Claudia Schiuma

promotion and restriction depending on international relations. Yet, I also think that online platforms are crucial for the spread and consumption of pop culture because they might be more difficult to control.

Spinning South Korean cultural industry for soft power and nation branding Hallyu’s success can be traced to the imagination and creativity of individual Koreans rather than government backing.

The South Korean government simply managed to leverage its cultural expansion to the fullest. (eastasiaforum.org/2021/12/25/s...)
However, I believe that various political tensions will continue to be a key factor. Governments will use culture as a tool for national branding, leading to periods of

exploring new avenues beyond the Chinese market and growing ever larger, reaching fans who continue to consume and circulate content, even through unofficial channels. By this, I don't mean that Hallyu was created by the government or that the government is solely responsible for it.

following South Korea's deployment of the THAAD (Terminal High Altitude Area Defense) missile system in 2016 demonstrated just how influential politics can be. (www.usfk.mil/Media/Newsro...)
Despite these obstacles, Hallyu has shown remarkable resilience. It has diversified its markets, exploring

a clear example of cultural diplomacy. However, this very leverage can be easily withdrawn or used as a tool for pressure.
Hallyu is a perfect example of how politics can shape the reception of pop culture. It was initially extremely popular, but the unofficial blockade of Korean content in China

state ideologies. This directly limits content availability and can stifle the growth of certain fandoms.
At the same time, governments recognize the #softpower of popular culture. South Korea, in particular, has invested enormously in promoting its cultural industries to enhance its global image,

state ideologies. This directly limits content availability and can stifle the growth of certain fandoms.
At the same time, governments recognize the #softpower of popular culture. South Korea, in particular, has invested enormously in promoting its cultural industries to enhance its global image,

International relations, historical disputes, and governments' domestic policies are never far off when it comes to cultural consumption. Countries like China, for instance, exert significant control over media content, filtering and censoring what is deemed politically sensitive or not aligned with

Politics profoundly impacts the consumption, fandom, and circulation of #popularculture in Northeast Asia, often creating complex dynamics of both promotion and restriction. This has significant implications for #Hallyu (the Korean Wave) and the broader future of pop culture in the region.

The second scrutinises the first’s gesture, moves and expression even more closely.

Perhaps in some cases, the concept of cultural appropriation tends to be used incorrectly, and many online discussions also revolve around this aspect. However, I believe there's increased attention from both artists and fans with the first perhaps exercising more caution in their actions, while

Educational dialogue with guests who provided context about the cultural significance of the durag. The comment under that video were really positive, with a lot of people happy to not only hear apologies but to see the idol ready to be a better person.

K-Pop Idol's Unexpected Apology Video For Cultural Appropriation Becomes A Hot Topic A K-Pop idol has recently attracted significant attention following his response to criticism over cultural appropriation.

And desire for self-improvement. Fans tend to appreciate this more, viewing such behaviour as sincere. Like what happened with #Raehwa and his song #EyeCandy where he’s wearing a durag. www.koreaboo.com/news/kpop-id.... Then he posted a Video on YouTube (youtu.be/6nogNSwBThQ?...) featuring an

[ENG SUB] BTS American Hustle Life - YouTube

It as appreciation rather than appropriation. And internet is full of this types of content like BTS in American Hustle Life (youtube.com/playlist?lis...). Simultaneously, when these kinds of situations arise, idols apologise and sometimes even produce content to genuinely demonstrate their regret

YouTube video by CBC Cultural Appropriation vs. Appreciation | CBC Radio | CBC

Sometimes this hides behind #CulturalAppreciation that is when you earnestly seek to learn about or explore a different culture. (youtu.be/vfAp_G735r0?...) In this case, some agencies used the media to show fans how their artists approached American pop culture out of genuine interest, thus framing

#BlackPink. But what is cultural appropriation? It is taking one aspect of a culture that is not your own and using it for your own personal interest without understanding what it truly means. It’s something that happens often not only in K-pop but even in other genres of music.

