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J-Pop: Changing or Declining?

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 J-Pop: Changing or Declining?

1.ABSTRACT
Popular culture of Japan has improved through various amplified and eye-catching ways. It was
starting within side the reflection of the 2nd world war along with the China exploration. It has
been noted that Japan's experience of identification is being conflicted, objected, reviewed, rebuilt
and got a new life by adopting a lot of pop culture tools. The main theme of these tools is the
aesthetic expression of Japan which is considered as their belongingness. On 21 st century, the
world-wide dominating Japanese popular culture medium are ‘Manga’ which is known as comics,
fashion, music, movie, anime, cuisine, fan media and technology, literature, video games, sites and
spectacles etc. The first wave of this popular culture happened via television and film specifically
manga and anime series during the mid of the last century. Then this flowed rapidly all over the
globe. On the second wave of the J-pop, it was mainly based on the digitalization of the global
media such as, fastest contact, connectivity of all over the people, establishment of amazing
instruments helped it to explored and valued as well as engaged and resolved. Even, now Japan is
spreading their ideology of “soft power” or “cool Japan” globally and has been created economic
boom by better cultural relationship though K-pop has achieved more popularity recently than J-
Pop.

KEYWORDS: J-Pop, K-Pop, Past and Present, Epistemology, Hospitality, Fashion, Cuisine,
Entertainment, Architecture, Literature, Sports, Crafts and Art, Critical View.

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2. INTRODUCTION
A significant impact of Japanese pop culture was felt globally. In Japan, there are various genres
of art that are in demand. Manga, anime, and music are some of the well-known forms. The
majority of their famous popular culture fans come from them, which makes them the most
prominent. Cosplay, modern art, and fashion are some more examples. The term "cosplay" refers
to decorating up as a fictional character from an anime, manga, film, or video game. Akihabara,
Harajuku, and Shibuya are a few areas in Japan where cosplayers frequently congregate (Galbraith,
2019). Japan's popular culture is now so pervasive in our nation that it is virtually hard to avoid
noticing it. Every year, events are held in different regions of the world that are even festivals
along with conferences specifically for it. Another one of Japan's major exports is popular culture.
The most intriguing aspect of Japan is this, as it has a meaningful impact on worldwide.

Japan's foreign image has been shaped by a proliferation of cultural impact and hybrid innovation,
as well as by the characters, clothing, videogames, manga, anime, music, and other elements that
have a Japanese influence (Katsumata, 2012). In 2008, the Ministry of Tourism appointed Hello
Kitty, one of the best well-known emblems in worldwide, as the ambassador of Japan to China
along with Hong Kong in place of appointing a specific person. The 2020 Tokyo Olympic and
Paralympic Games ambassadors were chosen by the organizing committee in a similar move to
mobilize the accessibility of popular culture (Freedman & Slade, 2021).

A common belief about media globalization can be reviewed in light of recent changes in the East
as well as Southeast Asian media markets (Ito & Crutcher, 2014). A recently developed metaphor
for understanding this recent regional media development is the term "Korean wave," that alludes
to the vogue of media culture in Korea throughout East as well as Southeast Asia. This article
makes the case that the US authority article regarding globalization is not totally true by looking
at the current large jump of the media industries in Korea (Dumas, 2018). Although popular
entertainment medium like film along with television are invention of Westerns, the people of
Korea have shaped these media their own braids through fusing native characteristics along with
adding their distinctive flourishes in often inventive paths.

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New globalization in Korea was compelled by the economic crisis of 1997 along with frequent
IMF-mandated reform on neoliberal issue, that sparked nationalism, patriotic feelings, and worries
about national oneness (Leheny, 2018). The "sunshine" policy of North Korea has also promoted
the feeling of nationalism (McLelland, 2016). New generation Koreans now have the chance to
critically examine both their own native culture and imported Western culture thanks to the rise of
nationalism. In addition, they tend to adopt the versatile form of popular culture in accordance
with their personal preferences as well as taking characteristics into consideration because older
Koreans had not as much as cultural capital than them. The neoliberal reform has also expanded
and opened up the marts for Korean culture, giving consumers more options and increasing the
visibility of Korean cultural goods in East Asian markets, resulting in the "Korean wave."
Following suit, remain nations in the area have seen a sharp increase in the exchange of cultural
goods, which suggests the emergence of an East Asian Popular Culture. Additionally, it might be
a contender for a substituting definition of globalization, that indicates to the movement of people
from the area of the periphery or non-Western regions to the part of West (Moeran, 2010).

3. LITERATURE REVIEW

The evolution of Japanese popular culture has recently gained prominence as a research area.
Because by using this strategy, Japan was able to quickly rebuild after the Second World War's
catastrophic devastation and forge a strong position as a developed nation in the world (Anne,
2012). Without digging deep into it, it will therefore be a silly subject.

