Organized Panel Session
Scholarship on fandom in Korean pop culture has grown in recent years, but it has focused primarily on K-pop in the twenty-first century. This panel seeks to draw crucial new perspectives from an exploration of Korean pop music fandom across time, from the colonial period to the present. Within this broader context, the panel investigates the identities, roles, and practices of Korean music fandom. In his paper, Roald Maliangkay investigates the various manifestations of music fandom in Korea during the Japanese colonial era, which consisted primarily of young middle-class urbanites. In addition, he examines the socio-political aspirations underpinning fandom and the ways in which record companies drew on these. Hye Eun Choi’s paper demonstrates that fans of the famous popular song “Tears of Mok’po” played a significant role in assigning additional social meanings to the song and constructing public memories around it. Hyunjoon Shin goes deep into the fandom associated with superstardom in the 1980s, and captures the exchanging labor of “love” between stars and fans as well as the intermediating role of production-cum-management companies. Jungwon Kim’s paper examines how female fans construct their own sonic space through chanting and singing, known as ttech’ang, in which they demonstrate their affective ties and articulate their voices. In doing so, Kim counters the general negative conception of female fandom.