THE EMERGENCE OF K-POP CULTURE FANATICISM

AMONG FILIPINO YOUTH: SOCIAL MEDIA PARTICIPATION

AND PROMOTION IN SUSTAINING THE HALLYU

________

An Academic Paper Presented to

The College of Communication
Polytechnic University of the Philippines

_______

In Partial Fulfilment
of the Requirements for course
CORE 30023 Fundamentals of Communication Research

______

By

Pamela Jean V. Turiano

BACR 1-1N

July 2021
 The Emergence Of K-pop Culture Fanaticism
Among Filipino Youth: Social Media Participation
And Promotion in Sustaining the Hallyu

ABSTRACT

K-Pop or Korean Popular Music is one of the most popular music genres in the Philippines,
regardless of gender; it is already embedded in everyone's lives. Content dissemination is
faster and easier with the help of the Internet. It allows media users to curate content and
interact with other people. This study is a quantitative research that aims to know how Filipino
youth use social media and consume K-Pop to sustain Hallyu or global success. In accordance
with this, the researcher used quota-convenience sampling and conducted an online survey
with 50 respondents. The study's findings show that social media plays a role in creating and
preserving the fan culture. K-Pop fans engage in a variety of social media activities and
consume content, which leads to the formation of subcultures and the construction of one's
identity. Factors such as frequency, mode of consumption, and the type of artist they support
influenced both the respondents' active participation and the outcome of this study.

Keywords – K-pop, Hallyu, Filipino Youth, Social Media, Participation, Promotion

INTRODUCTION

Social media has become an integral part of our everyday lives. It is a technology-based tool
that facilitates, shares, and disseminates information, thoughts, ideas, and innovations
worldwide. In addition, Schroeder (2016) stated that social media generally requires a certain
level of active mutual participation.1 Millions of users communicate across various channels to
establish connections and foster a sense of togetherness and belonging. Interaction with other
individuals, both direct and indirect, has the potential to build communities. Social changes
happen as humans go through a process of transition over time.

People are continuously communicating through digital technology, experiencing many

aspects of culture, and the youth are quick to adopt. The youth have wide access to a variety
of social media platforms in today's Digital Age. As a result, they become one of the online
community's innovators and creators. They are currently the most rapidly rising content
creators. The Internet has allowed them to generate content as well as manipulate and
disseminate it. As a result, they become the most vulnerable, accessible, valuable, and easy
target for marketers. The chances of coming across such content are high.

The increase in popularity of digital and social media has created opportunities for the music
industry to thrive. Because music is strongly reliant on media and is one of the most easily
transported media products worldwide, Korean entertainment agencies rely on it as a means
of communication. Their broadcast programs have become available to a wide range of
audiences, resulting in a million social media users discovering K-pop content and interacting
with what we call K-pop fans, who have established an online community by interacting with
a common goal in mind—to keep the Hallyu alive.

K-pop, as the general public was aware, is an abbreviation for Korean Popular Music.
According to Kim (2017), K-Pop is a popular music genre in South Korea distinguished by
using music videos as an audio-visual marketing approach.2 Similarly, as Hiu (2016) stated,
A diverse range of musical styles characterizes k-pop. A basic formula of blending catchy
tunes with dance moves performed mainly by boys and girls, using social media as the primary
distribution mechanism.3 It is a unique genre of music that is perfectly suited to the 21st
generation, which has been the target of this global phenomenon.

In line with Korean Film and Drama, K-pop is one of the most dominant indicators of Hallyu.
As stated in the study conducted by Tolou (2017), the term 'Hallyu' is a combination of the
Korean word 'Han,' which means 'of Korea,' and 'Ryu,' which means 'current.' Combined, they
formed 'Hanryu,' which has been Romanized as 'Hallyu,' giving birth to the phrase 'Korean
Wave.'4 Hallyu refers to Korean Entertainment and culture's phenomenal growth and

1
Schroeder, R. (2016). The globalization of on-screen sociability: Social media and tethered togetherness. International Journal of
Communication 10 (2016), 5626-5643. https://ijoc.org/index.php/ijoc/article/download/5729/1846

2
Kim, A. (2017). Korean popular music (K-Pop), youth fan culture, and art education curriculum. [Master's thesis, University of South Carolina].
Scholar Commons. https://scholarcommons.sc.edu/etd/4368
3
Hiu, J.K. (2016). The globalization of k-pop: The interplay of external and internal forces (Matriculation No. 249536) [Master’s thesis,
Furtwangen University]. https://opus.hs-furtwangen.de/frontdoor/deliver/index/docId/1294/file/Furtwangen_MBA_Hiu+Yan+Kong.pdf

4
Tolou, V. (2017). Sustaining the hallyu International social media promotion and buzz for south korean movies and series. [Bachelor’s thesis,
Tampere University of Applied Sciences]. CORE. https://core.ac.uk/download/pdf/38114782.pdf
international success in a more comprehensible definition, which involves music, films, and
dramas, allowing more Korean creators to gain recognition globally.

As K-pop continues to have an enormous effect on the music industry and expand across the
world, with social media serving as the primary marketing device, this study aims to answer
the following questions:

1. What factors influence fans' active participation and promotion?

2. How do K-pop fans communicate with one another to sustain the Hallyu?
3. What role does social media play in the creation and preservation of fan culture?
4. Do social media and fan culture construct their self-identity?

