Aggressive yet benign: Korea’s engagement in creative industries in Africa

Abstract

Korea's global strategy of disseminating its audiovisual products (AVPs) reflects developmentalism driven by short-term commercial motivation. In Africa, however, the Korean government distributes AVPs free of charge, sometimes in the form of foreign aid with the aim of creating a market in the long run. This paper suggests 'granted developmentalism' as an explanation for Korea's expansion strategy into Africa. Whereas growing cultural transactions within the global South provoke protectionist narratives, Korean AVPs are viewed as rather benign or even inspiring despite their aggressive developmentalism. Drawn on policy analysis and field research, this paper seeks to understand the dissemination and reception of Korean AVPs in South Africa and Ghana. The current pattern of Korean engagement, characterised by provision of entertainment content on the digital platform, is boosting its image as a bearer of soft power. Nonetheless, this strategy may result in reproducing existing inequality in societies that are marked by acute digital divide.

Almost South–South solidarity: The frustration of K-pop fans (but not true fans) in South Africa

“…Lastly, regarding the implications for the mediascape in Africa in general, South African audiences are distinct from K-audiences in other African nations. For instance, while a large share of audiences in Africa was initially formed via Korean television dramas aired on traditional media, which were provided free of charge by the Korean government, South African audiences were established in the digital environment due to the country's advanced and capitalized media industry (YM Kim, 2020; S Kim, 2021). Nonetheless, I cautiously assume that the paradox of the digital experience in other African countries is similar, since the fans in these nations have now moved to digital platforms and Africa is experiencing slow physical inclusion across the continent.…”

“…Such a strategy, however, could not be implemented in South Africa, as its media industry is far more developed and capitalized than those of other countries in Africa. Instead, bypassing traditional media, the consumption of K-contents took place on internet websites such as My Asia TV, Kiss Asian and Kshow Online in the 2000s (S Kim, 2020). Interviews conducted in 2022, however, reveal that Netflix is now the predominant source for watching Korean screen contents.…”