If anything's gonna happen, it's gonna happen tonight.

And I'm bringing my camera.

The protests in Gwanghwamun are still (STILL!) running almost nightly, as the numbers dwindle, the extremists have gotten more violent in order to keep people's attention, newspaper buildings have been attacked, police buses have been destroyed, hundreds have been injured, and Korea has a whacked out protest culture (seriously, follow this link: it'll blow your mind), and while things have been less bat-shit insane this time than previously, if it's going to go overboard, tonight's the night it will.

There are counter-protests to go along with the protests, involving beef supporters, North Korea-supporters (as in, "People are dying, and you're mad about BEEF IMPORTS? Get a phunking GRIP!"), and the protest groups are hoping tonight will be another peak, for some reason or another (maybe because their support is flagging, and they're in the process of showing their colours as primadonnas and attention whores?)

Anyway, gonna be an interesting night, and I'm bringin' my camera!

Here's how I imagine the players (anti-protesters, pro-protesters, police, ring-leaders, etc..) are getting ready for the big throw-down:



Here are the very worth-reading thoughts of Scott Burgeson, or King Baeksu, a fellow who lives right next to the epicenter of the protests, and has attended almost every night.

Blogoseyo goes multimedia! (Food porn)

Short of figuring out a way for your computer to waft clouds of special Roboseyo fragrances (pavement after rain, acacia trees, car exhaust from downtown Seoul), this is about as multimedia as I can get:

I learned how to create videos on my new mac. Gee, this is fun.

In other news, I have a youtube video channel now, to go with my flickr account. All can be found under my usual moniker, Roboseyo.

Wheee!

This is a dish called Dalk Galbi.

The song is KC Accidental, by Broken Social Scene.

Gosh, I'm pleased with myself right now.
How do you like that, Zenkimchi?

For the Joshing Gnome

Joe, over at the Joshing Gnome, is writing a really interesting series of posts about the Korean idea of "jung" -- a mythical connection between humans that only Koreans share with each other.

Debunkadunk!

He brings together the ideas of Amoral Familism (explained in other places on his blog) with the Korean concept of Jung, in a really interesting way that you may or may not agree with. . . but it's sure thought-provoking.

And just to be a tease, (Bajung Gadung Dung), he's publishing it in parts, one day at a time, so that we have to wait in suspense for each new installment..

(Links as they become available)
Part One
Part Two
Part Three
Part Four
Part Five

This guy knows a lot about Korea, and has a very interesting take on the country. More about him later. . . for now, Joe, here's a video that perhaps illustrates a bit of what you're talking about.

I know this video's nothing new: it's made the round on the K-blogosphere before, but here you go.

Wait for it: forty-three seconds in, something happens that. . . well, I better not say too much.




while I'm posting way-after-the-point clips anyway, let's take a moment to kick it in Geumchon.





Have a good day.

the joys of kopseulmori (curly hair)

Happy Canada Day, all.

Before the rest: a lovely Konglish T-shirt.

I had a little fun with my naturally curly hair (YES, IT'S NATURAL, DAMMIT!) [sorry: twice a week an old lady asks me where I got my perm] today at work, stuffing pens in there.
The receptionists thought this was high comedy.
I had about ten stuffed up there, stuck between locks.  I'd almost forgotten my hair could do that.
Ten, however, was nowhere near my record: back in high school, when I let my hair grow out for about ten months (twelfth grade yearbook photo, minus personal info):

I once went into a Chemistry 11 final with an entire pencil case stuffed with pens and pencils.  All through the final, I surreptitiously slid pens and pencils into my natty mass of hair: it was long enough then, that they were completely hidden inside my mop.  Then, when I finished my final, I stood to hand in my exam, and when I handed it in, I held my head back, and then threw it forward in a (fake) sneeze.

About fifty pens and pencils flew all across the floor at the front of the classroom.  Got a decent laugh. . . though it isn't my ONLY final exam hijinx story by a longshot.  (If by a longshot you mean two.)

If you want to know the other two, you'll have to ask in the comments.

Until then:

a couple more pictures:

Didn't know pets were recyclable.

(eating dog joke goes here)

More from Jongho(from the previous post)'s ad agency:

Hey Jong-ho! I'm tired of thinking up funny and clever ads to sell phones.

"Here's what we can do, Chul-soo:"





"We can use sex to sell it!"