Numerous academics have already researched this hot topic, including Peter Frost's Contemporary
Japan, 1989-Present, Joseph Nye's thesis on the use of soft power in international relations, Takashi
Murakami's piece on the history of pop culture, and many more. The primary goals of these many
works on popular culture were:

1. Examining the beginnings and development of Japanese popular culture, including its post-war
features.

2. The cause of this culture's unchecked spread within the social structure of the West.

3. Growing among the younger generation as a "Baby boom": Causes and Effects.

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4. Outlining the general function of "Soft Power" in Japan.

In Japan, there are two views on pop culture. There are two: "Minshu Bunka" and "Taishu Bunka."
Bunka ironically implies "culture," while the word "popular" has many different connotations in
Japanese literature. While Minshu suggests the existence of an elite people's culture, Taishu
supports the idea of a mass people's culture. Therefore, Minshu Bunka is a better name to describe
"Popular Culture" (McDonald, 2005). It also acknowledges that socioeconomic stratification in
Japan permeates all aspects of society.

Both traditional Japanese culture and western culture contribute to the development of popular
culture. This is the only nation in the world that never copies others; instead, they take the greatest
elements of other cultures and alter them to fit their unique traditions. Nihonga, Enka, Yoga,
Minyo, and other forms of this music are examples (Kataoka & Emi, 2000). However, because it
adopted and produced a new domesticated form, it became a somewhat "late-developing" nation
because it needed time to learn new skills. However, even if we ignore this in a broader context,
their multiplicity of cultures makes them a culturally distinct nation in the entire world and
provides them a particular place.

However, the literature now in print does not sufficiently cover the diverse forms of popular culture
in Japan Furthermore, the factors which led to the development of the popular culture on Japan as
an international phenomenon are not critically examined. Even the established J-Pop culture from
the previous century is giving way to the K-Pop culture in the 21st century. It is necessary to
investigate the causes of this.

The history of popular culture will not be covered in this literature. Instead, it will place a focus
on the diversity of Japanese popular culture with a critique of "Soft Power" or "Cool Japan." The
genre of these cultures, both past and current, will be thoroughly investigated. Finally, the debate
regarding the fall of Japanese Pop and the rise of Korean Pop will be explored.

As a result, depending on the preceding literature, this content answer to the following questions:

Research Question 1:

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How popular culture of Japan is changing over time and how the past and present situation
of J-pop differs from one another?

Research Question 2:

What are the causes behind the uprising of Korean popular culture, what is the critical view
on J-Pop and K-pop?

4. METHODOLOGY

Documents, journals, books, e-books, YouTube reviews, case studies, weblogs, web browsing,
research papers, and other materials are mostly used to further this subject. It gathers information
from reliable websites and sources like NHK, The Japan Times, Tofugu, Bunraku, etc. This essay
presents both analytical and thematic data. The information that helped to make this paper more
valuable has been acknowledged appropriately at the conclusion of the work.

5. DISCUSSION

5.1 Past and Present Situation of Japanese Popular Culture

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Japanese traditions and culture are ever-evolving. Japan's culture celebrates both the modern and
the old, with neither side being more preferred than the other. People can be seen reading on their
iPhones or sipping coffee from Starbucks while wearing kimonos and geta, which are traditional
Japanese wooden sandals, in Japan.

Although there are many connections between the present-day culture of Japan and its ancient
traditions, there are also some contrasts. But rather than being in opposition to one another, they
work best together in specific ways. Therefore, to make your vacation to Japan more interesting
and to answer any questions you might have about the contrasts between traditional and
contemporary Japanese culture, we have provided some fascinating Japanese cultural facts below.

Epistemology

Past Japanese culture: Traditional, nationalistic, and conservative. Japan, which has been
greatly impacted by Chinese culture, places a high importance on "purity" and tradition yet
is still open to change as evidenced by the Edo and Meiji eras. Japan was able to benefit from
its rapid progress even after World War II, and its people were quick to adjust (McLelland, 2016).

Present Japanese Culture: Japanese culture today is global, congenial and tech-focused. Japanese
current culture is mainly influenced by Western ideals (Bestor, 2011). Being a pioneer in
technological advancement has helped Japan. They are always looking for new experiences and
highly value change. However, these essential ideas have been incorporated into modern Japanese
beliefs, thus this does not suggest that they would reject the past.

Hospitality

Past Japanese Culture: The importance placed on courtesy and hospitality is one of the
characteristics of old Japanese culture. The term "Ryokan" refers to the traditional Japanese
inns that often contain tatami mat flooring, public baths, and a strong emphasis on mingling
with the proprietor and the locals (Ikeno, 2011). They've become more well-known recently

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as foreign tourists' desire to immerse themselves in Japanese culture grows. Spring villages
like Hakone are home to such Ryokans (Hakana, 1998).

On the other side, it's getting harder and harder to find Japanese traditional tea establishments,
especially those that still hold tea rituals. It may not be valued the wait for the typical busy worker
because it takes longer than it does at modern cafes to get one’s drink.

Present Japanese Culture:

In modern Japanese society, convenience is significantly more significant, yet creativity is

nevertheless crucial. The majority of hotels in Japan, especially in big cities like Tokyo, offer
very basic rooms that are often only big suitable for one person to sleep. There are also "capsule"
hostels that allow guests to save money by lodging in pods that resemble "capsules," sharing
toilets, and traveling together. (Maher & Mcdonald, 1995).

