Chapter II

REVIEW OF RELATED LITERATURE AND STUDIES

This chapter includes literature and studies, foreign and local which are related to the study,

theoretical framework, conceptual framework and definition of terms.

Related Literature

Korean Wave

The Korean wave refers to the significantly increased popularity and fame of South Korean

culture around the world. It is also referred to as Hallyu, in the Korean language. The term was

credited in China in mid-1999 by Beijing journalists surprised by the rapid and fast popularity

and fame of the Korean Culture and Entertainment in China (Kim, 2007, p. 15). Broadly

speaking, it can be said that the popularity of Korean entertainments like pop music and

television soap operas in China and Taiwan marked the beginning of its popularity abroad. The

outbreak of Hallyu can be traced back to 1997, when the Korean TV drama, What Is Love All

About, broadcast on state-run Chinese television, CCTV, set the stage for hallyu in China, an

MBC-TV drama, Jealous, which was considered as the most popular entertainment product of

South Korea in 1933 (Kim, 2007, p. 15). Since then, the achievements of South Korean popular

culture reached the neighboring Asian countries and remarkably penetrated them over the past

several years, and in the years 2000 through 2002, according to one source, “the Korean wave

moved forward to diverse parts of Asia, including Southeast and Central Asia, and therefore this

wave reached an active penetration stage” (Hyejung, 2007, p. 6).

for the Korean government “since the country’s national image has not always been positive in

neighboring countries” (Doobo, 2006, p. 6). Many Asian countries have been withdrawn from

their closest neighbors in terms of socio-cultural understanding and exchanges, and instead

“have had a tendency to link more closely to the former colonial empires or advanced Western

countries than with neighbors sharing borders” (Ryoo, 2007, p. 144).

The influence and impact conveyed by Hallyu has not only permeated popular culture but is also

a measure of positive lifestyle for many Asian people (Ryoo, 2008, p. 144). Many Asians had no

interest and thoughts about South Korea or knew only a few simple, often stereotypical things

about it. Ideas linked with the image of South Korea were negative and undesirable and related

to events such as the Korean War, cycles of poverty and political unsteadiness (Lee, 2007, p. 29).

These negative images and ideas linked to South Korea have diminished dramatically due to

trendy artists, new technology, and the image of modern-day South Korean lives manifested

through dramas and movies.

Researchers and observers generally agree that the most likely justifications for the popularity

and fame of South Korean culture throughout Asia include South Korea’s high income levels,

the close cultural relationship and affinity they share with neighboring Asian countries (Ryoo,

2007, p. 140). As a result of these and other economic developments, “South Korea is now the

twelfth largest economy in the world, and its entertainment companies are able to finance shows

and movies with production values much higher than in most of Asia” (Ryoo, 2007, p. 140).
As mentioned, the Korean wave has had a remarkable and significant impact and influence in

various ways regarding its relationship with other countries. Thoughts and ideas towards Korea

has not been respectable in the past, but the Korean wave has fundamentally changed the

national image of Korea in a progressive way. The Korean wave ultimately improved Korea’s

image in foreign countries, which in turn created a ripple effect that has extended its scope much

farther than just the Korean economy or jurisdiction.

Korean wave in the Philippines

Korean Pop Culture

Table 1: Korean Pop Culture Defined

AUTHOR DEFINTION
Nor Hashimah and Zaharani, (2011). Also known as Hallyu or Hanryu refers to
the popularity of South Korean popular
culture in other Asian countries

Park, Shin-Eui and Chang, (2001) Refers to Korean music, drama, film, and
even fashion cuisine that have swept the
world since the late 1990.