"Brilliant! That's why you're the idea guy, Jong-ho! Let's leave work early today."

next ad in the series:




Gallery Here (warning: Buuuuuh-keeee-neeeeez. That's bikinis. A lot. And Jessica Gomez. Yurp.) These posters are all over downtown Seoul, and every girlfriend in Jongno is getting madder and madder, and every boyfriend is on thinner and thinner ice, every time he walks by a phone shop with his lady.

Review of Crossing: The Desperation of the North, and the Hypocrisy of the South

Crossing is a movie about North Koreans fleeing to China in desperation. Once in China, North Koreans are in danger of being caught and repatriated to North Korea, where they will be sent to a work/death camp for their treachery against the great leader/god Kim Il-Sung (by the way, how are those Olympics going, Beijing?) They must either get into another country's embassy and claim refugee status, or travel secretly through China, and escape either to Mongolia or head south, and claim refugee status in a southeast Asian country -- Thailand, Laos, Vietnam, etc., and hope that Seoul will take them.

The preview


Here's a summary from Koreanmovie.com and a synopsis from the site:

In the film, Yong-su (played by Cha In-pyo), a North Korean living in a mining village in Hamgyeong Province, crosses the northern border with China to get food and medicine for his ailing wife, only to find himself on the run. His 11-year-old son (Shin Myeong-cheol) also risks his life to trace his father in China.

Now, Korea loves melodrama -- I'm not going to theorize on why, but let's just say this, is a TYPICAL, not an exceptional Music video:



Anyway, because of this propensity toward bombast, my expectations weren't TOO high, heading into Crossing, because I knew the topic ran risk of veering wildly into melodrama, but it managed to treat its subject with at least a modicum of grace. This was good. Even when we saw that Yong-su has a dog, and everybody who knows Korea thought, "Heh. This is Korea. . . I know what's gonna happen to that dog". . . they managed to treat Whitey's mysterious disappearance as a sad surrender to poverty, without overdoing it until it became a punchline.

As with most sad movies, the first thing they do is show you some people living a basically happy life, and you see enough of them to decide you like them, and want good things to happen to them, before bad things start happening to them (cf Dancer in the Dark). In reading up for this post, I learned here that the film was written after extensive interviews with North Korean defectors.

At first, I was a bit cynical, thinking things like, "I like this character too much. . . she's definitely going to die." But, when bad things start to happen, the filmmakers mostly told the story, and didn't spend TOO much time telling viewers how to feel. Mom coughs. Later, she passes out during the town meeting. Turns out she's pregnant and has tuberculosis from malnutrition. Medicine for pregnant women with TB is hard to come by in North Korea, but Yongsu, the father, has a friend who is a trader bribing his way back and forth to China, who is also surreptitiously handing out bibles. Then other bad stuff happens, and some more bad stuff, until Yong-su has to go into China himself to try and get medicine. . . and then he'll come right back! But then other stuff happens, so that he might not be able to come back, and his son has some bad stuff happen to him (no more spoilers today!) and needs to cross into China to try and find his father. My favourite character was Misun, the cute daughter of the bible-smuggling trader. We see her at the beginning, and then we meet her again later, and her character arc is one of the sadder ones (though nobody's going to quite out-tragedy Yong-su).

I won't say the film is completely without melodrama: I'm sure one entire round of auditions for the actor who plays Joon (the son) consisted of nothing more than, "OK. I'm gonna point a camera at you, and I want you to cry convincingly, and say these words while you're crying". . . but the use of slow-motion and echoing shouts of despair as the world falls silent didn't slide into overkill, nor did the silent montages of "remembering the happier times," and frankly, the movie was touching, and the ending was very appropriate. The acting, too, was well done, and the two children especially impressed me, given that making bad things happen to children in a movie is the fastest way to generate pathos, but also runs the greatest risk of slipping into bathos (mawkishness), but the kids never quite went too far, nor did the filmmakers.

There are a few sad conversations about heaven prompted by the missionary character and his daughter: "a place where I won't be hungry?" "I hope they have still rain there" and by the end of the movie, heaven's function is mostly just to be the place where certain characters can finally see. . . certain other characters. . . again, if ever. In fact, that seems to be what's playing behind the ending credits: all the characters in the movie are eating and playing by a riverside, including the ones who wouldn't be able to attend an earthly riverside picnic. There's also one angry speech asking, "Why does Jesus only help the South? Is God's help also only for the rich?" Those questions remained unanswered in the film, and yeah, the hope of heaven is mentioned, but in the face of thousands of starving people who need FOOD, too much talk of heaven would become problematic, and the filmmakers were wise not to dwell on it.

