Abstract
This chapter is a critical reflection on the emotional and aural experiences of the K-pop audience in and around Kolkata (Calcutta). Using in-depth interviews, the study briefly addresses the presence of the K-pop fandom on social media forums to show how ‘virtual’ spaces are transformed into ‘affective spaces’. It tries to unravel the politics behind K-pop’s success and appeal in the region, juxtaposed against the historical trajectory that weaves the evolution of Kolkata’s listening culture with simultaneous transformations in the musical taste of its young listeners. Through a primary focus on the emotional-aural experiences of the K-fans and the contradictions in the narratives of its non-fan listeners, it explores the dynamics underpinning K-pop’s unique appeal for the youth and decodes the ways in which it influences the identities and subjectivities of its fans. While existing research on popular listening cultures highlight the increasing potential of new age sound production/reproduction techniques in evoking the intimate and emotional sentiments among the listeners, this study aims to offer a slightly different trope by exploring the interactive dimensions of emotions and listening, and emotions through listening to gain an insight into the myriad ways in which K-pop gains a niche in the region.
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Notes
- 1.
See also, Documentary Warehouse (2016).
- 2.
- 3.
- 4.
See Martin (2018) and Romano (2018).
- 5.
See Doordarshan National (2020).
- 6.
Doordarshan (DD) was established on 15th September 1959 and it is the ‘television vertical’ of Prasar Bharati, India’s Public Service Broadcaster (see https://prasarbharati.gov.in/DD/index.php; last accessed 4 October 2020).
- 7.
See Korean Cultural Center India (New Delhi) (2020, September 9). [PRESS RELEASE] Final Round of K-Pop India Contest 2020 (Korean Minister and BTS sending a congratulatory message to Indian fans).
- 8.
See Doordarshan National (2020).
- 9.
These include folk music, pop, country music, jazz, RnB, rock music, Electronic Dance Music (EDM) and many more.
- 10.
Interview conducted with MR on 21st October 2019.
- 11.
Interview conducted with DP on 25th October 2019.
- 12.
Interview conducted with DG on 20th and 25th October 2019.
- 13.
Hine (2015) was a significant resource that informed our understanding of and brief analyses on virtual platforms and the ways in which the K-pop fans transform these into affective spaces.
- 14.
Interview conducted with MR on 19th October 2019.
- 15.
Interview conducted with KTB on 24th October 2019.
- 16.
Interview conducted with DG on 20th October 2019.
- 17.
The word ‘oppa’ here, refers to an older male brother-figure (see Urban Dictionary (2018). Oppa [by Bubbs the trubss]. https://www.urbandictionary.com/define.php?term=Oppa (last accessed 10 October 2020)).
- 18.
Interview conducted with KTB on 24th October 2019.
- 19.
Interview conducted with MR on 19th and 21st October 2019.
- 20.
Interview conducted with DP on 22nd and 25th October 2019.
- 21.
Interview conducted with DG on 20th October 2019.
- 22.
Interview conducted with RDR on 21st September 2020.
- 23.
Interview conducted with RDR on 21st September 2020.
- 24.
Interview conducted with KTB on 24th October 2019.
- 25.
Interview conducted with RS on 19th October 2019.
- 26.
Also quoted in Patrick Eisenlohr (2011: 267).
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Acknowledgements
The authors would like to acknowledge the kind help received at the very initiation of this study, from their friends Debaditya (Nikkon) Dutta and Saugata Seal, without which this research would perhaps have not been possible.
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Pal, A., Saha, S. (2022). K-pop and the Politics of Appeal: Understanding the Emotional and Aural Experiences of Fans in and Around Kolkata. In: Roy, R.K., Das, B. (eds) Korean Wave in South Asia. Palgrave Macmillan, Singapore. https://doi.org/10.1007/978-981-16-8710-5_6
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