33 Keys to Decoding the Korean Wave #Epilogue: Hallyu Syndrome 

A Brave New World, Hallyu Syndrome Persists

*한류를 이해하는 33가지 코드 #에필로그: 멋진 신세계, 한류 신드롬은 계속된다 <Korean version>

https://www.nyculturebeat.com/index.php?mid=Focus&document_srl=4091163

K-Pop fans at the 2022 NYC Central Park Korea Song Festival (KOREA GAYOJE). Photo: Kihoon Oh/Korean Culture Center New York

The Korean Wave in the Social Media Era

Today, Hyundai and Kia cars are being driven on roads worldwide, and people across the globe are using Apple iPhones or Samsung Android phones. Samsung, LG, and BTS’ Jungkook grace large electronic display boards in Times Square, where Psy and BTS have performed on New Year’s Eve stages, and Blackpink’s Rosé’s face adorns the Tiffany & Co. flagship store on 5th Avenue. In Brooklyn Bridge Park, on a summer day, Arab girls in burkas enjoy a picnic while listening to K-pop. Lee Jung-jae, star of Netflix’s hit drama “Squid Game,” lands the lead role in Disney+’s “Star Wars” series “The Acolyte.” Midsummer 2023 sees frozen Korean kimbap flying off the shelves at Trader Joe’s. K-pop tunes fill the airwaves at the Brooklyn Heights health club, and an Indian doctor, examining me, remarks, “My family is a fan of Korean dramas.”

Smartphones and social media have revolutionized the “SMCR” (sender-message-channel-receiver) linear communication model proposed by scholar David Berlo in 1960. With smartphones, newspapers, broadcasts, movies, and the Internet have morphed into multimedia that fits in the palm of your hand. The paradigm of content production and distribution has shifted, empowering recipients and the public to not only consume news rapidly but also to produce, post, and share content actively. It is now a world of participation and sharing. On this level playing field, K-culture shines with rich and unique content.

The Korean Wave, which has captivated the world for the past two decades, owes much to social network service platforms like YouTube, Facebook, Twitter, Instagram, and TikTok. Social media and platforms where anyone can upload content have shattered the era of cultural content monopolized by American, white, and traditional media. They have also paved the way for democratic, two-way communication, fostering fandom and significantly amplifying the reach of the Korean Wave worldwide. Jamaican reggae singer Bob Marley (1945-1981) was a pioneer as the first Third World superstar musician in the history of American and British-dominated pop music, yet he tragically passed away at the age of just 36. Today, K-pop stars like BTS, Blackpink, NewJeans, Stray Kids, Astro, etc., are causing global sensations and reshaping the landscape of popular music.

Just as K-Pop owes much of its success to YouTube, Netflix stands behind the triumphs of “Squid Game” and “Beef.” In the digital age, where a variety of content from around the world is accessible via smartphones anytime, anywhere, people worldwide are hooked on “more intriguing” Korean dramas streamed right to their palms. With the surge of the coronavirus pandemic, the Korean culture wave has surged even higher.

According to the “2023 Global Hallyu Status” published jointly by the Korea Foundation and the Ministry of Foreign Affairs of Korea, as of December 2023, the number of global Hallyu fans reached 225 million. This is more than 2400% higher than the 9.26 million in 2012. The total number of Hallyu fan clubs worldwide increased to 1,748, which is more than 230% higher than the 757 fan clubs in 2012.

The Brave New World

Children interrupt BBC News interview - BBC News <YouTube> 

Ironically, during the 2010s, as the Korean Wave was sweeping across the globe, renowned film directors such as Bong Joon-ho, Park Chan-wook, and Hwang Dong-hyuk found themselves blacklisted by the Lee Myung-bak and Park Geun-hye administrations (2008-2017).  In 2017, however, ignited by the candlelight protests of the people of the Republic of Korea, the 18th President Park Geun-hye was impeached. The global media lauded the Korean populace for casting off the shackles of corruption. It was a triumph of our nation’s DNA - the “spirit of criticism and resistance.” 