This study primarily focused on K-pop fans, specifically Filipino youth, regardless of gender.
The researcher aims to know how Filipino youth use social media to keep the Hallyu alive.
The data gathering procedure should be carried out on 50 respondents using an online survey
questionnaire posted on social media. The survey would stay open until the target number of
respondents has been reached. Then, posting it on social media would increase its exposure
to the target group of people.

K-pop is prevalent across the world. As a result, more and more youth have become interested
in this phenomenon. It would be a new study area for future researchers as it would address
how individuals show their support for their idols and the underlying concepts such as the
external and internal factors contributing to their behavior.

The researcher firmly believes that studying fan culture would shed light on each type of
communication process they exhibit. This research would also disclose the kind of culture
developed because of social interactions and how it has shaped their identity. This study may
persuade those who have negative perceptions against K-pop fans to reconsider their stance
and understand the fans' fascination.

In this study, local media would learn about the interests of Filipino youth. Locals can generate
and improve the content by following the latest trends. Furthermore, it was stated that social
media was used as a marketing device; this study encourages audiences, particularly Filipino
youth, to be more conscious and critical in their usage of social media, hence creating a
healthy space and community. Most importantly, this study advises the audience to
understand intercultural relationships to break stereotypes and introduce Filipinos to diverse
cultures worldwide.
BODY

A common knowledge about K-Pop is that it is a music genre with repetitive lyrics patterns,
choruses filled with vocables that seem meaningless and entirely out of context, loud
instrumental music, and energetic choreography. For some, it is considered noise and
therefore cannot be called music. Moreover, people seem to believe it is popular mainly
because of its visual factor rather than its talent. A common misconception about K-Pop fans
is that they try too hard to be Korean and overly praise and fetishize Korean culture. People
would question their music preference and ask, "naiintindihan mo ba 'yan?". Unlike western
artists, K-Pop is more feminine in appearance and song, most likely why people react
negatively and stray away from it without having educated beliefs.

Apparently, K-pop became popular in the Philippines around 2008. It made its first appearance
on Philippine television through the program MYX Music Channel. Music companies
distributed Korean albums in the country and become bestsellers in music stores. In response
to fans' demand for K-Pop content, the MYX channel debuted Asia MYX in December 2009,
followed by Pop MYX K-pop Edition in May 2010. The year 2010 was another breakthrough
moment in the history of K-Pop (Alanzalon, 2011).5

Remember when the song Nobody by Wonder Girls went viral in the Philippines? The whole
nation was bewitched by this crazy dance craze and got hooked, not realizing it was a K-Pop
song. Following this trend, PSY's music has become a regular feature on every Filipino's
playlist. Without a doubt, K-Pop sparked the interest of Filipino audiences. Since then, K-Pop
has dominated the Philippine music industry, resulting in the emergence of fandoms or fan
culture on different social media platforms.

Fan culture, also known as fandom, is a group of people who support the same artist and work
together to promote it, also called participatory culture. Consumers are actively encouraged
to disseminate new content (Kong 2016).6 According to Pacis (2012), fans are the most active
and passionate media consumers.7 They dedicate their time and efforts to supporting and
promoting their idols on various social media platforms and believe that their contributions
matter to the community. Their actions are reflections of how these media texts influence their
social reality.

However, mainstream media portray fans negatively. As a result, fans are perhaps the most
misunderstood media audience. The media's unfavorable portrayal of fans has overtaken fan
culture. Typically, the media portrayed fandom as an uncontrollable and socially unacceptable
desire (Hills 2002, as cited in Linden & Linden, 2016). In addition, Stanfill (2013, as mentioned
in Linden & Linden, 2016) describes that being a fan entails being immersed in dominant
notions about the "right way" to interact with the media and emotionally invested in a

5
Alanzalon, S.K. (2011). Kpopped!: Understanding the filipino teens’ consumption of korean popular music and videos. [Bachelor’s degree,
University of the Philippines Diliman]. Iskomunidad. http://iskwiki.upd.edu.ph/images/d/d5/Alanzalon,_Sarah_Kristine_Masiglat_04-
11_Kpopped!.pdf

6
Hiu, J.K. (2016). The globalization of k-pop: The interplay of external and internal forces (Matriculation No. 249536) [Master’s thesis,
Furtwangen University]. https://bit.ly/2UgwxYz

7
Pacis, J.C. (2012). Popping the k-pop bubble: A study on the world of k-pop fandom as a subculture. [Bachelor’s degree, University of the
Philippines Diliman]. Iskomunidad. http://iskwiki.upd.edu.ph/images/4/4a/PoppingTheK-popBubble.pdf
subculture that is perceived to violate norms.8 This discourse implies that fans have been
socially and culturally conditioned to interpret ideas in a specific way and based on how they
communicate with others.

The statement, as mentioned earlier, is just one of the proofs of the growing popularity of K-
Pop in digital media. The consumption of K-Pop content by Filipino fans is very noticeable in
several ways. They deliver content through Facebook, Twitter, Instagram, and other platforms.
As a result, this group of people has dominated digital media, forming a transnational online
community in which they believe their contribution would increase the online presence of the
artist they support. The scenario of K-Pop fan culture in the Philippines has flourished until it
has become a full-blown culture of its own. Given the technological advancements of this era,
this was not a surprising phenomenon. According to Deen (2009), Guevarra & Lipura (2014),
joining an online community often indicates a need to express one's affiliation. 9 Fans look for
people who share similar interests. In this way, they would express their support collectively,
and their insatiable admiration and fascination would be fulfilled. As fans gather, they would
be able to form a unique subculture.