Yang (2012) Korean popular culture also known as

Ravina (2008), Hyejung (2007) in (Lee, Refers to a surge in the international

The Korean wave or Hallyu refers to Korean pop culture which primarily includes music, drama,

film, and even fashion cuisine that have swept the world since the late 1990s. At first, Korean

pop culture spread naturally to its neighboring countries. With the massive potential of the

Korean wave, the Korean government exerted significant efforts in broadening its popularity and
fame’s scope worldwide. This act of reinforcement is done by supporting producers of culture in

the entertainment industry (Park, Shin-Eui and Chang, 2001).

Since the mid years 1990, Korean popular culture has spread over the pan ethnic-Chinese

countries including China, Hong Kong, Taiwan, and Singapore at first, then continue to spread

into Southeast Asian countries as Vietnam, Thailand, Malaysia, and Indonesia, followed by

Mongolia, Japan, and even beyond East Asia. (Yang, 2012)

Estavillo (2012) emphasized that the Korean Wave or Hallyu is not only popular in Philippine

but it is a world-encompassing phenomenon. “Hallyu” or the “Korean Wave” is unparalleled. It

is being enormously consumed in all parts of the world.

The ginormous popularity of Korean pop culture is not only with simply earning foreign

currency, especially considering that the country has had some diplomatic friction with its

neighbors in the past years. The Vietnamese still vividly remember that Korean fought alongside

them against their Liberation Army during the Vietnam War. The disengagement of Korea in its

diplomatic relations with Taipei in order to establish new ties with Beijing in 1992 had left a

feeling of betrayal for the Taiwanese In this respect, Korean Wave have contributed to

improving Korea’s foreign relations (Australia, 2012).

A. Music
As defined by Kpop for Beginners (2017), K-pop is a shortened term of Korean pop or Korean

popular music which refers to a musical genre consisting of electronic, hip hop, pop, rock, and

R&B music initiating in South Korea. Korean pop comes in a magic form of mixed Western-

Korean style with impressive vibes and feels, dramatic music videos with stunning graphics and

inspiring lyrics all performed by aesthetic-like artists. These features and characteristics of Kpop

are what motivates non-Korean viewers to enjoy this music genre even with the language barrier;

they enjoy it even without understanding the lyrics. They wait for English or Arabic translation

to come out or start learning Korean. “K-Pop utilizes the English language in varied ways as

well, whether to insert youthful rebellion or challenge tradition, while at the same time

maintaining traditional values in the Korean lyrics” (Leung, 2012, p. 84).

K-pop group set strict choreography goals; they perform highly sophisticated dances that are

split-second synched with their music. Hong (2014) stated that K-pop is overtaking J-pop

(Japanese pop) in the west because Korean culture is naturally puritanical and conservative

which is a good thing for global audiences. In general, Hallyu not only offers entertainment

products, but also delivers a lifestyle (cultural habits, tastes, mode of living, and a new

language). It is available in a “package deal” in international or worldwide markets; a fact that

not all viewers realize.

The Filipino music industry also adapted South Korean elements. Around 2010,

entertainemn=ent agencies have launched a number of Pinoy Pop (P-pop) groups with musical

styles and fashion resembling that of K-pop groups (“K-pop-inspired Pinoy Group,” 2010).

Unlike the success of the Korean-inspired teleseryes or dramas, P-pop received criticisms from
K-pop fans and non-fans alike. Questions regarding creativity, colonial mentality, and the loss of

the Filipino sound had risen which eventually led to the end of this style of Pinoy Pop. Despite

its failure in the Filipino market, this further justifies that a distinguishable and different Korean

pop culture counterpart indeed exists, and other countries are adapting and acculturating it into

their own (Jang 2016)

B. Korean Dramas and Shows

Korean dramas are series with a standard of 16-20 episodes. Some of its genres includes