On March 10th of that pivotal year, as the impeachment trial unfolded, a humorous incident captured the world’s attention. This was the now-famous episode that took place during a live interview with BBC-TV on the topic of the impeachment proceedings, featuring Professor Robert Kelly from the Department of Political Science and Diplomacy at Pusan National University. As Professor Kelly fielded questions regarding the implications of impeachment on inter-Korean relations, his four-year-old daughter made an unexpected entrance into the room, carrying snacks and playfully dancing in front of the camera. Shortly thereafter, another child on a walker toddled in, prompting Professor Kelly’s Korean wife to swiftly intervene and whisk the children away. Lasting a mere 43 seconds, the Kelly family’s endearing mishap swiftly went viral on social media platforms, garnering over 10 million views on YouTube in just three days. 

This charming and spontaneous incident captured the hearts of viewers worldwide, earning spots on popular American talk shows such as The Ellen Show and Jimmy Fallon’s Tonight Show, and inspiring numerous parody videos. As of March 2024, the video has amassed over 59 million views. Professor Kelly's impeachment trial interview highlighted the resilience of our people. The young girl's playful food and shoulder dance embodied the Korean love for eating and dancing, while the mother's swift response showcased the "ppalli ppalli" (hurry hurry) spirit. Koreans are a people who turn crises into opportunities and transform sadness into joy.

Power Trio: Lee Mi-kyung, Lee Soo-man, Bang Si-hyuk

Miky Lee, Vice Chairman of CJ Group, featured on the cover of Variety magazine / Soo-man Lee, CEO of SM Entertainment / HYBE Chairman Bang Si-hyuk and BTS on the cover of Time magazine

There existed a triumvirate that catapulted K-Pop onto the global stage: CEO Lee Soo-man (SM Entertainment: H.O.T., BoA, TVXQ, Super Junior, Girls’ Generation, SHINee, EXO, Red Velvet, aespa), Yang Hyun-seok (YG Entertainment: Psy, Blackpink, Big Bang, G-Dragon, Taeyang), and J.Y. Park (JYP Entertainment: Wonder Girls, Twice, Stray Kids). These three industry giants, often referred to as the “Midas Hands,” were instrumental in discovering and nurturing global K-Pop stars during the early stages of the Korean Wave.

In December 2021, the 500 most influential executive and creative individuals in the media spectrum featured in the American magazine “Variety” included Lee Soo-man, Bang Si-hyuk, chairman of the board of directors of HYBE (formerly Big Hit Entertainment), director Bong Joon-ho, and Miky Lee, vice-chairman of CJ Group.  Actor Steven Yeun was also recognized among these influential leaders shaping the global media industry, alongside figures like Apple CEO Tim Cook, Amazon Chairman Jeff Bezos, and Google CEO Sundar Pichai. Lee Soo-man, credited with propelling K-Pop, including H.O.T., onto the world stage, received this honor for five consecutive years. Bang Si-hyuk, known for steering BTS to global superstardom, was featured on the cover of Time magazine’s “Top 100 Influential Companies” in both 2021 and 2022. These individuals represent the global power elite who orchestrated the ascent of the Korean Wave behind the scenes and screens.

Miky Lee speaks after winning Best Picture for "Parasite" at the 2020 Oscars. Image: ABC-TV

CJ Group Vice Chairman Miky Lee, executive producer of “Parasite,” “Decision to Leave,” and “Fast Lives,” was also recognized as a transformative figure shaping the future of Hollywood in the March 2024 issue of “Vanity Fair.” Described as a “godmother” by the magazine, Miky Lee has been hailed as Hollywood’s secret weapon in fostering cultural connections for a richer and more diverse world.

Yet, amidst the celebration of these achievements, it is crucial to acknowledge the discerning and critical spirit of highly educated Koreans. These nameless critics tirelessly evaluate and defend Korean pop culture, contributing to its elevation on the global stage.  In her acceptance speech for the Academy Award for Best Picture in February 2019, Miky Lee expressed gratitude to Korean film audiences, emphasizing their unwavering support and candid feedback, which continuously drives creators to push boundaries. Similarly, Hwang Dong-hyuk, director of “Squid Game,” acknowledged the discerning tastes of Korean viewers during a press conference after winning the Emmy Award for Best Director in September 2022. He attributed his progress and success to the rigorous criticism and high standards upheld by Korean audiences, underscoring their role in shaping his work.