Herzog et al. (1999) described subculture as social groups formed around shared interests
and practices.10 A lot of what's been mentioned, subcultures are usually considered to deviate
from the standard norms of dominant culture. Members within this subculture maintain a
unique identity. Most subcultures are centered on a specific musical genre.

The formation of these subcultures is aided by media consumption. Fans consume the media
regularly to meet their needs. It has become a part of their daily routine, possibly as an
additional interest with emotional attachment. Rather than perceiving it as a waste of time,
fans saw it as a way to build one's identity and self-esteem. Appadurai (1996) cited that virtual
communities are more prone to create "imagined worlds that are chimerical, attractive, and
even fantastic items when judged by the criteria of some other perspective and imagined
world."11 The rise of K-Pop fan culture has reconstructed identities and expanded their
activities inside online communities with shared interests. It may have been used to learn
something new about oneself. However, this newfound identity may produce tension within
the fan base as fans compete for fan knowledge, access to information, and fandom status.
Those considered seniors possess the most influence and authority over the whole fandom.
Fans strive to be recognized by other fandom members, be credible, and acknowledge their
efforts as a cultural contribution to the artists' online presence. It was never an easy task;
therefore, some fans may or may never interact with others.

Despite the negative connotations associated with fans, they continue to be active. The spirit
of openness, dedication, determination, and participation are their notable characteristics. The

8
Linden, H., & Linden, S. (2016). Fans and fan cultures: Tourism, consumerism and social media (pp. 73). Palgrave Macmillan, London.
https://doi.org/10.1057/978-1-137-50129-5
9
Deen, C. (2009). Formation, purpose and gains: An exploratory study of hallyu fanclubs in the philippines. In A. Gueverra, & S.D. Lipura (Eds.),
The Hallyu Mosaic in the Philippines: Framing Perceptions and Praxis (1st vol., pp.25-34).
https://journals.ateneo.edu/ojs/index.php/aiks/article/view/2009

10
Herzog, A., Mitchell, J., Soccio, L. (1999). Interrogating subcultures. Electronic Journal for Visual Studies.
https://www.rochester.edu/in_visible_culture/issue2/introduction.htm

11
Appadurai, A. (1996). Modernity at Large: Cultural Dimensions of Globalization (pp. 35). Minneapolis: University of Minnesota Press.
https://hdl.handle.net/2027/heb.06472
enthusiasm of fans had a significant role in the success of Korean Entertainment. With all of
the attention and success that South Korean culture has received, Hallyu is indeed a
phenomenon, not to mention its popularity, particularly in the K-Pop music genre. Social media
was an effective marketing tool to sustain the Hallyu. By consuming Korean media products,
fans have identified their own identities and groups in which they may be themselves. Even
without the help of social media, South Korean culture will thrive, and fans and non-fans will
equally be exposed to such information on a variety of platforms. Everyone has a different
interpretation of what it means to be a fan and act as a fan. The need for entertainment in our
life is essential for satisfying ourselves and discovering our potential.
PRESENTATION OF FINDINGS

The primary objective of this study is to reveal the process by which K-Pop fans participate
and promote in online media to sustain the Hallyu. To do this, the researcher utilized a
quantitative method as a study guide. The instrument measured four variables: frequency and
ways of consuming K-Pop content, language in a subculture, acquired knowledge, and self-
identity construction.

The researcher conducted an online survey with 50 respondents via quota-convenience

sampling. The respondents were 15-24 years old active K-Pop fans, regardless of gender. A
frequency and percentage computation were used to interpret the data gathered.

Gender of the Respondents

Gender Frequency Percentage

Male 4 8

Female 46 92

Total 50 100

Table 1. Gender of Respondents and Percentage

Table 1 shows the overwhelming majority of respondents, 92% or almost 9 out of 10, are
females, while male respondents occupy only 8% or almost 2 out of 10. The gender gap
between male and female respondents is relatively large, and female K-Pop fans outnumbered
male fans. Male fans are rarely seen on social media because other media audiences may
misunderstand them. As stated by Shen (2016), K-Pop has extremely few male fans because
of gender stereotypes.12 The general idea of masculinity is associated with men. They will be
perceived as less manly if seen having extreme reactions, enjoying K-Pop content, or simply
gushing over a cute boy or cute girl. Despite the stereotypes, K-Pop is still for people of all
genders.

Age of the Respondents

Age Frequency Percentage

15 2 4

16 2 4

17 0 0

18 11 22

12
Shen, R. (2016, December 19). Why does korean pop music have very less male fans? [Comment on the online forum post I’m not totally
sure: I think most of it would be gender norms. What seems more normal to you:]. Quora. https://www.quora.com/Why-does-Korean-pop-music-
have-very-less-male-fans
 19 29 58

20 3 6

21 0 0

22 2 4

23 0 0

24 1 2

Total 50 100

Table 2. Age of Respondents and Percentage

As shown in Table 2, 19-year-old fans had the highest representation, 58% or almost 6 out of
10. Meanwhile, individuals under the age of 18 accounted for about 22% of the total or 2 out
of 10 respondents. Additionally, 20 years old gathered 6% or 1 out of 10 respondents, while
the rest were 15, 16, and 22 years old, with 1 out of every 10 respondents also. Since the
target respondents are Filipino youth, the researcher specifically set the 15-24 age range. This
age range is the common users of social media. As previously said, youth are the target
audience of this phenomenon. As more young media users consume K-Pop content, some of
them may have already been exposed to the negative perception of K-Pop expressed by
others. They are highly vulnerable to fan wars since they are young and may believe that
defending their idols is appropriate behavior. Furthermore, young fans might not understand
the significance of the content they consume and promote.