“Romance/Comedy, Melodrama, Makjang (Extreme Soap Opera Melodrama), and Sageuk

(historical drama)/Fusion Sageuk (historical drama containing modern scenes/elements or

fantasy). Aside from that, there are also medical and crime dramas in addition to work-place

dramas, Misaeng. In South Korea, the word “drama” is considered and is equivalent to “series”

in general. Therefore, “Korean drama” refers to any genre of Korean series and not in

particularly a drama. K dramas have abundant features and aspects. The most remarkable feature

is the fact that they convey the norms and customs of Korean culture in daily life. Korean TV is

clean, as compared to western movies, and street swearing is rarely uttered. Watching a K-drama

gives fresh vibes with new language, amazing plots (that are flexible to develop, based on

viewers’ reactions), new culture, and new life issues of people with distinct ideologies and

beliefs. South Korean dramas typically deal with family issues, love, and filial piety in an age of

changing technology, and often reinforce traditional values of Confucianism as “an ethical

system that is taught in Chinese schools as a religion that is based on affection towards parents,

family, and friends”. (Ryoo, 2007, p. 140)

products of Thailand and Indonesia, the acculturation of Korean elements exists in Philippine

soap operas, or teleseryes. Louie Jon Sanchez from the Ateneo de Manila University‟s

Department of English calls this the “Korean Turn.” According to him, it is a “so called

televisual process [that] has introduced innovations, not only in form but also in content,

radically changing the viewing habits of Filipinos reared in dramas of epical length and

melodramatic proportion” (2014, p. 3). Following this thought, it is implied that Filipino

teleseryes have begun to trail particular forms or elements of Korean dramas (K-dramas). A

particular example is the ABS-CBN drama Princess and I, which stars Kathryn Bernardo, Daniel

Padilla and Enrique Gil. At first glance, it readily comprises Korean elements, such as youthful

aesthetics and visuals, elaborate costumes and wardrobe (similar to those in period/historical

Korean series), the concept of royalty and monarchical authority (as presented in Princess

Hours). There is also the premise of mobility of the leads, as seen in K-dramas Lovers in Paris

and Descendants of the Sun. Lastly, the Korean-inspired visuals and looks of the male leads

Padilla and Gil are subtle but noticeable encompasses that of the Korean Wave (pp. 10-11).

Korean dramas has become a huge hit in the 2000s. Top Korean drama series (locally called

"Koreanovelas") were imported and dubbed to Filipino. Philippines and many other Asian

countries have replicated the success of “Dae Jang Geum” or Jewel in the Palace. Another

Korean Drama that hooked the attention of Filipinos in Korean Culture was Boys over Flowers

which was dubbed and broadcasted in ABS-CBN from May to August which left a significant

impact on Filipino viewers.

Korean dramas. In past years, GMA Network aired many dramas, including Full House, All

About Eve, My Name is Sam Soon, Stairway to Heaven, Jewel in the Palace, Endless Love

(Autumn in My Heart). On the other hand, ABS-CBN has aired a number of Koreanovelas,

including Marrying a Millionaire, 101st Proposal, Green Rose and Memories of Bali (Ramadhani,

2012).

C. Food

Korean cuisines and cooking were never heard of in Philippines until the year 2000. It took

television, specifically the Korean drama Jewel in the Palace to introduce what Korean cuisine is

all about. Korean restaurants in Philippines were originally intended to cater Korean expatriates

residing in the country. As the curiosity of Filipinos brought them to Korean restaurants, the

general surprise brought by spicy fermented vegetables or kimchi created the imagined concept

that ―Korean foods are spicy. While it created an addicting intoxication of Korean culture, it

created at least two divergent attitudes among Filipino consumers: (1) dilution, or the search for

toned down or Filipinised version of Korean cuisine, and (2) authenticity or the desire for

authentic Korean cooking. From these attitudes can be derived the idea that Korean culture can

be deciphered and understood by Filipinos through a sustained inclination towards this imported

culture.

Hansik (literally means Korean Food) is a product of millennia of cultural ecology in which

Koreans created thousands of recipes based on different factors such as topographic-

environmental, religious-philosophical, and socio-economic realities. However, this historical

reality lacks interpretation and understanding (Joven, 2012-2013).

