Escapism and motivation: Understanding K-pop fans well-being and identity

Abstract

K-pop is a relatively new genre but its fanbase has grown massively in Malaysia for the past few decades. It is also evident that the daily lives of Malaysians have incorporated Korean culture in various social aspects. Thus, this study seeks to explore the well-being of local K-pop fans by underlining the objective to understand the meaning of being a K-pop fan. In order to describe and analyse the social nuances of the well-being being a K-pop fan, several concepts from sociology as well as fan studies were plotted to assist this research such as para-social relationship, identity and social identity, the concept of meaning as well as participatory culture. A qualitative approach was employed by using participant observation and semi-structured indepth interviews to get into the experiences, views, values, and lifestyles of K-pop fans. Participant observation was conducted in K-pop concerts and fan events to observe fan practices. As for the semi-structured in-depth interview, a total number of eight participants were selected to provide an understanding of K-pop fan's well-being through their experiences and feelings. This study concludes that being a K-pop fan carries its special meaning that transcends a fan of a music genre. It varies from providing a platform for escapism as well as emotional and motivational support through a para-social relationship. Although fan and idol is usually seen as one-sided relationship, it has benefitted the fan's well-being in some way. This study also proves that the fans can also be seen as active producers and content creators which contradict to the notion of fan as a passive entity.

Parasocial Intimacy and Fan Culture with K-Pop Artists in Indonesian Digital Media: A Study of Fan-Idol Relationships on Social Media Platforms

“…They are engaged in a form of deviant consumption from other consumers (Derbaix & Korchia, 2019). Cited from Jenol and Pazil (2020), becoming a fan is not just a free-time activity but also to make a new form of culture that is called participatory culture. Participatory culture means fans are not only consuming media by listening and watching but also using selected media content to recreate their content.…”

“…Becoming a fan is not just a free-time activity but also to make a new form of culture that is called participatory culture. Participatory culture means fans are not only consuming media by listening and watching but also using selected media content to recreate their content (Jenol & Pazil, 2020). Kozinets ( 2001) described fans as loyal consumers who invest much of themselves in their consumption.…”

“…Since the development of the internet, online media platforms have created a much broader spectrum from fandom practices, and fans now are an essential part of celebrities' promotion activities. Researcher Galzuka (2015) concluded that fans could play a new role in the online media era and globalisation: sponsors, co-creators of value, stakeholders, investors and filters (Jenol & Pazil, 2020).…”

“…K-pop fans not only learn Korean but also understand some exclusive and specific terms that are only understood within the K-pop fans' community (Touhami & Al-Abed Al-Haq, 2017). Ryff (1989) also stated that being a part of the fans community helps one strive for personal growth and development (Jenol & Pazil, 2020).…”

Uses and Gratifications of Korean Entertainment Consumption among Moroccan Fans

“…Research on Malaysian fans of the Korean wave by Jenol and Pazil (2020) is an example of these conclusions. One of the several ways fans use Hallyu for escapism is through building para-social relationships with their favourite idols; since they are constantly exposed to them through Korean brands' advertisements, drama, music videos, social media and online live events, fans become emotionally attached to these celebrities (Jenol and Pazil, 2020). The new media helped facilitate access to Korean celebrities worldwide and build such para-social relationships through the use of apps (for example, V LIVE, LYSN and Weverse), which made fans become highly immersed in their escapism and fantasy world for a long duration of time.…”