FREQUENCY AND WAYS OF PARTICIPATION AND PROMOTION

In this part, the variables participation and promotion were measured by indicators such as
frequency and ways of consuming K-Pop content. In terms of ways of participation and
promotion, respondents were asked a multiple-response question. In line with this,
respondents were also asked about the type of media they use and the artists they support,
which was also a multiple-response question that may contribute to their active participation.

Frequency of Consuming K-Pop Content

Hours spent consuming K- Frequency Percentage

Pop content

1-2 hours 6 12

3-4 hours 22 44

5-6 hours 13 26

More than 6 hours 9 18

Total 50 100

Table 3. Frequency of Consuming K-Pop Content

In Table 3, a huge percentage (44%) of respondents, or almost 4 out of 10, consume K-Pop
content 3-4 hours per day, while 26 percent or nearly 3 out of 10 respondents answered 5-6
hours. Even fewer (18%) or about 2 out of every 10 respondents consume K-Pop content for
more than 6 hours. Only 12% or 1 out of 10 consume K-Pop content for two hours. The amount
of time spent reflects how active and exposed fans are in social media and K-Pop content. In
relation to K-Pop fans' ages, those between the ages of 15 and 24 and spend more time are
mainly the target of Korean Entertainment. This type of fan is mostly the ones dedicated to
promoting media texts. The frequency and duration of consuming K-Pop content may develop
or adopt a specific online behavior displayed by other fans and their idols. More prolonged
exposure to K-Pop content may unconsciously increase or elicit a new attitude and behavior
in them.

Social Media Platforms Used by Respondents to Consume K-Pop Content

Type of social media used Frequency Percentage

Facebook 44 30

Twitter 40 27

Instagram 39 27

YouTube 9 6

Weverse 4 3

TikTok 4 3

V Live 4 3

Genie 1 1

Melon 1 1

Total 146 100

Table 4. Type of social media Used in Consuming K-Pop Content

According to the data, Facebook is the most popular social networking platform among K-Pop
fans, with 30% or 3 out of 10 respondents using it. Next in line are Twitter and Instagram,
which comprise over 27 percent of all respondents, or nearly 3 out of every 10. These are
three most used media outlets among K-Pop fans. The respondents suggest the following
platforms. Only 6%, or 1 out of every 10 respondents, uses YouTube. Weverse, TikTok, and
V Live were chosen by even fewer (3%) or 1 out of every 10 respondents. South Korean
entertainment developed Weverse and V Live, Korean apps, and web services specialized in
creating a fan community where fans and idols can interact. The respondents suggested these
digital platforms.

Moreover, Genie and Melon, a Korean app for streaming music, are used by 1% of
respondents. Social Media indeed breaks down barriers between idols and fans. The rise of
technology allows this phenomenon to expand even further. Producers, casting, training,
producing/promotion, social media, and content are essential success aspects of the K-Pop
industry (Kim et al., 2021).13 K-Pop fans are computer-literate consumers who voluntarily

13
Kim, J., Jung, S., Roh, J., & Choi, J. (2021). Success factors and sustainability of the k-pop industry: A structural equation model and fuzzy set
analysis. Sustainability. 13(11), 5927. https://doi.org/10.3390/su13115927
engage in different activities; as a result, South Korean Entertainment would be able to secure
consumers' loyalty, cooperation, and participation. If fans enjoy the content, they are more
likely to talk about K-Pop more in the future.

Respondent's Choice of Artist

Type of K-Pop Artist Frequency Percentage

Boy group 37 30

Girl group 42 34

Soloist 20 26

Band 26 21

Total 125 100

Table 5. Respondent's Preferred Type of K-Pop Artist

Table 5 displays four types of K-Pop artists that respondents may encounter. As can be seen,
the majority of respondents, 34 percent or 3 out of 10 respondents, chose the Girl group. The
Boy group comes in second with 30% or 3 out of 10 respondents. Only 26% of respondents
or nearly 3 out of 10 chose Soloist, while 21% or 2 out of 10 picked Band. Due to the common
misconception that girl groups perform poorly. Some new fans go toward boy groups right
away. Boy groups overshadow girl groups and other types of artists, placing them in the
spotlight. However, in present times, girl groups are game-changers who can climb to global
fame like boy groups.

In an article, critic Park Soo Jin stated that girl groups were on the rise as many transformed
their image from passive girls to active ladies (Dong, 2020).14 Twice, Blackpink, and Red
Velvet are compromising and thriving in a boy group-dominated music industry. Girl groups
are shifting from cute incarnate to sexy and charismatic or girl crush concepts. These
adjustments appear to have piqued fans' interest, as many are now paying attention to them.
According to Kim (2019), female fans are more loyal than male fans and more likely to spend
money.15 If we relate this to the gender of the respondents, female fans who support girl groups
are more likely to adopt their makeup and fashion preferences and possibly develop a sense
of sisterhood. The course of events is constantly changing, and South Korean agencies have
customized the content according to the tastes of female fans.