Korea’s 1990 10-Year Cultural Development Plan

At the opening reception of Dr. Young Yang Chung’s special exhibition “The Movement of Herstory: Korean Embroidery” held at the Korean Cultural Center in New York in March 2017. Photo: Sukie Park/NYCultureBeat

The Korean Wave quickly became a focal point for special exhibitions at major museums worldwide. The Victoria and Albert Museum (V&A) in London launched the “Hallyu!” exhibition, which systematically explored the phenomenon of the Korean Wave from September 2022 to June 2023. This exhibition, highlighting various aspects of Korean popular culture such as K-Pop, movies, dramas, beauty, fashion, and fandom, later traveled to the Boston Museum of Fine Arts, where it was on display from March to July 2024, and will be featured at the San Francisco Asian Art Museum from September 2024 through January 2025.

The global phenomenon of the Korean Wave owes its existence to the talents of artists, supportive producers, social media platforms, and the unwavering backing of the Korean government.

“You do have a plan, son.” Echoing a line from Song Kang-ho’s character in “Parasite,” the Korean government did indeed have a plan. In January 1990, under the Roh Tae-woo administration, the Ministry of Culture was established as an independent department dedicated to cultural administration. Renowned novelist and critic Professor Lee O-young (1934-2022) assumed the role of the first minister. The Ministry of Culture formulated a 10-year cultural development plan with the motto “Culture for all Citizens.” The plan aimed to foster a culturally enriched society by early training of high-quality artistic personnel, nurturing cultural administration experts, enhancing the international competitiveness of domestic films, supporting small theater cinematheque movements, establishing comprehensive intangible cultural heritage facilities, aiding the activities of human cultural assets, and promoting the endeavors of senior artists. This strategic policy marked the inception of the Korean Wave.

Minister of Culture Lee O-young spearheaded the establishment of specialized art schools to cultivate artistic talent, leading to the founding of the Korea National University of Arts (K-ARTS) in 1993. K-ARTS, offering education across six conservatories, including music, theater, film, dance, art, and traditional arts, has nurtured exceptional talents such as pianists Yunchan Lim, Sunwook Kim, Yeol Eum Son, Chloe Jiyeong Mun, Clara-Jumi Kang, dancers Kimin Kim and Sae Eun Park, and actors Lee Sun-kyun, and Park So-dam. Consequently, K-ARTS has established itself as a renowned breeding ground for talent, compared to prestigious art schools like the Juilliard School, the Moscow State Conservatory, the Paris Conservatoire Supérieure, and the Royal Academy of Dramatic Art.

Subsequently, the Korean government has persistently implemented culture-centric policies, with the Korea Culture and Information Service (KOCIS) under the Ministry of Culture, Sports and Tourism serving as the hub for the global Korean Wave. Originating as the Tokyo and New York Cultural Center in 1979, the number of overseas Korean Cultural Centers has grown from 12 in 2008 to 35 in 30 countries as of March 2024. These cultural centers have accelerated the proliferation of the Korean Wave by organizing free exhibitions, performances, movie screenings, and lectures. Notably, the Korean Cultural Center in New York has emerged as a pivotal outpost for spreading the Korean Wave in the cultural epicenter of the world.

In acknowledging the key figures instrumental in promoting the Korean Wave in New York, a vibrant cultural hub, Principal Grace Huh (Huh Byeong-ryeol) emerges as a significant figure for her role in establishing the Korean School of New York in 1973, which has played a crucial part in shaping Korean identity. Dr. Young Yang Chung, a distinguished textile historian, embroiderer, and chairman of the Seol Won Foundation, introduced the elegance of Korean embroidery to the United States. Keum Ja Kang, the founder of the Kang Collection in 1981, played a pivotal role in facilitating the acquisition of Korean art by esteemed museums in the US and the UK. Sook Nyu Lee, president of the AHL Foundation, has been pivotal in discovering and nurturing emerging Korean artists since 2001. Young Soon Kim, the founder of White Wave Dance Company, has been spearheading the organization of the Brooklyn Dumbo Dance Festival since 2001. Sue Yeon Park, the founder of the Korean Traditional Performing Arts Association in New York, and Yoon Sook Park, the founder of the Korean Traditional Music and Dance Center in New York, have tirelessly promoted Korean traditional music and dance across the nation.