Additionally, "pop culture" eateries and cafes like cafes on robot, cafes on maid, and also beast
cafes are becoming more popular (Robertson, 2008). The design of these coffee shops is in line
with the way that young people in Japan like to follow trends and try new things.

Fashion

Past Japanese Culture: The more garmenting you wore, the morewealthy you were thought to be
in traditional Japanese culture (Napier, 1998). This distinguished lords significantly from the
common manual laborer by emphasizing how little skin was exposed. Bodily tattoos are
disapproved of, and many public spaces still refuse entry to tattooed people (Craig, 2015).

Present Japanese Culture: With the enormous popularity of anime and manga, cosplays have
significantly increased in Japan's modern culture. For the character they wish to embody, many
are prepared to shell out a sizable sum of money on specially designed costumes and
accessories. One may have noticed the unusual fashion in Harajuku if one has ever been

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there. From lolita to gothic, it's nothing but a totally exceptional world beyond there (Otmazgin,
2008).

Cuisine

Past Japanese Culture: Japanese customs place a strong emphasis on using the freshest,
highest-quality ingredients possible. Every meal should always include rice, which is regarded
to be a staple. The emphasis was on simplicity, and dishes were typically merely seasoned with
salt and pepper (Iwabuchi, 2016). However, cooking techniques like making sushi are thought to
be crafts that take a lifetime to perfect. People would need at least ten years of training to be
capable of preparing even uncommon substances like fugu (Otmazgin & Ben-Ari, 2013).

Present Japanese culture: Because it is so convenient, Western fast food is highly favored. If
you've ever been to a popular restaurant or a little ramen shop, you've probably seen that customers
finish their meals really quickly and leave right away to make room for the next person. In order
to fight with Western fastfood chains, Japan also has "fast-food-like" eateries that serve
Gyudon (beef bowls) within a fair price as well as early. Examples include Matsuya,
Yoshinoya, and Sukiya (Chua, 2012).

Furthermore, thanks to technology, many once-luxurious foods have become more affordable. One
example is the introduction of sushi made on conveyor belt, that has created the platter widely
available for consumption by the majority of people. In contrast to a century ago, there are now
vegan and halal dining options available because to globalization. Even foods where flesh is a
primary ingredient, like ramen and gyoza, have evolved to be quite palatable for people with
special dietary needs (Fung, 2013).

Entertainment

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Past Japanese Culture: The major forms of entertainment in ancient Japan were Noh and Kabuki,
traditional theater arts. For the audience, they create a distinctive theatrical experience by
fusing music, drama, and dance. There are also geishas, which, despite being extremely rare to
encounter in modern times, are nevertheless a significant part of Japanese culture. Similar to the
Japanese obsession with perfection, geishas are performers who need years of training in Japanese
arts and practice to become a fully-fledged geiko. (Kano, 2001).

Present Japanese Culture: Up till this day, Japan's economy has been mostly driven by
entertainment, particularly video games and anime. Because Japan is known over the world as the
country of flying and spiky-haired anime characters, other countries like China and Korea are now
vying for a piece of the action (Saito, 2014). In addition, the gaming sector in Japan continues
to account for a sizeable amount of the country's national GDP and is potentially similar to
that of the US (Armour, 2010). Most of us probably have memories of turning on a Gameboy
and spending the entire day and night playing our favorite games.

Architecture

Past Japanese Culture: Chinese architectural styles are very similar to Japanese ones. Old
Japanese Culture. By examining old fortresses as well as temples that were built in honor of
shoguns and lords, one may spot the similar architecture (Yamanashi, 2012).

Present Japanese Culture: Today’s Japan draws inspiration from European architectural design
and combines it with its own aesthetic to provide a distinctive and novel approach to building
layouts. If one travel to major cities such as Tokyo or Osaka, one can notice that some locations
have a distinct English or other European-style architecture about them.

As one could have also noticed if one were seeking for a place to stay in or any other form of
accommodation, a "Youshitsu" or Western-style room with wooden flooring is almost
always featured in a house as conversed to the conventional "Washitsu"-rooms with tatami
mats. (Glasspool, 2008).

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Literature

Past Japanese Culture: The Hiragana alphabet didn't become commonly used until the Heian
Period (794–1185), however writing system of Japan was originally brought over from China
(MacDuff, 1996). The first poetry in Japan is said to have been inspired by the legendary
Man'yoshu (Collection of a Thousand Leaves), which had 4,500 poems written by general people
along with rulers of the time (Yano, 2005). With the development of the haiku during the Edo
Period, this marked the beginning of poetic forms in Japan. During this time, myths and stories,
religious and spiritual thoughts, and Japan's own history were all popular topics.

Present Japanese Culture: The exercise of Kanji has steadily decreased since the Meiji era, even
to the point where it is now restricted in newspapers and other publications. Today's authors are
not only restricted to Buddhist themes; they can write in a variety of genres. Additionally, they
support equality and work to combat sexism and other social ills while advancing the place of
women in society (Chen, 2010).

