of, and (re)produce different forms of popular culture. The current study continues these endeavours by examining a hitherto understudied form of popular culture in this field, namely, Korean popular culture. As previous studies on Islam and popular culture have drawn attention to, the focus of this study is on how this specific form of popular culture has been in/compatible with Islamic values, beliefs, and practices. Taking Indonesia as a context, the current study asked: What are the various ways Indonesian Muslim fans negotiate their identities as a Muslim and a K-pop fan? Drawing upon interview data with Indonesian Muslim K-pop fans and publicly available literature such as media reports, news, and websites, the findings exhibited at least four subject positions (available to be) taken up by Muslim K-pop fans, namely, (1) complete opposition, (2) partial opposition, (3) irrelevance, and (4) the interlacing of religious and fan subjectivity. The first two positions are predicated upon a belief that Islam and K-pop culture are in tensions, while the latter two consider there is no tension between one’s identity as a Muslim and a K-pop fan. This article contributes to the existing knowledge in the field of Islam and popular culture by offering a nuanced discussion on various possible forms of Muslim K-pop fans’ subjectivity.
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| 2 |
ID:
126969
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| Publication |
2013.
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| Summary/Abstract |
This paper studies the connection between the emergence and market making activities of the large Korean entertainment houses and the global level success of "K-pop," an increasingly popular type of Korean popular music. We review a set of conventional explanations, respectively pointing to cultural factors, government support, and technological development as core factors that led to the global success of K-pop. We find all three explanations unsatisfactory and, alternatively, building on studies of market intermediaries, argue that the roles of three large entertainment houses-SM Entertainment, YG Entertainment, and JYP Entertainment-have been the most crucial in the development and success of K-pop. Through combining data from Korean music charts, newspaper articles, and revenue data, we trace the increasingly systematic musical production strategies of the entertainment houses and the macro-consequences of their organizational activities.
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