If the type of artist affected the respondents' participation and promotion

Response Frequency Percentage

I am more active. 38 76

It does not matter at all. 12 24

14
Dong, S. (2020, May 18). Do k-pop boy band outperform girl groups? The Korea Times.
https://www.koreatimes.co.kr/www/news/nation/2020/05/732_289674.html
15
Kim, L. (2019, August 4). How female fandom power helped give rise to girl groups once more. Soompi.
https://www.soompi.com/article/1343207wpp/how-female-fandom-power-helped-give-rise-to-girl-groups-once-more
 Total 50 100

Table 6. The Influence of Artist Type on Participation and Promotion of Respondents

The findings of the study showed that 76% or almost 8 out of 10 respondents are more active
when they support a specific type of artist. While the rest, 24% or 2 out of 10, believe that the
type of artist does not matter and does not influence their active participation and promotion
in social media. As previously said, girl groups are in high demand these days due to increased
active female fans. They made significant contributions, ranging from music streaming to
album sales, allowing the artist to gain popularity. Many fans are not just active consumers,
but they are also content producers.

Ways of Consuming K-Pop Content

Ways of Consumption Frequency Percentage

Managing a Stan Account and

Reposting Posts 18 9

Watching Music Videos 48 23

Online Streaming of Music 44 21

Participating in Forums, Fan

Clubs, and Fan Projects 8 4

Making Song/Dance Covers 11 5

Creating Fan arts 5 2

Writing Fan fiction

6 3

Online Purchasing of
Merchandise 23 11

Translating Media Texts 3 1

Voting for Idols Online 45 21

Total 211 100

Table 7. Respondents' Way of Consuming K-Pop Content

To discover how respondents consume K-Pop content, the researcher generated a multiple-
response question and got a total of 211 responses. Table 7 shows 10 activities carried out
on various social media platforms. It is clear that 23% or 2 out of 10 respondents' way of
consuming K-Pop content is through watching music videos. Online music streaming and
voting for idols online occupy 21% of all responses or 2 out of every 10 people. Only 11% of
respondents preferred online purchasing of merchandise, while 9% chose to manage a stan
account and reposting posts. Only 5% of those surveyed stated they enjoy making song/dance
covers.

Furthermore, 4% were involved in forums, fan clubs, and fan projects, 3% were active in fan
fiction writing, 2% were interested in fan art creation, and 1% were associated in media
translation, making up 1 out of every 10 respondents. These types of activities are called fan
labor. As K-Pop fans are highly creative and create objects of fandom, fan labor contributes
to the success of K-Pop. Fans create, produce, and distribute their content for their
satisfaction. Sun (2020) defines that K-pop fan labor is consists of unpaid activities performed
by fans online. Sun (2020) established three categories of fan labor for a better understanding:
specialized labor, managerial labor, and unskilled labor.16 This study will mainly focus on
specialized and unskilled labor.

Specialized Labor

This type of fan labor is the product of fans' creativity, knowledge, and other skills. From the
table above, some of the specialized labor includes making song/dance covers, translating
media texts, creating fan arts, and writing fan fiction.

K-Pop has the most talented and all-around fans. However, memorizing their idols' names is
not an easy task since the language is unfamiliar, and the pronunciation causes their tongue
to twist. Additionally, familiarizing their faces was also challenging. When it is your first time in
K-Pop, your first impression would be that they all look the same.

It is pretty challenging to learn an entire dance and choreography. Those who can perform
both at the same time deserve hands down. Since then, K-Pop dance covers have been
popular. It may be seen on YouTube and other sites, proving the phenomenon's success.
After mastering the dance tutorials, fans would record themselves dressed up as their idols
and upload it on social media. People's attention will be continually drawn to it because of its
catchy sounds and energetic dance moves. Even if you are not a fan, I am sure you'd move
up to your chair and dance along if you heard a quite familiar song. Many Filipino artists have
covered K-Pop songs. Just like Ben and Ben, who surprised their fans with K-Pop song covers.
Ysabelle Cuevas, a YouTube content creator, is another well-known artist that does song
covers. The twist is that she will not just sing the original song; she will translate it into English.

Some fans translate media texts on various platforms. They become the reason why fans can
comprehend the meaning of each piece of content. Since idols appear on many shows, do
interviews, and create their content, fans have made it their duty to translate everything to
benefit the entire fandom. As a result, foreign fans are not left in the dark and must cross
bridges and other barriers to enjoying sharing related content. Language is one of the barriers
of K-Pop, but due to translators, it will dissolve, and fans come to an agreement. Furthermore,
these translators spread the word worldwide, bringing a larger audience to K-Pop and thus
strengthening the Hallyu.

Fan arts are all over the Internet. A single stroke of a pencil was capable of replicating the
image of their idols. It could be realistic or fantastical, in black and white. These fan artworks
are also available in digital form. These created works of art could also take the form of
unofficial photo cards, key chains, pins, stickers, shirts, jackets, hats, cheering slogans, dolls,
transparent fans, mini banners, and other merchandise.

Idols aren't the only ones gaining popularity; fans could achieve fame by writing fan fiction.
Fan fiction involves pre-existing characters, real people, and the real world. In fan fiction, the

16
Sun, M. (2020). K-pop fan labor and an alternative creative industry: A case study of got7 chinese fans. Global Media and China. 5(4) 389–
406. https://doi.org/10.1177%2F2059436420954588
main character is their idol. Writers provide them with a unique personality and story that differs
from current information. Filipino fans are making noise on Twitter by creating AUs or alternate
universes. It's a text story featuring an imagined conversation between two characters, one of
them is their idols and the other created by them. However, a downside of this fan fiction is
the developing obsessive behaviors of fans. Fan fiction writers use real people, and the
developed personalities may be misunderstood by fans, causing them to embarrass their idols.