Furthermore, manga from Japan has established itself as a significant component of global
popular culture. Others see it as an improved form of novels along with fantasy writing in
books, while others see it as a doorway that brings young people to reading. The creator of a
manga can make the plot as graphic and thought-provoking as they wish, unlike the Western
comics (Matsui, 2019).

Sports

Past Japanese Culture: Sports events served primarily Shinto religious reasons in traditional
Japanese culture. It was thought that if a fisherman participated in and won at Japan's national
sport of sumo, he would have a nice catch for the rest of the year (Iwamura, 1994). While some
sports, like archery, required sacred rituals and were only practiced by samurai and lords.

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Present Japanese Culture: Western sports were brought to Japan after the Meiji Restoration.
Sports groups were numerous, and after-school activities gained popularity. Football, baseball, and
occupational wrestling were among the sports that were shown on TV, which contributed to their
rise in popularity. If one enjoys watching anime and reading manga, one may have observed
that there are a lot of works with a sports theme that promote interest in less well-known
sports like volleyball, ping-pong, and sumo (Russell, 1995). While the majority of modern
popular sports come from the West, traditional martial arts like Judo and sumo continue to play a
significant role in Japanese sports culture (Welker, 2006).

Crafts and art

Past Japanese Culture: A craft must meet a number of exacting criteria before it can be referred
to as Japanese. Usability, handmaidens, provenance, and the use of traditional Japanese
methods and materials are some of the criteria. There are 8 categories, ranging from doll
making and pottery to Ikebana (flower arrangement) (Mizoguchi, 2008). One of the most popular
Japanese crafts outside of Japan is origami, which is the art of folding paper without deducting,
gumming or plotting.

Present Japanese Culture: As these crafts' processes grew less formalized, many artists yearned
for greater freedom. For some Ikebana artisans, the unnoticed soil and rocks are just as important
as the precious flowers they utilize. Additionally, Origami techniques are currently being
combined with cutting-edge technology to produce effective, useful tools which can be used in a
diversity of medical arrangement as well as hostile places like space and the ocean (Napier, 1998).

5.2 Uprising of Korean Popular Culture

K-Pop music and idol bands

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The West as well as Japan have long controlled the pop music business. However, the pop music
of Korea has been successful in achieving own spot on the global mart as well as is creating a fresh
perception. The K-Pop music captivated Asia region along with is now attracting interest from a
global audience. Even if they don’t understand the meaning, young kids are drawn in Korean
music. There are only a few native speakers of Korean in the world. Then what makes Korean
Pop music unique and captivating to more and more admirers?

The Western nations had the biggest impact on K-Pop. By participating in exchanges, the young
generation of talented (composer, producer) achieved a lot idea on international music scene and
incorporated it through their own jobs. In the end, they were successful in creating memorable
melodies and providing Korean pop music a distinct character in the market. Because they are
more popular than solo artists, the idol groups—typically teenage groups—are the focus of K-Pop.
Korean idol groups frequently incorporate powerful dance beats, intense rap flows, and even
intricate electronic components in their pop songs. In Korean music, powerful beats and catchy
melodies are mixed. The songs are memorable because of the "Hook tunes," or enticing
choruses, and the well-timed dance moves that are easy to chase as well as sing along with.
According to some critics of popular music, these songs are good at sticking in your head and
causing you to follow along unconsciously (Jeniffer, 2013). In addition, fashion also has a
significant impact. For each single they release, the idol groups have a theme in mind, and their
attire and makeup serve as tools to highlight and depict that concept. The diversity within the group
itself is just as attractive as picture they portray as a whole. Each member actually has a unique
appeal, such as good dancing abilities, attractive looks etc. (Keshiwa, 1998).

The pop music of Korea has elevated music to a new level since it now also emphasizes visual
elements in addition to sound. The lyrics of the songs, which are in Korean yet contain some
English terms, additionally, they are the product of the blending of many musical genres, such as
R&B and electro dance beats, which in some ways sounds familiar to westerns. The three defining
characteristics of K-Pop are strong dancing, resonant singing and appealing looks. Style
makes up a significant portion of Korean pop music and its overall originality has allowed it to
stand out from other styles along with draw in listeners.

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Partnership with International Musicians

Through the development of a universal connection of singers for potential next assistance, as like
SM Entertainment, K-Pop has recently collaborated more and more with foreign musicians from
around the world (Nelson, 2008). Reputable composers and producers work on some Korean
songs, as like the European group Design Music, who produced the Girl’s Generation song Genie
(Andarson, 2005). Elliot Kennedy, a Grammy Award winning producer, gave the girl group Sistar
the hit I don’t like the weak men as another illustration. The amount of commerce centered on
connecting foreign musicians as well as creators with K-Pop performers has increased over
time, according to William Pyon, CEO of Xperimental Entertainment (a Los Angeles based
company). It now makes up 50% of their business, compared to the 5-10% it always did
(Ohokomo, 2011). Composers, producers and choreographers can all collaborate with
international performers. A fascinating aspect of K-Pop is the dancing, which is done in unison
with appropriate facial expressions to match the lyrics of the song. Foreign artists have expressed
a desire to collaborate with Korean vocalists since the global K-Pop movement has begun to take
off. In order to match audience expectations, Korean agencies are concurrently looking for ways
to work together (Morgan, 2005).