But this is the puzzling thing:

I'm going to talk about this movie in my classes next week, and see how the response is: so far, the times I've sent out feelers, most South Koreans seem not to really want to see this movie. Too much of a downer.

I'm of two minds here:

In one way, I think South Koreans kind of think of North Korea the way one might think of a deadbeet brother who, every time you send him a christmas card, writes back asking if he can borrow money, or insults your kids. Yeah, he's family, but it's too frustrating, costly, and draining to expend mental energy toward him. I've sensed this kind of dissociation toward the North, even just in the time since I've come here, people in the south feel more ambivalent, less connected, with the north. Less willing to help. And yeah, if your brother either insults you or ends up costing you money every time you see him, wouldn't YOU dissociate yourself, too?

on the other hand, I'm also outraged that Koreans can be so complacent about SUCH a desperate situation, so close, to people who are their great-uncles and second-cousins. It's only by a trick of geography that South Koreans were lucky enough to be here instead of there when the Military Demarcation Line was drawn. . . how can you write off your own kin? In my darker moments, I think that South Korea's apathetic attitude toward what's happening in the North (other than insofar as Kim Jong-il might have weapons that threaten the south) is the ultimate refutation of Koreans' claim to have that mystical "jung" -- some deep connection between humans that only Koreans could experience or understand. How could you claim "jung" -- some deep, humanizing connection between Koreans, when many of your own are starving to death and eating dirt just to remember the feeling of having something in their stomachs, and you won't even go to a damn movie about it (prefer watching schmaltzy music videos where the tragedy's fictional, I guess)? The filmmakers had a hell of a time even finding funding for their movie, because South Koreans keep NK at SUCH an arm's length. Investors didn't think the film would make any money. No jung, gentle readers. No urgency? No feeling of need to have this story told? No jung.


It's not often I feel it quite THAT strongly, but those are the two extremes.

But the fact is, every Korean I've mentioned this movie to so far has been somewhere from passively reluctant to actively resistant to seeing it, and Girlfriendoseyo also told me that most Koreans probably WON'T see it, because they don't like to think about North Korea (which, in my mind, is EXACTLY why every Korean SHOULD see this film.)


And that's the puzzle of North Korea.

(PS: articles from 2001 and 2003 on human flesh for sale in North Korea's black market.)




(all photos from google images)




(Update: thanks, Joshing Gnome, for the link and the kind write-up)
(Update 2: after bringing "Crossing" into my conversation classes this morning, it's been about a 50/50 split between students who want to see the movie and ones who won't. Had to mention it, for the sake of fairness and full disclosure.)

Some videos and no commentary whatsoever.

Freddie Mercury

Another One Bites the Dust

This completely unrelated Korean ad was on approximately every five seconds in 2006.
Every single student I had could sing the song.


(must. . . not. . . make. . . commentary)

Elton John

I'm Still Standing

Sunkist Lemonade: a Korean ad that really sticks in your head.



Liberace, baby! (sweet mercy I wanted to post this one, but embedding was disabled)


Barrel Polka

Finally, the topper: these are members of the big-time Korean pop-bands Super Junior and Girls' Generation.


finally, in another completely unrelated link, Korea Beat, debunking a widespread (though not as widespread as before) myth some foreigners are told about Korea.

How important is Education to Koreans, Roboseyo? (my emphasis added)

This important. From the front page of the International Herald Tribune.

An article about a Korean "Cram School" - a school entirely focused on preparing for the University Entrance Exams.

Here, the students are denied everyday teenage items in South Korea. No cellphones, no fashion magazines, no TV, no Internet, no game machines.

Dating, going to concerts, wearing earrings, getting manicures, or simply acting their age - all these are suspended because they are deemed distracting for an overriding goal. Instead, the students cram from 6:30 a.m. to past midnight, seven days a week, in a campus kilometers away from the nearest public transportation, to clear one hurdle that can determine their future - the national college entrance exam.

South Koreans compare their obsessive desire to get their children enrolled in top-notch universities to "a war."

...School background looms large in the life of a South Korean. What university people attend in their 20s can determine their position and salary in their 50s. Top-tier schools like Seoul National, Yonsei and Korea Universities hardly register in the global lists of top schools, but at home, their diplomas pass as a status symbol, a badge of pride both for the students and their parents. On exam day, mothers pray at churches or outside the exam halls.

