Abstract
This chapter examines Hallyu, a transnational, trans-geographical, and transcultural phenomenon, in the context of Manipur while locating the larger cultural and sociopolitical background of its emergence and popularization in the region. It will look at this subculture within Manipur by delineating certain materialities of its diffusion (K-Drama, K-Cinema, K-Pop, etc.). The main focus will be on the role played by social media (Instagram, YouTube, Facebook, Twitter); a key player that has enabled newer emergent materialities of popular culture reproductions, a stage also known as Hallyu 2.0 (Hong 2013; Jin, Dal Yong. New Korean Wave: Transnational Cultural Power in the Age of Social Media, University of Illinois Press, 2016.; Lie 2012). It will situate this cultural phenomenon within the larger social media networks that enable the formation of user-generated content (UGC) through an interactive economy and fandom-generated transcultural production. Relevant case studies drawn from existing fan bases in Manipur that are actively engaged in the transcultural production of Hallyu 2.0 will demonstrate this continuing formation of subculture. This will locate the rise of digital popular cultures in Manipur through the transnational flows of cultural and popular content via social media.
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Notes
- 1.
I use this broad term with due acknowledgment of the ethnic, cultural, and social plurality and diversity of the region with no intent of misrepresenting it as a homogenous category.
- 2.
Simon Laishram, Graduate paper, “Understanding the Ban of Bollywood in Manipur: Objectives, Ramifications and Public Consensus”, Birmingham City University, UK. https://www.academia.edu/16563834/Understanding_the_Ban_of_Bollywood_in_Manipur_Objectives_Ramifications_and_Public_Consensus, Accessed on 10 April, 2022.
- 3.
It would be relevant here to mention that there is an active Arirang TV Fan Club in Nagaland, which emphasizes the significant role it has played in the region.
- 4.
The Hallyu phenomenon is integrated into a social media-driven cultural landscape, which will be referred to as the social mediascape (Jin and Yoon, 2014).
- 5.
Lee Minji, ‘SM Entertainment aims to include more ‘prosumer’ fans in biz: Chief’, Yonhap News Agency, 29 June, 2021 https://en.yna.co.kr/view/AEN20210629008600315, Accessed on 6 April 2022.
- 6.
Flash mob is a public gathering of complete strangers, organized via the Internet or mobile phone, who perform an act and then disperse again. For example, https://www.youtube.com/watch?v=Vi-p7QKhpV4.
- 7.
K-pop cover dance is a term used to describe the imitation of K-pop artists’ dance choreography, which is the latest global trend in K-pop. https://www.billboard.com/music/music-news/a-look-inside-the-k-pop-cover-dance-trend-465675/#/news/alook-%20inside-the-k-pop-cover-dance-trend-1005420832.story, Accessed 9 April 2022.
- 8.
https://people.com/music/bts-permission-to-dance-challenge-youtube-shorts-interview/, Accessed on 10 April 2022.
- 9.
https://k-popworldfestival.kbs.co.kr, Accessed on 10 April, 2022.
- 10.
https://www.korea.net/Events/Overseas/view?articleId=5073, Accessed on 10 April, 2022.
- 11.
https://time.com/5866955/k-pop-political/, Accessed 10 April, 2022.
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Sagolsem, S. (2024). Hallyu 2.0 and Social Media in Manipur: Examining Cultural Formations Through User Generated Content. In: Yadav, D., Kadavath, V.K. (eds) The Digital Popular in India . Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-39435-5_2
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