Less offensive content and Confucian values

Considering that Asia is where the Korean Wave is most noticeable, South Korea mostly sells its
soap operas to. They are well-liked by Asian viewers in part because they identify more with
Korean culture, which is one of the contributing elements. Regional cultural affinities contribute
to the explanation of this phenomena in which the popularity of the Korean Wave is directly
tied to South Korea’s media and culture capacity to adapt Western or more specifically
American culture to Asian tastes (Ryoo, 2007). Due to close geographic and cultural proximity,
there are few cultural barriers in the area. East Asian nations have affinities and similarities with
one another that are based on Confucian principles and are culturally and emotionally similar. By
portraying these traditional values in dramas of television as motion pictures, South Korea was
able to draw audiences of Asia. These traditional values continue to be universal virtues in Asian

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nations. Several of them “usually deal with family concerns, love along with filial piety in an era
of changing technology and frequently reaffirms traditional Confucian ideals,” as stated by the
author (Ryoo, 2009). As opposed to those of the Western countries, family and friendship focused
themes are more easily relatable to Asian people. Asian qualities like perseverance, hard labor,
quietness, shyness etc. are combined with Western modernity in the main characters. The core
features of loves on human (love, family and friendship), however, are global emotions which
draw audiences, and this is why Korean soap operas are as enthralling to Western audiences (Mark,
2011).

The fact that Korean dramas are less provocative and feature least revealing clothes makes them
more general, which is another unique feature of them. Compared to Western countries’ content,
they feature fewer violent and sexual situations and imagery. In contrast to sexual relationships,
love connections are typically more delicate, meaningful and sentimental. As a result, they can
eventually appeal to a wider age range of spectacles and adhere to cultural standard in nations with
more conservative cultures, like those in the Middle East and Muslim nations (Schefer, 2000). Due
to their lack of sexual content and provocation, the soap operas of Korea are considered
“safe” since they uphold customs.

Simple plots that elicit powerful feelings

Korean television dramas have a set number of episodes that are intended to be broadcast over a
brief period of time. They typically have sixteen to fifty episodes and they are infrequently renewed
for additional seasons. As a result, the plot is shorter, more condensed, and focused on a single
theme giving the impression that is straightforward. Contrarily, Western soap operas, particularly
American ones, have more leeway over the length of the dramas, giving the producers more
opportunity to alter, edit or add more items to the plot as they like. The American television dramas
has numerous parts that air over a few years. The Korean dramas are simplified by this distinction.
The improvement as well as dramatization of the characters’ relationships, that are more
significant along with in-depth, as well as the tension amongst the people, are also given more
attention. As a result, the plays are more emotionally charged, which makes the characters seem
more alluring. The American serial, on the other hand, typically constructs and connects incidents

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(Bellin, 1999). The basic reason why Korean dramas have been so popular is that they have
provided what could be described as safe, middle-of-the-road entertainment with just so
much sweet, love stories and social stability themes to keep spectators emotionally involved
(Park, 2005). For instance, the majority of the protagonists in Korean dramas “work their way up
from the bottom” (Allen, 2006), encountering challenges and tribulations in their daily lives.

The global impact of Korean Culture; Source: Korea.net

Romanticism: The key feature

One of the things that draws viewers in are the romantic, nostalgic and contemporary Cinderella
themes that are uncommon in Western soap operas. At the last of a demanding day, they provide
“fantasy, adventure, comfort and an escape from the reality” (Hesselink, 1994). Typically, pure
love along with innocence are shown, and the prevalent theme of Korean dramas is overcoming
obstacles to reach real love and happiness. An important aspect of the stories is the blending of

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fantasy and reality. In fact, due of their straightforward politeness and ability to evoke dreams,
people may readily identify with them. Women in particular, who watch the show, wish they could
experience a similar love-match in real life. They value having access to someone in their daily
life (Fifield, 2004). Korean drama “represents love in its purest form, devoid of any naughty
or sexual elements or anything that might dilute the core of true love” (Thussu, 2007). One
instance that exemplifies this trait is the Korean television program Winter Sonata. In actuality,
this romance depicts a sweet and sad love story with impressive scenery of winter. The main male
character is the perfect type because he possesses all the qualities that women value (good looks,
intelligence, sensitivity etc.). Many female viewers have been drawn in by his steadfast devotion
for a woman despite all of his challenges (Thussu, 2007). To emphasize the romanticism subgenre,
“the construction of a soft type of masculinity is crucial” (Black, 2010).

Balanced Culture

Up to the 1990s, American and Japanese cultures had a significant influence on South Korean
culture. Because American and Japanese creations, including as music, movies, soap operas, and
animations, were more widely consumed than indigenous works, the government forbade the
import of popular culture from Japan (Ishikawa, 2007). However, the acceptance of globalization
on the field of culture has ultimately allowed for the emergence of Korean pop culture. South
Korea has pursued in creating a hybrid culture by incorporating aspects of both Western
and Asian culture while also developing its own traits and attributes. This change resulted
from a “new and unexpected fusion of people, music, movies, politics, cultures and ideas”
(Rushdie, 1991).