Unskilled Labor

This type of fan labor emerges on social media. The fans' involvement with their idols' released
content contributes to K-Pop's online presence. It is based on their time and energy. From the
table above, some of the unskilled labor includes watching music videos, online streaming of
music, voting for idols online, managing a stan account and reposting a post, participating in
forums, fan clubs, and fan projects, and online purchasing of merchandise.

With Hallyu spreading across the globe, fans will be exposed to the streaming culture in K-
Pop, and international fans can access music videos. In Korean music shows, views are
essential metrics in voting and winning trophies in different award shows. Khan (2021) stated
that streaming music videos provides exposure, recognition, control, and even power to
groups. It's a mutual compromise scenario between South Korean agencies and fans. The
agencies will release content, and it is the fans' job to promote it and make it known in the
market. It is where the competition between idols and fan begins.

Fans can stream music through different platforms such as Spotify, Apple Music, YouTube
Premium, and other Korean streaming sites like Melon, Genie, Flo, Bugs, Naver, and
Soribada. Instead of purchasing physical records, consumers choose to listen to music online.
Music companies in Korea realized that pirated digital tracks were circulated more quickly and
extensively via the Internet than physical copies through retail sales (Parc & Kawashima,
2018).17 As a result, online music distribution is faster than physical album sales. Korean
agencies fully understand this and recognize the importance of social media promotion. As a
result, K-Pop music consumption has been increasing and has achieved remarkable success
around the world.

On the other hand, voting for a recently released music of a group occurs almost daily. Korean
music competition shows such as M Countdown, SBS Inkigayo, Music Bank, Show Champion,
and others. K-Pop artists have the chance to win a trophy for a particular song. MAMA, or
Mnet Asian Music Awards, is the most prestigious music awards ceremony in South Korea.
To be eligible for a nomination, an artist must have released an album in the same year as the
ceremony.

A stan account is a Twitter, Instagram, or Facebook account created for a celebrity. Managing
a stan account requires being active on any platform, promoting their favourites, reposting
their photos, replying to their posts, providing constant updates about their idols, or just
creating new content from existing content. Fans may interact with other fans in the fandom
as well as the idols themselves through stan accounts. Twitter is usually home to bigger
fandoms. They are the ones that facilitate or generate different activities that bring people of

17
Parc, J., & Kawashima, N. (2018). Wrestling with or embracing digitization in the music industry: The contrasting business strategies of j-pop
and k-pop. Kritika Kultura. http://dx.doi.org/10.13185/KK2018.03003
the community closer together.

Having a stan account includes participating in forums, fan clubs, and fan projects. Forum is
when fans discuss their idols and other topics inside the fanbase. Xiong (2020) asserted that
making a personal connection between a fan and an idol is one of the most effective strategies
to establish fan loyalty.18 Korean Entertainment launched a fan club, also known as a fan cafe,
an online community where idols and fans can engage. Once they have gained the loyalty of
their audience, they will continue to release content to strengthen that loyalty even further.

On the other hand, Fan projects are made to celebrate or appreciate their idols. It could be a
video project, or some fans might name a star after their idols. It does happen!

In the K-Pop industry, merchandise is just as important as the music. Fans show their devotion
and support for their idols through the price they are willing to pay. It could be on impulse or a
rational decision. Albums would be the hottest product. It comes with many inclusion such as
a CD, photo book, poster, bookmark, mini photo stand, and the most significant inclusion that
fans are willing to pay millions for—photocards, a hard card with a portrait of their bias on it.

People make purchasing decisions daily. Some decisions are made based on how a person
feels about a particular product, brand, or company (Zhang et al., 2020)19 For Jenol & Pazil
(2020), fan consumption reflects a fan's role and identity. K-Pop fans' behavior as consumers
is driven by price and quantity in purchasing goods and services and their emotional
engagement with their idols.20 In the eyes of everyone else, investing and spending money on
cards is a shallow decision. They do not realize that a simple item has a history, a story of how
the fans got their hands on it. Purchasing merchandise is a way for them to show their
appreciation for their idols; it holds symbols of one's identity.

In general, depending on their personalities and circumstances, fans can shift from specialized
to unskilled labor or engage in both.

LANGUAGE AND SUBCULTURE IN K-POP

The findings in this section will emphasize the cultural elements that occur from interactions
in fandoms and how they deal with them. The researcher presented a series of multiple-
response questions to know more about the experiences of Filipino K-Pop fans.

If the language barrier affected the respondents' understanding of music

Response Frequency Percentage

I am exerting an effort to
understand the meaning of their 33 41
song.

18
Xiong, A. (2020). K-pop connection: Maintaining fandom loyalty in k-pop and v live [Student honors theses, Dickinson College]. Dickinson
Scholar. https://scholar.dickinson.edu/student_honors/379/
19
Zhang, R., Bi, N.C., Kodzi, P., & Goodwin, A. (2020). From k-pop to korean products: An investigation into the mediating effects of imitation
and attitudes toward korean culture and products. Journal of Cultural Marketing Strategy, 5(1), 1-13.
https://www.researchgate.net/publication/343833951_From_K-
pop_to_Korean_products_An_investigation_into_the_mediating_effects_of_imitation_and_attitudes_toward_Korean_culture_and_products
20
Jenol, A., & Pazil, N.H.A. (2020). K-pop fans’ identity and the meaning of being fan. [Undergraduate thesis, Universiti Sains Malaysia].
ResearchGate. https://www.researchgate.net/publication/342782225_K-pop_Fans'_Identity_and_The_Meaning_of_Being_a_Fan
 I look for a translation from other
sources. 37 46

I do not pay attention to the

lyrics and just sing along. 6 7

It did not affect me at all. 5 7

Total 81 100

Table 8. Language Barrier and Fans' Understanding of Music

The table shows that 46% of respondents, or nearly 5 percent, seek translation from other
sources to grasp K-Pop music, while 4%, or 4 out of 10 respondents, make an admirable effort
to understand the meaning on their own. A minority of 7%, or 1 out of every 10 respondents,
claimed that they ignored the lyrics and were unaffected. A significant percentage of
respondents relied heavily on the translations of other fandom members. The language is
undoubtedly a barrier to immediate comprehension of content.