A. General Effects

The ginormous popularity of Korean pop culture is not only with simply earning foreign

currency, especially considering that the country has had some diplomatic friction with its

neighbors in the past years. The Vietnamese still vividly remember that Korean fought alongside

them against their Liberation Army during the Vietnam War. The disengagement of Korea in its

diplomatic relations with Taipei in order to establish new ties with Beijing in 1992 had left a

feeling of betrayal for the Taiwanese In this respect, Korean Wave have contributed to

improving Korea’s foreign relations (Australia, 2012).

The Korean Wave has a positive impact and potential that promotes Korea’s soft power

approach. For instance, Sung (2010) notes the Korean Wave built a positive relationship between

Taiwan and South Korea and has provided Taiwanese a different perception about Koreans and

the country itself. Moreover, the Korean Wave has promoted increasing socio-cultural bond

(Jang and Paik, 2012: 197-198). The impact of popular dramas diffused South Korean culture to

daily culture in foreign countries and influenced a number of tourists to experience a drama-like

feels and vibes through its traditional cuisines as seen in Korean drams. The lifestyle and ways

of thinking as expressed in Korean dramas influenced the viewers to increase consumption of

Korean foods and goods (Jang and Paik, 2012: 201).

perceptions about Korea are bound to affect the identity of all Koreans, including those living

outside Korea.

Koreans abroad are typically ethnic minorities in the host country and their identities are highly

prone to the views of the native hosts. Hence, Korean transnationals will have greater impacts

and effects in intercultural circumstances, where Korean identity becomes a more salient factor

in the interaction. Therefore, Hallyu is expected to play as a vital factor in the lives of Korean

transnationals in other countries. (Kim, 2014).

B. Effects on Adolescents

Adolescents are categorized as youth who are between childhood and adulthood. They are a step

secure from childhood and a step forward onto the world of adulthod. Adolescents have three

sub-stages; early adolescence, middle adolescents and late adolescence. Early adolescence is

between 10 until 14 years old, middle age is 15 until 17 and late adolescence is 18 until early 20

(Connell et al., 1975).

According to Soetjiningsih (2004), adolescence is a time of evolution between the times when

children start to become sexually matured which is between the age of 11 or 12 years to 20 years,

and this is also known as the phase of young adulthood. The different age stages for adolescence

is further elaborated by different scholars such as Adams and Gullota (1997) who include age

between 11 to 20 years, whereas Hurlock (1990) divides adolescence into early adolescence (13

to 16 or 17 years) and the end of adolescence (16 or 17 years to 18 years). Early and late
adolescence is distinguished by Hurlock (1990) because at the end of adolescence the individual

has reached the transitional developments closer to adulthood.

According to Sri Rumini and Siti Sundari (2004) adolescence is a time of transition from

childhood to adulthood when they began to experience all aspects of developmental changes to

enter the world of adulthood.

Hallyu is more prominent and has successfully infiltrated into the life of many Asian teenagers,

particularly among the Malaysian youth. Moreover, the phenomenon of Hallyu has been well-

accepted and this development has instantaneously given a positive impact in promoting Korean

socio-culture in Malaysia (Hashimah and Zaharani (2011).

In the contemporary society, researchers further found that the Korean Wave or Hallyu

phenomena have further transformed today’s young generation. Many teenagers or adolescents

have developed two distinct identities: local and global identity. The former refers to their

identities based on their indigenous traditions and the latter, based on their exposure to a global

culture conveyed through media. Therefore, Korean popular culture is claimed to have aspects

that are able to transcend across racial, ethnic and geographical boundaries. Even though youth

do not behave or think in exactly the same way, many similarities suggest that the vast majority

of adolescents fit somewhere within the mainstream of Korean youth popular culture (Arnett

(2002).

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BEYOND THE “CRAZE”: THE UNDERLYING
EFFECTS OF KOREAN WAVE ON
ADOLESCENTS IN PHILIPPINES