Seo Taeji & Boys, a group that changed Korean music in the 1990s through introducing Western
(especially American) pop music styles like metal, rock, rap and techno, are credited with birthing
K-Pop. However, “their ability to adapt these techniques to the demands and sensitivities of the
Korean youth” was key to their success (Yamada, 2009). The partnership of Westerns and Korean
performers in pop music is an example of hybridization.

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As a result of “the blending of memory for previous ideals, innovative thoughts from a diversity
of cultural influences, “Korean dramas are likewise founded on the hybridity notion (Schodt,
2013). The characters exhibit both Western modernism and Confucian principles, as was already
established. In a globalized world where cultural engagement is no longer a one-way path of
Western culture, Korean pop culture is the result of acceptance and adaptation, the result of
communication among various cultures (Richie, 2005).

5.3 Critical view on Japanese & Korean Popular Culture

We risk our own safety if we assume that Gangnam Style's success (714 million hits as of this
publishing) is just a fluke meme (Austin, 2018). The South Korean rapper Psy is a late-appearing
symptom of South Korea's goal to be the world's pop culture manufacturer, as World Bank
President Jim Yong Kim noted in a recent interview (Dillon, 2003). Asian culture is already
dominated by South Korean dramas, songs, and fast food; its spread to the west is inevitable. As
an illustration, the popular TV program Glee will feature a performance of Gangnam Style in a
November episode (Kwak, 2017).

Japanese pop music, video games, and movies were once quite popular. However, the heart of
Asian popular culture has now shifted from Japan to Korea, 700 miles (1000 km) to the west (Parc
& Kim, 2020). And no, Gangnam Style wasn't the beginning. View the Google Trends graph below
to compare the number of searches for the words "K-pop" and "J-pop" from 2004 to the present.
Two years before Gangnam Style's July 2012 premiere, K-pop search volume exploded: In terms
of music sales, South Korea's growth contrasts with the downturn in Japan and beyond the world
(Wade, 2005).

Additionally, according to Korea.net and the Korean Ministry of Culture, Sports, and Tourism,
South Korea's videogame exports climbed by 37,7% and 14%, respectively, between 2010 and
2011. Not too bad, given that South Korea's per capita GDP in 2011 was $22,424, which is less
than half of Japan's per capita GDP of $45,870 (Pelliteri, 2019).

Not just in music, but across all of mainstream culture, Japan's hegemony is hurting. The Japanese
firm that created Hello Kitty, Sanrio, experienced a drop in revenue from 1999 to 2010, and it is

Page 17
attempting to diversify its product line by introducing new characters (Jung & Hirata, 2012). The
fall of Anime had a significant negative impact on the Japanese cinema industry. When one of
Japan's best game designers, Keiji Inafune, the designer of Mega Man, declares that "Our game
business is finished," it's not good for the once-dominant videogame industry (Okomono, 2018).

Why is the cultural sway of Japan dwindling? It may be argued that it was never on solid footing
to begin with. "The entirety of Japan is a complete creation. There is no such country, there
are no such people," stated Oscar Wilde in The Decay of Lying in 1891 (Napier, 2007). In
other words, Japan had become so eroticized by the West that it was no longer a legitimate country.
Karate, Manga, Anime, and Hello Kitty are a few examples of cultural fads that did reach the West,
although only to a limited degree and in sporadic bursts.

Where Japan is currently hesitant to go, South Korea is ready to do so. For a number of reasons,
South Korea's ambitions to dominate the production of popular culture are not wholly illogical.

Reason 1: Japan now produces goods primarily for its own market .

Like the archipelago of Japan itself, Japanese pop culture is too remote from the rest of the globe
to have maintained a long-lasting influence. This is demonstrated by the term "Japan
Galapagos Syndrome," a neologism that assimilates Japan to the South American island that
has its own fauna and ecology. The Galapagos tablet, fittingly named, was introduced in 2010
by the Japanese electronics association Sharp and marketed exclusively in Japan at first
(McLeod, 2013). Similar to videogames, many Japanese titles are newest to the Japanese market.

Some contend that Japan's adverse population growth and refusal to use English are the problem.
Others contend that because Japan has a population of 127.8 million, the country has a huge enough
consumer market that Japanese retailers are not compelled to take the enormous risk of launching
an overseas marketing campaign (South Korea, with a population of 49.8 million, has fewer than
half that number) (Kumagi, 2012).

Ironic considering that Korea, not Japan, was previously referred to by irate Western conquistadors
as "the Hermit Kingdom."

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Reason 2: Puritanism in Korean culture is helpful for its international acceptance.

Contrary to what one might expect from Korean cinema, sexual suppression is strictly enforced in
South Korea. Because "you don't sleep at another person's house until you are married," a girl
Korean-American friend recalls being forbidden from going to sleepovers as a young child. Even
though she had been an adult for a while, when she was with her parents, who resided in Seoul,
she was still required to leave the room if they were watching a program with a sex scene. Because
they were concerned that she would be kidnapped, they still won't let her rode cabs at night
(Nakano, 2002).

