Lessons from the K-Pop industry, Part 3
The Hallyu phenomenon or the Korean Wave has become an unstoppable force in today's pop culture and the past month has become a milestone for the K-Pop industry as PSY's "Gangnam Style" continuous to conquer charts all over the world. The addicting song which inspired a dance craze is now number 2 at the Billboard Hot 100 and does not show signs of stopping its chart reign.
This recent development inspired me to write an addition to my previous blogs titled "Lessons from the K-Pop Industry" and "More Lessons from the K-Pop Industry." In past blogs, I discussed how the K-Pop industry invests on local talent, thinks out of the box, puts in the hard work and offers fan service. With the success of "Gangnam Style," as well as the recently concluded Manila run of the Korean Film Festival, let me share some new lessons from the K-Pop industry.
Use the power of the Internet
Scholars and media observers alike agree that the Internet has played a huge role in the proliferation of Korean Wave.
In the past, it was difficult for Korean musicians to have their music heard in other parts of the world. Top Korean singers such as BoA, Girl's Generation, SE7EN and the Wonder Girls have all tried to enter the U.S. market but most were met with minimal to little success.
The quick rise of YG Entertainment artist PSY, whose "Gangnam Style" music video went viral with more than 332 million views and counting is an example of how the Internet can facilitate a breakthrough.
These days, uploading a music video on YouTube or posting a music file on an artist's official website can become a ticket to crossover stardom. This is the same kind of Internet-driven promotion that propelled stars like Justin Bieber and Charice to international stardom.
It almost seems silly for an artist not to consider pushing himself online. According to comScore, a firm specializing in digital measurement research, the average Internet user spends nearly 1 in 5 minutes on social networks, with 1 in 7 minutes spent on Facebook.
In K-Pop land, the Internet is essential in raising awareness, building a connection and making a sale. An example of how a tech-savvy K-Pop artist is able to utilize the power of the Internet is Jay Park. Park has utilized Twitter and YouTube to his greatest advantage, allowing him to return successfully to the K-Pop scene after suffering a seemingly career-ending scandal back in 2010.
The K-Pop industry also harnesses the power of the Internet on their greatest entertainment export—Korean dramas. An example of how the Internet can become the driver of a lucrative business model is Drama Fever, a New York-based video streaming service which offers subtitled Korean dramas to fans in North America. Drama Fever was launched in 2009 and now has more than 2 million monthly users.
Protect your arts and culture
As part of the program for the Korean Film Festival, the Korean Cultural Center of the Philippines hosted a panel discussion titled "The Future of Korean Films in Local Cinemas."
Local directors Tikoy Aguiluz ("Rizal sa Dapitan," "Tatarin," "Manila Kingpin: The Asiong Salonga Story"), Chris Martinez ("Kimmy Dora," "Here Comes The Bride," "I Do Bidoo Bidoo") and Pepe Diokno ("Engkwentro") sat with Korean filmmakers including producer Sanghoon An (SangSang films) and director In Ho Hwang ("Spellbound") to discuss the links between Filipino and Korean films and the differences between Filipino and Korean film industries.
One of the major highlights of the discussion was the existence of a "screen quota" system in South Korea. It began in the 1960s as legislation that enforces a minimum number of screening days for domestic films. Much to the chagrin of the local Korean filmmakers, the quota has fallen to 73 days from 146 days as part of a free trade agreement (FTA) with the United States.
While quotas have been reduced (and caused a huge political and economic debate in Korea), Korean filmmakers still believe the system plays a significant role in protecting their craft. In fact, director In Ho Hwang said that his movie "Spellbound" may not have been as successful without the quota system.
The take-away is clear: we must actively protect our own arts and culture.
Why did the "screen quota system" survive in Korea in spite of external pressures to abolish it? The filmmakers themselves staged protests by shaving their heads and conducting hunger strikes to get their message across.
Yes, it was inevitable for globalization to pit small local industries against seemingly unbeatable giants. Still, with strong political will and community support, there are ways to protect one's own arts and culture.
It's a lesson that hits close to home, given the recent debate on whether or not OPM is dead and the fresh perspectives it raised.
Read more oK Pop posts
Lessons from the K-Pop Industry
More Lessons from the K-Pop Industry