The life of a South Korean student, from kindergarten to high school, is shaped largely by the quest of doing well in standardized examinations to enter a choice university. That system is often credited with fueling the nation's economic success but is also widely criticized.

When massive anti-government protests shook South Korea in recent weeks, first over President Lee Myung Bak's agreement to import U.S. beef and later over his other policies, many of the demonstrators were teenagers protesting the pressure-cooker conditions at school. Among students between 10 and 19, suicide is the second most common cause of death after traffic accidents.

Lee's trouble started when people accused him of filling many top government posts with people who have ties with his alma mater, Korea University. Still, when he replaced his entire presidential staff this month, all but one of his 10 senior secretaries were graduates from the nation's three best-known universities. When the news media report government appointments, they always highlight the officials' school backgrounds.

It is no surprise that most students in this cram school say they enrolled voluntarily.

(my emphasis added)

Among students between 10 and 19, suicide is the second most common cause of death after traffic accidents

Among students between 10 and 19, suicide is the second most common cause of death after traffic accidents

Among students between 10 and 19, suicide is the second most common cause of death after traffic accidents

Among students between 10 and 19, suicide is the second most common cause of death after traffic accidents

Among students between 10 and 19, suicide is the second most common cause of death after traffic accidents

Among students between 10 and 19, suicide is the second most common cause of death after traffic accidents

Among students between 10 and 19, suicide is the second most common cause of death after traffic accidents

Among students between 10 and 19, suicide is the second most common cause of death after traffic accidents

(my emphasis added)

sigh.

Weekend pics (stay on till the end) . . . and a story.

I had two interesting classes in the last week: see, I have two free-talk classes, which are the highest level we offer at my school. One of them is what my sister-in-law calls a "clam bake" -- that is, the opposite of a "sausage party," an all-female class. It's actually a wonderful class, and we've had some really lovely conversations about family, woman issues, whatever, as well as a few good laughs.

Well, one of my students came into class all steamed becasue her boyfriend (in very poor form) not just looked at a poster of a hot model in a bikini (which are rife these days, and which, being a guy, I would have defended him for doing -- those posters are specifically designed by advertisers to ensnare us dink-havers into looking, so it's difficult to say he was out of line for that. . . however, he also COMMENTED on it to his girlfriend, which isn't cool -- ogling whilst in the presence of one's girlfriend should ALWAYS be done surreptitiously, if at all.

Well, to balance that gripe out with a laugh, I told a story about a time I was out with girlfriendoseyo:

We were walking by a bus stop, and I spotted, as we approached, one of those long-legged, beskirted sort of specimens that keep some men in Korea way longer than they need to be. . . but I was with girlfriendoseyo, so I thought very specifically, "MUST. . . NOT. . . OGLE!" and focused my gaze with laser-intensity at the pedestrian overpass nearby.

Out of the corner of my eye, I noticed Girlfriendoseyo giving that very same h-h-h-hawttie a big-old up, down, and back up again.

"LeeeEEEEEEeeerrrrrr" would have been the sound-effect, if this were one of those old 1960s Batman TV episodes.

So I turned to her, with a hurt look on my face, and said, "Were you looking at that girl?" Girlfriendoseyo knew she was busted, so she nodded.

"Do you think she's prettier than me?" I said, and made my chin tremble.

We had a good laugh then, and had another good laugh with my all-ladies class, and we started talking about girls checking people out on the street, which is a conversation I've never had before.

(ps: Magnetic Fields is playing as I write this, and they just used the word "unboyfriendable" -- sweeet)

So, anyway, here are the things I learned, and sure, it's only a sample-size of four, so I'm not going to be writing any scholarly papers, but it was interesting nonetheless:

1: Women look at other women more then they look at men, when they're out walking the street. (Usually for the sake of comparison.)

2: In the street, (at least these) women's attention isn't caught so much by a man's looks, as the way he acts: particularly, a women's attention will be caught by a guy who's acting sweetly to his girlfriend. (talk amongst yourselves as to why this might be; for now, it was interesting enough just to learn that)

however

3: When watching TV, women look at the men more than the women. At least these ones did. That was interesting, too.

We theorized as to why that might be, and we came up with this:

Women (to be broad-brushy) are more interested in a man's character (though we all know men are generally more visual); the men seen on TV are generally celebrities that (these) women have seen before -- they get a chance to kind of gather a series of impressions about the men on TV, to get a feeling for what their characters might be like, which makes them more interesting to watch, while the men passing in the street are probably impossible to meet, impossible to get to know, so the mere look of them isn't as interesting.