What we might now consider cultural appropriation was strongly present in the concept of artists who sought to assimilate into #AmericanPopCulture. There are several examples that attests to this, starting from #BTS’s initial concept during their debut, but also artists like #Bigbang, #EXO and

In my personal opinion, #CulturalAppropriation in #K-pop is still happening sometimes but with a low frequency if we compare it to the past. With K-pop’s growing popularity, artists and agencies have become more careful about the concept they pursue and how they choose to portray their vision.

At the same time, I think it's a shame that an artist's fame is partly due to their physique or provocative dance moves, sometimes overshadowing their talent and vocal ability.

They represent a significant aspect of #GirlPower, which can feel like an act of reclaiming agency for some women—like turning what was once used against you into your own strength. It's a deeply sensitive and contentious subject, especially given how frequently and seemingly normally it occurs.

YouTube video by MAMAMOO [MV] 마마무(MAMAMOO) - 너나 해(Egotistic)

and alarmingly, often when minors are involved. That said, this doesn't mean there aren't groups that are decidedly more provocative. #MAMAMOO or #(G)I-DLE, in some of their releases, exemplify that 'Look at me, I'm beautiful, provocative, and I know I own my power' kind of concept.

it's become more veiled, more suggestive, almost deceptively innocent. You see it subtly in how girls caress their own bodies, touch their faces, or avert their eyes, in specific camera shots, or even in their styling. This is particularly noticeable in videos with more innocent concepts,

I think the times have shifted. There's far more scrutiny now on these dynamics, not least because K-pop's massive global expansion means it's under the gaze of both Korean and international audiences. Yet, the objectification of the female body hasn't vanished. Instead, in many instances,

South Korean Law to Protect Young K-Pop Stars From Sexualization, Overwork The country's notoriously unregulated entertainment industry will have to guarantee minors the right to sleep, learn and say no to being sexualized.

If this attitude was more explicit before, the situation is a bit different now. Perhaps this is also thanks to various proposed laws aimed at protecting minors from exploitation in the entertainment industry and the sexualization of their bodies. www.billboard.com/music/music-...

YouTube video by STARSHIP [MV] SISTAR(씨스타)_Touch my body(터치 마이 바디)

This phenomenon is also present in K-pop. In videos from a few years ago, this attitude was evident, with the objectification of female singers' bodies, who were expected to appear cute, provocative, yet simultaneously submissive to the fantasies of those observing them. youtu.be/9txzvu6eQuw?...

In the world of show business and entertainment, the #sexualization of main characters is, unfortunately, a very prevalent phenomenon. This phenomenon affects both female and male figures, but for women, it's compounded by another social component: the #objectification of the female body.

for genuine, albeit indirect, cultural influence and the redefinition of female identity for a young, impressionable audience in Korea.

Feminism and Freedom in K-pop Music: the Cultural Rebellion of (G)I-DLE — PRESSET. Since their debut in 2018, (G)I-DLE has been at the forefront of pushing the boundaries of K-pop’s traditional image, using their music and performances as platforms for statements against the rigid g...

(www.presset.no/kultur/2024/...)
In conclusion, also based on articles read and the work of Dr. Hurt, I believe that yes, the female 'empowerment' messages are more than a marketing tactic. They represent a strategic and often subtle form of 'screen feminism' and 'complaisant agency' that allows

‘Coldblooded', but also #(G)I-DLE (new I-dle) with 'Nxde' and 'Tomboy'.
(G)-IDLE in particular have emphasized this aspect more than once, leading them to be 'not only as trailblazers in the K-pop world but also as influential voices in the ongoing dialogue about feminism and gender roles'.

And this approach allows them to convey 'womanist cultural products' and empowering ideas 'under semiotic cover' using an alter-ego in the name of art. (doi.org/10.26861/sdd...)
There are many groups that have brought this aspect into their songs. The article cites #Jessi with her songs 'Zoom' and