Baekbeom Kim Gu’s Wish, and Martin Luther King’s Dream

Kim Gu, from “Diary of Baekbeom,” Stone Pillow, 1997 / Martin Luther King Jr., from “A Testament of Hope: The Essential Writings and Speeches,” 2003, HarperOne

When we contemplate the rise of the Korean Wave, the figure of “Baekbeom” Kim Gu (白凡 金九, 1876-1949) inevitably comes to mind.  Kim Gu, leader of the Korean independence movement against the Empire of Japan, and Martin Luther King Jr. (1929-1968), a leader in the nonviolent resistance against racial discrimination, share a profound connection. Both delivered speeches brimming with hopes and dreams during challenging times. Kim Gu was assassinated in Seoul in June 1949, while Dr. King was assassinated in Memphis in April 1968.

Kim Gu’s piece “My Country I Want,” reflecting a blend of cultural nationalism and cosmopolitanism, seems prophetic in light of today’s Korean Wave. Kim Gu wrote:  “... I desire for my country to be the most beautiful in the world. Not the wealthiest, but free from invading others. I am saddened by the invasion of others; therefore, I do not wish for my country to invade others. Our wealth should enrich our lives, and our strength should suffice to defend against intrusion. What we incessantly yearn for is the power of high culture. Such cultural power brings joy to us and radiates happiness to others. For I will share it with you ...”

-Kim Gu, from Diary of Baekbeom (1947), “My Country I Want” excerpt from “My Wish”-

Meanwhile, Martin Luther King’s dream, advocating for the civil rights of Black people, prompts us to reconsider the Korean Wave phenomenon in the era of #BlackLivesMatter. Are Koreans today assessed for their talents beyond skin color, altering the trajectory of American cultural imperialism rooted in national supremacy? This, too, is a legacy bestowed upon the global community by the Korean Wave. It dreams of a “global dream,” diverging from the “American dream.”

“... Friends, I tell you today, let us not struggle in the valley of despair. Although we may face adversity today and tomorrow, I still have a dream. A dream deeply rooted in the American dream. One day, this country will I have a dream that I will rise up and live the true meaning of these creeds: ‘We hold these truths to be self-evident, that all men are created equal’... A day when my four little children will be judged by the content of their character and not the color of their skin. I have a dream of this coming ....”

-Martin Luther King Jr., from “I Have a Dream” (1963)-

Despite being a peninsula that cannot traverse northward, Korea, a country once marred by the scars of war, is now admired worldwide. People globally are immersed in Korean music and dance, captivated by Korean films and dramas, enthralled by Korean cosmetics and fashion, and indulging in Korean cuisine and spas. Beyond BTS, “Parasite,” and “Squid Game,” Koreans receive acclaim across various realms such as K-Pop, films, dramas, games, webtoons, classical music, ballet, opera, golf, and culinary delights.

Korea, where the eruption of K-culture resembles an active volcano, has solidified its position as a cultural powerhouse. Will Seoul emerge as a mecca of world culture akin to Florence during the Italian Renaissance, Paris in the 19th century, or New York post-World War II?  Witnessing today’s dynamic Korean Wave phenomenon, which challenges cultural imperialism predominantly centered in Europe and North America, may induce dizziness, but it is undeniably exhilarating.

A native Korean, Sukie Park studied journalism and film & theater in Seoul. She worked as a reporter with several Korean pop, cinema, photography and video magazines, as a writer at Korean radio (KBS-2FM 영화음악실) and television (MBC-TV 출발 비디오 여행) stations, and as a copywriter at a video company(대우 비디오). Since she moved to New York City, Sukie covered culture and travel for The Korea Daily of New York(뉴욕중앙일보) as a journalist. In 2012 she founded www.NYCultureBeat.com, a Korean language website about cultural events, food, wine, shopping, sightseeing, travel and people. She is also the author of the book recently-published in Korea, "한류를 이해하는 33가지 코드: 방탄소년단(BTS), '기생충' 그리고 '오징어 게임'을 넘어서 (33 Keys to Decoding the Korean Wave: Beyond BTS, Parasite, and Squid Game)."