Strangely, many Western parents may identify with and even envy such worries.
Overprotectiveness is a beseeching moral, and if a rather traditional country like the US is going
to adopt a foreign pop fad, it needs to have palatable principles.

The situation in Japan is unique. Although it is also sexually suppressed, it is not puritanical.
Consider the J-pop band AKB48 (called after the band's 48 members) (Otmazgin, 2013). My
school uniform is getting in the way," they sing in one of their songs, and they frequently wear
school uniforms when they perform. Such a song would be prohibited in Korea.

In contrast, schoolgirl uniforms in Korea are solely worn to class. And compared to their Japanese
counterparts, they wear skirts that are substantially longer.

Photobooks with pin-up-style images are typically published by Japanese girl idols. Such
publications, according to The Guardian, will inevitably include a sorting of bikini pictures taken
on beaches in Hawaii (Bourdaghs, 2012). Photobook sales are so strong that they have their own
catalogs.

In the meantime, Korean culture defends youth at all costs. The K-pop stars cannot, therefore,
arrive in a spread that would be unsuitable for their young fans even though they are of legal age.
In our sister site the Atlantic, Patrick St. Michel wrote that K-pop artists "aren't dazzling examples
of feminism, but at least they look and act like adult women." A K-pop female group that has
slightly matured is the nines teenager Girls' Generation, who were recently highlighted in a article
named “The New Yorker”.

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The fact that there are more Christians in South Korea (26.3% against 2% in Japan) contributes to
some of its puritanism (Hubinitte, 2005). But the majority of it dates back several centuries before
Christian missionaries arrived. Confucianism, a strict way of social mobility that ruled every facet
of public as well as personal life, lies at the basis of the preservation of infant innocence.

Korea adopted Confucianism when it originated in China in the fifth century BC. Within 14th
century, it had taken over as the system of government in Korea, which gave rise to many bizarre
practices such male priority, daughterly devotion, and lastly the use of extremely difficult exams
to predict a person's entire life course.

Extreme sexual segregation was a component of the Confucian lifestyle.

There was a rule that said, "Boys and girls must not share a seat beyond age seven," and even as
mature enough, dignified men and women in past Korea resided in individual elements (Allen &
Sakamoto, 2006).

While Korea embraced Confucianism more completely than Japan did, Japan did accept
some Confucian principles; now, 83.9% of Japanese practice Shinto, a homespun Japanese
religion (Parkinson, 2006).

Specifically, K-pop boy acts like Rain, Super Junior, and Big Bang were more well-known outside
than girl groups ever were (Stuart, 2015). We are hoping this indicates that K-appeal pop's is
widespread and not limited to some submissive dream of Asian women.

Reason 3: Because Americans are viewed as the heroes of the Korean War, US pop
culture has had a significant impact on South Korea. Not as much in Japan.

South Korea still views the US as its defenders from the Korean War, despite some complaints
(1950-1953). The 30,000-strong military presence that the US keeps up to have in South Korea
has a significant impact on the country's musical preferences (Abel, 2011). A number of
generations of South Koreans grew up listening to American pop on the Network's television of
American Soldiers and radio due to the tastes of US servicemen, who wanted American music to
be available in shops and performed in nightclubs. Given its penchant for R&B, hip-hop, as well

Page 20
as rap, K-pop may have a sound that is significantly more influenced by the US than J-pop as a
result.

Due to the influence of American pop, the K-pop sound is subsequently recognizable to a global
audience.

Reason 4: K-pop is formerly a global phenomenon.

On November 10, 15,000 people came in Piazza del Popolo in Rome for a slush swarm Gangnam
Style dance for some unknown purpose (Ito & Crutcher, 2014). Additionally, Big Bang from K-
pop won the "Best Fan" title at the MTV Awards on Italy hold in May (Ishikawa, 2007).

A few days before that Walt Disney took the origination corporeity as well as brought Pucca to
the US, the distinctively drawn South Korean animation found success in Europe (Jung & Hirata,
2012).

Europeans, and the French in particular, are madly in love with Korean popular culture.
This may be partially because of the fact that the K-pop sound also incorporates features of
large group Europop and is reminiscent of past French Eurovision acts like France Gall,
along with the aforementioned American affections.

K-pop bands are so well-liked in France that, in April 2011, tickets for a concert featuring multiple
K-pop acts sold out in just 15 minutes (Napier, 2007). After few days, tens of thousands of citizens
belonged to France demonstrated upward of the Louvre to call for a representation for the next
time. Le Monde as well as Le Figaro both featured the story on their top pages (Wantabe, 2005).

That being said, movies rather than music marked the beginning of Koreaphilia in France
(Slaymaker, 1999). When it comes to filmmaking, the French have always been amenable to
multiculturalism and have appreciated the genuine feelings of Korean "revenge" films as example
Oldboy, the winner of the Palme d'Or, whose plot certainly indicated famous to the French as it
was partially originated on Dumas' The Count of Monte Cristo (Chris, 2004).

