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No Cookie-Cutter #MeToo Approach: An Overview of China’s Me Too Movement (Updated)

There is no China-based, Chinese #metoo movement as there is in the US and other countries.

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In the months after the #Metoo movement first shook social media in the US and other countries, “#Metoo in China” has become a much-discussed topic. What’s on Weibo provides an overview of what has happened in the PRC regarding the global #Metoo movement.

Ever since the #Metoo movement caught fire on social media with people sharing personal stories of sexual harassment, many journalists, China watchers, and Me Too activists have been closely watching if, and how, the #Metoo movement would surface in China.

More than five months after #Metoo particularly shook entertainment and media circles in the US, it has become evident that the #Metoo movement has not taken off in the PRC as it has in some other countries.

What is noticeable about those ‘Me Too’ stories that did become big in China, is that (1) they mostly relate to sexual harassment in academic circles, that (2) the majority is linked to US-based Chinese and the overseas Chinese community, and that (3) some stories on sexual harassment that went viral in China were only framed as ‘#Metoo’ accounts by English-language media – not by the posters themselves.

Some US news outlets have determined that there is no ‘me too’ movement in China because it has been silenced by the government. Although there has in fact been online censorship regarding this issue, there is no sign of a truly China-based ‘Me Too’ movement in which regular female netizens collectively share their stories of sexual abuse in the way it has unfolded in many Western countries.

At time of writing, neither the #Metoo hashtag nor its Chinese equivalents (#我也是,#Metoo在中国, #米兔) were censored on Chinese social media platform Sina Weibo. In addition, contrary to some reports in English-language media, Chinese mainstream media have reported about the Me Too movement since October 2017, with some state-run media (e.g. CRI) serving as a platform for victims of sexual harassment to make their stories known to the public.

This is an overview of some important moments in mainland China since October regarding the global #Metoo movement.


 
● 15 October 2017: Me Too
 

Ten days after the New York Times first published an article detailing sexual harassment complaints against Hollywood mogul Harvey Weinstein, American actress Alyssa Milano posts a tweet that urges victims of sexual abuse to come forward using the words ‘me too’.

The ‘me too’ slogan was first used in 2006 by Tamara Burke to help sexual assault survivors in underprivileged communities.

#Metoo soon becomes a hashtag and movement that particularly rocks the American entertainment industry and focuses on the widespread prevalence of sexual assault and harassment, especially in the workplace.

 
● 16 October 2017: China Daily Controversy
 

The state-run newspaper China Daily publishes an opinion column by Canadian-Egyptian author Sava Hassan titled “Weinstein case demonstrates cultural differences,” in which Hassan alleges that sexual harassment is less common in China because “Chinese traditional values and conservative attitudes tend to safeguard women against inappropriate behavior from members of the opposite gender.”

The article is linked to on Twitter by China Daily, writing: “What prevents sexual harassment from being a common phenomenon in China, as it’s in most Western societies?”

Screenshot of the controversial tweet, by SupChina.com.

Over recent years, various surveys have pointed out that sexual harassment is, in fact, a problem in mainland China. A 2016 survey amongst over 2000 working females conducted by the Social Survey Center of China Youth Daily indicated that more than 30% experienced sexual harassment. Another survey by the China Family Planning Association also showed that more than 30% of China’s college students have been sexually assaulted or harassed.

The article and tweet trigger waves of criticism and is temporarily taken offline. At time of writing, the article is available online again at the China Daily website.

 
● October – November 2017: State Media Reports #Metoo
 

Various mainstream and state-run Chinese media extensively report about the “Me Too” movement in North America and elsewhere.

Some examples (in Chinese):

*People’s Daily, October 30 2017: “我也是受害者!揭发性骚扰运动走上法国街头” [“I am also a victim! The movement to expose sexual harassment is heading to the streets of France.”] http://world.people.com.cn/n1/2017/1031/c1002-29617842.html
*Xinhua, November 4 2017:”美国揭露性骚扰运动延烧到国会山” [“The US movement against sexual harassment extends to Capitol Hill.”] http://www.xinhuanet.com/2017-11/04/c_1121905779.htm
*Xinhua, November 6 2017: “我也是”运动蔓延 美国会酝酿反性骚扰培训” [“As ‘MeToo’ movement grows, America explores anti-sexual harassment trainings.”] http://www.xinhuanet.com/world/2017-11/06/c_129733177.htm
*Xinhua, November 11 2017: “随笔:“我也是”,你有勇气说出吗?” [“‘Me Too’: Do You Have the Courage to Speak Out?”] http://www.xinhuanet.com/2017-11/16/c_1121965426.htm
*Sina News, December 1 2017: “大声地说出来 羞耻的不是你” [“Speak out loud: you are not the one to be ashamed.”] http://news.sina.com.cn/c/2017-12-01/doc-ifyphtze2990099.shtml
*China Daily, December 6 2017 “《时代》揭晓2017年度人物:性骚扰丑闻“打破沉默者” [“Time announces Person of the Year 2017: those breaking the silence on sexual harassment.”] http://language.chinadaily.com.cn/2017-12/07/content_35249891.htm

 
● 27 November 2017: Shanghai Harassment goes Viral
 

The 28-year-old Xu Yalu (nicknamed ‘Brazil Teacher Xu’ 巴西徐老师) posts on WeChat about how she has been harassed multiple times by the same man in Shanghai from 2013 to 2015, and that the police will not do anything to stop the man.