If the language barrier affected the respondents' interaction with other fans

Response Frequency Percentage

I feel out of place. 1 2

I find it difficult to
communicate with them. 16 31

I do not understand their

posts, and vice versa. 3 6

I do not interact with them. 5 10

It did not affect me at all. 27 52

Total 52 100

Table 9. Language Barrier and Interaction with Other Fans

The majority of those who participated in the survey, 52%, or 5 out of 10 respondents, said
the language barrier did not affect their interactions with other fans, while 31%, or 3 out of 10
respondents, said it was difficult to communicate with them. 10%, or one out of every ten
respondents, admit that they do not engage with other fans. Only 6% do not understand their
posts and vice versa. Such interactions in fan clubs and even online groups reveal that fans
consider their fellow fans as a member of the same community (Pacis, 2012).21 The majority
of respondents stated that the language barrier did not affect their interactions with other fans,
possibly because they have been in the fandom for so long that they had mastered the different
languages used in every interaction. They wanted every fan to feel that they belonged. Thus,
the majority of them spoke in a universal language like English.

21
Pacis, J.C. (2012). Popping the k-pop bubble: A study on the world of k-pop fandom as a subculture. [Bachelor’s degree, University of the
Philippines Diliman]. Iskomunidad. http://iskwiki.upd.edu.ph/images/4/4a/PoppingTheK-popBubble.pdf
If the language barrier affected the respondents' interaction with idols

Response Frequency Percentage

I do not understand what they

are saying. 9 12

I am trying to learn their

language. 28 37

I used an app to help me

translate. 26 34

I do not pay attention to their

media texts. 0 0

It did not affect me at all. 13 17

Total 76 100

Table 10. Language Barrier and Interaction with Idols

In Table 9, 37%, or nearly 4 out of 10 respondents, claimed that they are attempting to learn
Korean, while 34%, or 3 out of 10 respondents, used an app to translate media texts produced
by their idols. A minority of 17%, or almost 2 out of every 10 respondents, stated that it did not
affect them. Only 12% or 1 out of 10 of those surveyed admitted they don't understand the
content of their idols. Learning Korean allows fans to connect with their idols. Since idols do
many interviews and other shows, waiting for subtitles might take days or weeks, putting
international fans in agony. According to Bell (2020), most fans want to learn Korean in order
to connect with their idols on a deeper level.22 It is not a requirement of being a fan, but it can
bring fans and idols closer without relying on translations.

If they have joined an organization dedicated to K-Pop

Response Frequency Percentage

Yes 18 36

No 22 44

I plan to. 10 20

Total 50 100

Table 11. Respondents' Response Towards Joining an Organization

The majority of the study's respondents, 44% or 4 out of 10 respondents, stated that they had
not joined a K-pop organization, while 36% or nearly 3 out of 10 respondents have previously
joined one. The remaining 20%, or 2 out of every 10 respondents, stated that they plan to join.

22
Bell, C. (2020, April 7). For k-pop fans, learning korean is about connection. MTV News. http://www.mtv.com/news/3162368/k-pop-fans-
learning-korean-connection/
KNOWLEDGE

This section has unfolded the truth about how the consumption of K-Pop content increased
their knowledge and enhanced their social skills. Note that fans aim to satisfy a need by
participating in and promoting on social media, whether it is information, connectedness, or
maybe more reason to consume K-Pop content.

If consuming K-Pop content increased their knowledge of South Korean culture

Response Frequency Percentage

A lot 40 80

A little 9 18

Not at all 1 2

Total 50 100

Table 12. Respondents' Knowledge Gained from Consuming K-Pop Content

According to the findings of this study, an overwhelming majority of respondents, 80% or 8 out
of 10 respondents, gained much knowledge about South Korean culture through consuming
K-Pop content, indicating that they have already quenched their thirst for knowledge. On the
other hand, only 18%, or nearly 2 out of 10 respondents, admit to having little knowledge,
while 2%, or 1 out of 10 respondents, claim that their consumption of K-Pop content has not
increased their knowledge of South Korean culture.

If interacting with other fans improved their social skills

Response Frequency Percentage

A lot 23 46

A little 21 42

Not at all 6 12

Total 50 100

Table 13. Respondents' Improved Social Skills from Interacting with Other Fans

As shown in Table 13, 46% of respondents, almost 5 out of 10 agreed that interacting with
other fans improved their social skills. Meanwhile, 42%, or four out of ten respondents, stated
that interacting with other fans has minimal impact on their social skills. Only 12%, or 1 out of
every 10 respondents, answered no.