Page 21
Like they loved to watch each Woody Allen before he launched making bad movies, though we
have a lot idea of Parisian moviegoers who make it a point to see each new Korean picture that
exposes.

Reason 5: The South Korean music organization is managed similarly to Samsung

and Hyundai.

Like Korea's chaebols, the Korean pop business is managed (giant Korean conglomerates).
Compared to EMI or Columbia records, Hyundai as well as Samsung are far more closely
associated with Korean music industries. The only three major recording labels in Korea (SM
Entertainment, JYP Entertainment, and YG Entertainment) control all the points of entry and
distribution. Record labels handle all of their own hiring; independent intelligence agencies are
irrelevant (Parker, 2016).

Instead of finding the star, they make it. Tiffany, a member of Girls' Entertainment, was discovered
in a California mall after three years of training and seven months before her debut in public.

The bands already remain before the members are chosen, just like the Monkees or Menudo
(Rosburg, 2017). There is hardly any room for someone in the mold of Bob Dylan to begin playing
in coffee shops and eventually break out of ambiguity.

No US record company would spend the money to put performers through that much training.
Teenagers within the ages of 14 and 18 are susceptible to a variety of things, like switching labels
or turning to drugs (Wade, 2005). Contrarily, the recording contract in Korea is unbreakable. K-
pop musicians are typically not even sanctioned to work on it at any case.

Despite the fact that the organization of the Japanese popular culture sector seems to be
similar to that of more empirical and frequently avant-garde (Plastic Ono Band; an idea of
a new cultural group). They test Korea, and there has been one notable distinction
repeatedly: Japanese pop music features a lot of cross-cultural fusion influences and even
went through a rockabilly way within the 1960s (called "rokabiri") (Schodt, 2013). In
contrast, South Korean preferences are manufactured and traditional; hair band has never
had by the nation.

Page 22
Reason 6: The people of Japan are crazy about Korean pop culture besides they
have essentially given South Korea the taste-making role out of their own volition.

In 2003, when the largely popular South Korean drama series Winter Sonata debuted on Japanese
television, Korean fever made its debut in Japan. The protagonist is an architect who experiences
amnesia recovery and re-discovers his childhood sweetheart. A $2.3 billion increase in business
between Japan and South Korea within the time of 2003 and 2004 was subsequently attributed to
the movie's male lead, the unpretending, bespectacled Bae Yong-joon, including tourist income
from visits to the fictional character's homeland (Irish, 2005).

Cultural lagging of Japan on recent decades; Source: Nippon.com

Page 23
When the upper house of Parliament was up for election in August 2004, Junichiro Koizumi,
Japan's then-prime minister, vowed, "I would make huge efforts so that I will be as popular as
Yon-sama." (Bae's Japanese euphemistic moniker). (Kitabara, 2013).

K-popularity, pop's even in Japan, can be attributed in large part to the fact that Korean music
publishers use YouTube to make their songs more well-known. The majority of Japanese labels,
in contrast, are hostile to influencing their jobs on artistic feature worldwide, according to a Japan
Today report. Meanwhile, South Korea has embraced online music marketing, helped by having
the fastest broadband in the world. With his own Gangnam Style parody, Chinese artist and
dissident Ai Weiwei recently used K-pop to draw attention to himself and his work (Samuoel,
2003). It was censored by the Chinese government such is K-pop's influence.

6.CONCLUSION
Japanese anime has had long-standing popularity despite Japan's seeming indifference to or
outright hostility to licensing.

J-Dramas have a reputation for being difficult to locate, much like anime was in the 1990s. J-
Dramas are finally a bit more readily available, albeit not significantly, after observing how K-
Dramas are growing in popularity in the US.

Cars and gadgets are quite successfully marketed by Japan in the West, but what else? Nope.

On the other hand, international marketing strategies are quite acceptable in Korea. They made
their initial impact in Japan with the K-Drama Winter Sonata, that was a huge success there. Then
K-Pop superstars of the 2000s TVXQ and BOA caused a stir. K-Pop got extremely popular as a
result of this and became the biggest thing in Asian pop music (that Hallyu Wave). Today it still
is.

The first manufacturer to produce these resin dolls was vouch, and they quickly gained enormous
popularity in Japan. Exclusiveness had a role in the marketing. Some of these dolls are still off-
limits to non-Japanese resident.

Page 24
China and Korea became aware of the appeal while the Japanese corporation continued to ignore
the needs of the international market. Voila! Companies making ball-jointed dolls have sprung up
in China and Korea. And several of them claim to have dolls that are at least as good as vouches
(Iplehouse-Korean, Ringdoll-Chinese, Soom-Korean, DollZone-Chinese). A non-Japanese BJD is
so simpler to purchase, especially the limited or lottery dolls! Furthermore, there are only two BJD
firms in Japan, compared to many (mostly from China) and many (mostly from Korea) in China
and Korea, with prices ranging from extremely low to highly high.

Although this is only one industry, it occurs in others as well. Japan is largely isolated and
secluded, which causes it to lag behind in global markets.

Page 25
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