Anyway, that's what we hypothesized that day. It was a really interesting class, and I learned something about women. Cool.

Next: I had ANOTHER free-talk class which (that day) was all men, and we talked about drinking (may as well throw a proper sausage party, you know?) The two men also REALLY got a kick out of my teaching them the phrase "sausage party". Well, I mentioned how I love Korean drinking culture -- you never see Korean men more friendly and jovial than when you're drinking with them (and if you can somehow dodge being goaded into drinking WAY more than you planned to, it's a fantastic experience). I've argued here before that I'd love to see Kora's drinking culture separated from its business culture, for various reasons (though I'd be sad to see Korea's drinking culture vanish completely).

And one of my students asserted (without any prompting), "I don't like drinking culture as much these days: it seems more extreme, and there's more rudeness and violence in drinking districts than I seem to remember when I was younger." Such a frank admission was really refreshing, and then he followed that up by saying, "But my boss is trying to curb that kind of unhealthy alky-culture: he's encouraging us to be more moderate during office dinners" -- a pair of sentences that filled me up with hope and happiness.

Then we got back to telling hangover stores.


aaaand. . . pictures.

From the Puk'hak expressway, where I went with Girlfriendoseyo (avoid the Italian restaurant at the lookout point there: the service was awful. Not the worse we've EVER experienced, but definitely the second worst. [you have to ask nicely if you want to hear those two stories]):











look at all the colours of green (pics from my flickr account)




. .. a mulberry tree?

The weather on Sunday was the most perfect I think I've ever seen. Just look at that sky.
I climbed Buram mountain with Matt in the morning:


We could see all the way to Gwanaksan (way south of the city) from Buramsan (way north of the city)


And, for good measure, there in Gyungbokgung station. . . a naughty horse from the Shilla Dynasty. I guess we know what was on their minds back then. . .

I didn't realize C&B stood for Cannon and Bells.

Now do I need to include the close-up, for any who doubt what it is?

Yeah. Surprising, unexpected appearances of phalluses occur in Korea from time to time (see here for more)-- you just never know when one will, um, pop up.



Anyway, that night, one more of that cute neighbourhood I walked around with Girlfriendoseyo

A little more about the Korea Herald Hallyu Circle-Jerk: Final Entry in the Series

[THE HIGH TIDE OF THE KOREAN WAVE(36)] The Korean Wave and Korean-Americans

The epicenter of the Korean Wave was East Asia, but gradually Korean popular culture has reached the shores of other continents as well.
Although its popularity in non-Asian regions is not as pronounced as it has been in East/Southeast Asia, the growing interest in and visibility of Korean popular culture in different parts of the world signifies its emerging position in the global cultural landscape.

In this increasing dissemination of Korean culture, the role of overseas Koreans is noteworthy since they are usually at the center of the consumption of their culture in foreign countries. Before the emergence of the Korean Wave, it was mostly introduced to the local population by Koreans living in other countries.

Since the Korean Wave has grown internationally, overseas Koreans have become crucial forces behind its promotion, as they are probably the most enthusiastic and closest followers of Korean pop culture in most non-Asian countries.

Korean-Americans' role in the spread of the Korean Wave deserves attention. Their residence in the United States, the center of the global pop cultural industry, their close connection with Korea and their extensive travels enable them to effectively take part in trans-Pacific cultural exchanges.

Some of them, including Korean "yuhaksaengs" (students who study abroad), have been creative forces behind the Korean Wave as they became successful pop stars or influential producers in Korea. There have also been indications that they may become effective bridge-builders between the Korean and U.S. entertainment fields. A few Korean-Americans have had promising receptions in Hollywood in recent years.

Since the United States is the most coveted market for ambitious Korean entertainers and production companies, Korean-Americans' success and their potential mediating power in Hollywood are considered significant. Let us focus on their roles as consumers, disseminators and creators, and discuss how Korean-Americans have been involved in the trans-Pacific flow of Korean pop culture and what that means to the pop culture world.

It is common for immigrants to make an effort to retain their heritage. Often they consume news and cultural products from their countries of origin. Hence, long before the emergence of the Korean Wave in Asia, Korean-Americans had extensively enjoyed Korean pop culture, at least in metropolitan areas where access to it was relatively easy.