If the acquired knowledge and improved skills influence them to promote more K-Pop
content

Response Frequency Percentage

A lot 27 54
 A little 21 42

Not at all 2 4

Total 50 100

Table 14. Respondents' Motivations to Promote More K-Pop Content

Table 14 shows that half of the respondents, 52% or 5 out of 10, stated their new knowledge
and improved skills influenced them to promote more K-Pop content, while 42% or 4 out of 10
said it had little influence. Only 4% of those surveyed disagreed.

CONSTRUCTING SELF-IDENTITY

To further understand how respondents' identities were influenced by their exposure to K-Pop
content, the researcher developed multiple-response questions that may assist respondents'
quest for self-identity.

The Influence of K-Pop on Respondents' Identity

Response Frequency Percentage

I have someone to look up to. 27 33

It unleashes my potential. 18 22

It has changed my habits and

desires. 34 41

It did not influence me at all. 3 4

Total 82 100

Table 15. The Influence of K-Pop on Respondents' Identity

Table 15 shows that 41% of respondents, or 4 out of 10, agreed that K-Pop changed their
habits and desires. Meanwhile, 33% of respondents, or 3 out of 10, said that K-Pop had given
them someone to look up to. Next are 33%, or 3 out of 10 respondents, claiming that K-Pop
has unleashed their potential, while 4%, or 1 out of 10, reveal that K-Pop has not affected
them.

Aspects of Respondents' life that K-Pop has influenced

Aspects of Life Frequency Percentage

Music Preference 46 22

Food Preference 23 11

Beauty Products Preference 30 14

Fashion Styles 41 19
 Spending Habits 14 7

Daily Habits 21 10

Social Life 28 13

Beliefs 8 4

Total 211 100

Table 16. The Influence of K-Pop on Respondents' Aspects of Life

According to Table 16, 22% or 2 out of 10 respondents believe their music tastes changed
since they got into K-Pop. Fashion styles garnered a significant 19% of the response,
occupying nearly 2 out of every 10 respondents. It is clear that 14% of respondents, or 1 out
of every 10, claimed that their preferences for beauty products have changed. Social life
makes up 13%, food preferences 11%, while 10% has picked daily habits. Only 7% of those
surveyed stated that K-Pop had influenced their spending habits. Finally, 2% of respondents
chose beliefs, making those with less than 15% 1 in every 10 respondents.

Interpretation of these influences in their lives

Response Frequency Percentage

In a positive way. 41 82

In a negative way. 0 0

Neutral 7 14

I really don't mind. 2 4

Total 50 100

Table 17. Respondents' Interpretation of these Influences

Table 17 displays how K-Pop fans perceive these influences in their lives. The majority of
respondents, 82% or 8 out of 10 respondents, evaluated it positively. 14% were neutral, and
4% were unconcerned about these influences. Doom (2019) stated on one of the forums that
K-Pop negatively impacted when people criticized their music taste. It also disconnects them
from their own culture.

On the other hand, it increased cultural awareness and appreciation for South Korean culture.
They recognized that music has no language and that Korea is not a perfect society.23 Sure,
K-Pop has both positive and negative effects on people's lives, but it also catalyzes many
discoveries about music, culture, friendship, and identity.

23
Doom, R. (2019, June 4). How has getting to know k-pop changed you? [Comment on the online forum post K-pop had both positive and
negative effects on me]. Quora. https://www.quora.com/How-has-getting-to-know-Kpop-changed-you
CONCLUSION

K-Pop is, by all counts and with proven outcomes, more than just a fleeting cultural fad. The
arousal of K-Pop fan culture resulted in several discoveries, not only in the media industry but
also in cultural aspects. Furthermore, it has been proven that social media significantly
influences this phenomenon's rapid growth, resulting in remarkable international success.
According to the study's findings, Filipino fans are active media consumers exposed to Korean
content. Their active participation and promotion are influenced by the amount of time and
energy they devote and the type of artist they support. With the advent of social media, they
now have more options to create and disseminate content. They consume K-Pop content in
various ways via different platforms, making them part of an online community where they can
express their opinions, ideas, and feelings without fear of being judged by those who aren't
like them. Therefore, social media plays a role in the creation and preservation of fan culture.

Consuming K-Pop content has also satisfied their insatiable admiration for and fascination
with their idols. Although they were competing for fan knowledge and fandom status, the
language barrier did not prevent them from interacting with other online community members.
Countless interactions have increased their understanding of South Korean culture. It has
boosted some people's social abilities and resulted in the repeated promotion of K-Pop
content. The cultivation of subculture occurs as more individuals continue to interact.

Being a part of a subculture is an essential aspect of how these fans constructed their
identities. Their online attitude and behavior become an extension of their offline lives. They
have accepted and conformed to the values of a fanbase. They were able to build a sense of
belonging and identity as a result. Fans' constructed identities are dependent on their media
consumption and the type of media they consume. Above all, the fans are community
members, but they each have their own distinct identity.

K-Pop is a strong indicator of Hallyu. There is no doubt that K-Pop is always prevalent and will
continue to grow in popularity as time goes on. As previously stated, K-Pop is more than just
a fleeting fad; hence this booming Hallyu will not fade.

The researcher recommended that future researchers investigate the cognitive-behavioral

effects of K-Pop on Filipino youth and the quality of life they achieved as a result of consuming
K-Pop content. Apart from the constructed identity, the question of what emerges when people
continue to interact in social media lingered in my mind. Fan studies is an essential field, but
it is also necessary to address the roots of this phenomenon—the Korean agencies and idols
within them and how they manage to shape the minds of individuals to consume their content.
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