Ethnic media including TV, radio and newspapers, as well as ethnic video stores, proliferated in big cities where Korean-Americans have been concentrated and provided a variety of cultural information from Korea on a daily basis. In this sense, Korean-Americans' consumption of Korean pop culture is not a new phenomenon.

However, the success of the Korean Wave attracted new groups of Korean-American followers (such as the U.S.-born young Korean-Americans who previously showed little interest) and facilitated the circulation of Korean pop culture beyond the boundaries of ethnic Korean-American communities.

Their consumption is related to several factors. The first is the increasing availability of Korean pop cultural products and the amazing speed of information sharing. As mentioned earlier, in U.S. metropolises a variety of ethnic media is available depending on the region and the size of the ethnic media market. In addition, various ethnic businesses such as ethnic video rental shops, bookstores, and different types of ethnic cultural spaces (including cafes, clubs, clothing stores, hair salons, etc.) contribute to Korean-Americans' easy and extended access to "homeland" popular culture.

Then there is the internet, which offers completely new possibilities. Through the internet, simultaneous and interactive consumption of pop culture has become possible. For instance, some Korean-Americans consult with their friends and family in Korea for their selection of pop cultural products through online communication and are actively involved in cultural spheres through their online interaction. (Many young Korean yuhaksaengs have blogs or home pages on the Web, which are important sources of transnational connections and cultural flow. They also tend to actively participate in various online communities.)

Information is shared at the speed of a click, and the delayed cultural gap caused by time lag is a matter of the past for the internet generation. Korean-Americans who are not familiar with the internet may still rely on traditional sources, such as ethnic TV or newspapers. Yet the speed of information transmitted by those media has also accelerated, so they are not far behind in getting the latest news from Korea, either.

Second, the development of communication technology and transportation has reduced the distance between Korea and Korean-Americans not only in a physical, but also a psychological sense. Visiting Korea has become much easier than ever before and contacts with family and friends in Korea have increased significantly through phone calls, online chatting, and home page postings, as well as actual visits.

Thus, despite geographical separation, Korean-Americans and Koreans have multiple means of reducing the gap. The common cultural references created by the shared consumption of Korean pop culture across borders provides a foundation on which they can construct a sense of a transnational community.

Third, for some Korean-Americans, their consumption of Korean pop culture is related to their search for an identity and a community. As minorities, many Korean-Americans experience a sense of marginalization. Even those born and raised in the United States often feel that they lack full-fledged cultural citizenship in the United States.

Moreover, it is difficult for Asian-Americans (including Korean-Americans) to find a positive role model in the "mainstream" U.S. media because Asian-Americans have long been almost non-existent or portrayed stereotypically. In this light, Korean popular culture could provide them with a way to learn about their heritage and, to some extent, a reference base on which they could build a sense of identity and belonging.

Korean-Americans also take an important part in the dissemination of cultural information and products across the Pacific. For example, ethnic Korean TV channels, which are mainly geared toward Korean-Americans, unwittingly attracted non-Korean viewers. Indeed, when the Korean Wave became a phenomenon in Asia, the programs became important sources for curious viewers to get a taste of Korean pop culture.

Moreover, at school or at work, Korean-Americans expose their friends, classmates and co-workers to Korean culture. Among the younger generation, in particular, the dissemination of cultural information is a natural and widespread practice, so young Korean-Americans and yuhaksaengs are pivotal in the spreading of Korean pop culture among American youths.

The main groups of people who show interest in Korean pop culture are usually other Asian-Americans. Like many Korean-American youths who are knowledgeable of Korean pop culture, many young Asian-Americans are also well-informed of what is going on in their countries of origin.

If the Korean Wave has been big in their countries of origin, Asian-Americans youths tend to develop interest in Korean pop culture through their transnational connections and sometimes seek information from their Korean-American friends. Hence, the popularity of the Korean Wave in Asia is transmitted to the United States through transnational Korean/ Asian populations.

Korean-Americans' dissemination of cultural information and products does not flow only one way, however. They also disseminate American pop culture to Korea - from food to even drugs. In particular, the yuhaksaeng and their family members (especially mothers) play a key role in the trans-Pacific cultural flow because they are truly "footloose" transnationals who frequently cross national and cultural borders.

The role of overseas Koreans as creators is not as clear-cut as their roles as consumers and disseminators. One the one hand, it is undeniable that Korean-Americans have been crucial creative forces at least in certain genres of Korean pop culture. On the other hand, it is arguable whether their contribution to and role in Korean pop culture is truly creative rather than merely an interpretation and dissemination of U.S. (to some extent, Western) pop culture.

Since the 1990s, Korean-Americans and yuhaksaengs have left remarkable footprints in Korean pop music. R&B, hip-hop and rap were either introduced to or popularized in Korea by Korean-American musicians starting in the mid-1990s, and many Korean-American and yuhaksaeng musicians have been the leading voices in those genres ever since.

The limited opportunities Asian-American musicians face in the U.S. pop music industry, combined with the Korean music industries' active recruitment of Korean-Americans (they are viewed to be more familiar with the previously-mentioned genres), resulted in their proliferation, especially in groups such as H.O.T., G.O.D., Drunken Tiger, Shinwha, and S.E.S., just to name a few.

Solo acts such as J, Lee Hyun-woo, Lee Jung-hyun and Crown J are also from the United States. Additionally, transnational Koreans educated in American institutions or strongly influenced by the American music style have played a crucial role in the construction of Korean music trends. Seo Tae Ji and Boys, Cho Pd and Psy belong to this group.

Moreover, some aspiring actors and actresses who face serious obstacles in the United States due to the lack of opportunities and role models for them have headed for Korea and become successful. Some even gained international fame in Asia due to the Korean Wave.

They have then utilized their success in Korea/Asia as a stepping stone to enter the U.S. market as a Korean or an Asian star. Kim Yunjin, who appears in American TV series Lost is a good example of this.

As these examples demonstrate, Korean-Americans have played an important part in the making of contemporary Korean popular culture. However, if we ask whether they are truly creative agents of Korean pop culture, the answer is somewhat dubious because, thus far, what they have done is not too far from disseminating information (for example, hip-hop and rap) from the United States to Korea.

They largely remain students or imitators of Western artists in the same genre instead of independent artists with their own voices and styles. Of course, this maturation will take time and it will be interesting to see if they can come up with innovative cultural products. Until that is accomplished, the evaluation of Korean-Americans' creative role in the Korean Wave remains open-ended.

Korean-Americans and other Asian-Americans have long tried to establish their niche in the U.S. cultural scene. In recent years, such efforts came to partial fruition as the visibility of Asian-Americans and the representation of their own voices, based on their unique experiences and heritage, began to improve. The U.S. media's increased featuring of Asian-Americans is partly related to domestic changes such as multiculturalism and the increased purchasing and cultural power of Asian-Americans.

Perhaps more importantly, the media conglomerates' interest in the Asian market, the hottest media market in the world in terms of its potential and size, propelled the increasing presence of Asian/Asian American entertainers.

The interest also facilitated Hollywood studios' selection and appropriation of Asian themes. They shot films on Asian locations, added more Asian characters (though many of them still stereotypical), and even remade successful Asian films and texts (including animation and comic books).

Asian and Asian American stars are hired as lead characters in movies because of their marketability in Asia and beyond. In this environment, Korean/Korean-Americans actors, actresses and other cultural workers have increasing opportunities to expand their horizons in the United States and eventually in the world market. Yunjin Kim, Rick and Karl Yune and John Cho are just some names with whom U.S. audiences have become familiar. In Wolverine, the upcoming X-men spin-off film, Daniel Henney will test his luck in the U.S. market as well. Then there is Rain (Bi), whose Hollywood film was recently released and another is in the making. In the fashion world, too, a growing number of Korean/Korean-American designers have begun to attract the mainstream fashion industries' attention (take Doo-Ri Chung, for example).

The door has opened, although still only for a selected few. But such a possibility is a crucial one, and how this opportunity is seized and how the momentum can be developed into a system of reliable networks could determine whether more Korean/Korean-American faces and voices can be represented in the global media.

Of course, the success of individual entertainers is not equivalent to the success of Korean pop culture. It is possible that they could become mere tools for Hollywood to more effectively sell its products to Korea and Asia. At the same time, however, it is true that they have great potential to become significant bridge-builders and cultural agents between Korea and the United States (and the East and the West) and even creators of global pop culture.

Considering the fact that we are living in a transformative time in which Western cultural hegemony continues to linger, but, simultaneously, local/regional cultures' power and influence are growing, their potential is indeed quite great. If this potential materialized, Korean/ Korean-Americans may contribute to the spread and development of the Korean Wave in a new way.

By Park Jung-sun



2008.06.20