The article, titled “I was harassed three times within two years time by an old pervert” (“上海静安寺,我2年内被一个老色狼猥亵3次”) receives more than 1.19 million views before it is taken down by Chinese censors. Three days later, Xu Yalu republishes her article on Zhihu.com where it is not taken offline.

Photos of the man who allegedly harassed her various times in Shanghai were spread by Xu Yalu.

Although the original article by Xu Yalu does not mention the ‘#metoo’ hashtag once, this story is placed into a larger Chinese ‘#metoo’ context by the New York Times and Reuters.

 
● November 2017: Sophia Huang Xueqing Steps Forward for Chinese ‘Metoo’
 

Huang Xueqin (黄雪琴 aka Sophia Huang Xueqing), a female reporter, launches a survey focused on the sexual harassment of Chinese female journalists and emerges as an initiator of a potential Chinese #Metoo movement by launching ATSH, an Anti-sexual harassment platform on WeChat.

Huang speaks to various English-language media about the silence with which the global #metoo movement is met in China. According to HKFP, Huang receives over 200 responses from female journalists, of which only 16% say they have never experienced sexual harassment.

Later, in January, Huang publicly speaks out in a special show titled ‘Hear me Speak’ by the CRI TV programme “China’s Voice” (中国之声) about the ‘Metoo’ movement in China and about her personal experiences being sexually harassed as a journalist.

 
● 1 January 2018: Wo Ye Shi
 

With the hashtag ‘Wo Ye Shi’ (#我也是, “#metoo”) a US-based former doctoral student named Luo Xixi (罗茜茜) comes forward on Chinese social media (@cici小居士) with sexual harassment allegations against her previous supervisor Chen Xiaowu (陈小武).

Luo accuses the award-winning professor Chen of sexually harassing her and several other students 12 years ago at Beihang University, also known as Beijing University of Aeronautics and Astronautics (BUAA). On the Chinese Q&A platform Zhihu.com, Luo shares how her supervisor attempted to force himself upon her. She also posts several testimonies online to support claims that Chen also sexually assaulted at least seven other students.

In a blog post on Weibo, Luo writes that she was inspired to come forward with her story when she first heard about the Harvey Weinstein scandal and the launch of the “#metoo” campaign on Twitter and Facebook.

 
● 4 January 2018: “Social movements play limited role”
 

State-run newspaper Global Times, commonly regarded a Party mouthpiece, publishes an article in which it addresses claims made by Western media outlets that “sex-related crimes are serious in China,” but that the country “‘rarely’ takes sexual assault allegations seriously.”

Although Global Times acknowledges that sexual violence is a problem in China, as it is in other countries, it also stresses that “social movements can only play a limited role in reducing sexual harassment.”

Instead, it says that the most effective solution is that “more efforts should be put into establishing and perfecting laws and regulations so as to deter potential sexual violence and properly handle it if it happens.”

 
● 7 January 2018: Fudan Survey
 

Former Fudan student ‘Taoligeriler’ (@桃莉格日勒在路上), inspired by Luo Xixi’s account, starts a petition asking Fudan University in Shanghai to do more to tackle the problem of sexual harassment on campus.

SCMP reports that the petition collects 300 signatures in a day. On Weibo, Taogeriler writes: “About the petition against sexual harassment, I have asked a lot of people to join, but many people feel it does not have anything to do with them.”

 
● 11 January 2018: “Say no to sexual harassment!”
 

After investigating the claims of Luo Qianqian and other former students, Beihang University fires Chen from his position. Three days later, the Education Departments also recalls his scholar title.

Meanwhile, Party newspaper People’s Daily launches an online campaign titled “Being courageous is the best you can be. Turn things around and say no to sexual harassment!”

 
● 15-19 January 2018: Manifests and Hashtags
 

According to the South China Morning Post, students and alumni across China have been inspired by Luo’s account to press their own universities for change. The report does not give out numbers, but estimate that “between 30 and 50 campaigns had emerged on social media over the past week.”

One of them is an anti-sexual harassment manifesto drafted by Xu Kaibin 徐开彬, a journalism professor at Wuhan University. It is signed by approximately 50 instructors from over 30 Chinese colleges.

Although there are not many accounts of women sharing their own stories of sexual assault on Weibo, various hashtags emerge on Chinese social media as variations to #metoo. Besides #woyeshi (#我也是)there is also #MeTooInChina (#MeToo在中国).

From January 17 to February 17, the hashtag #MeTooInChina gets temporarily blocked on Weibo. In response to this, Weibo users launch the alternative hashtag #mitu, written as #米兔, which literally means ‘rice bunny’, but sounds like the English #metoo, and the hashtag #MiTuinChina (#米兔在中国#).

 
● 31 January 2018: Chinese-American lawyer Hua Qiang’s #Metoo
 

Chinese state-run news outlet CRI.com publishes a feature article about LA-based Chinese-American lawyer Hua Qiang (华强) who has joined the #metoo campaign by sharing her story of sexual harassment.

Photo of Chinese American lawyer Hua Qiang, via cri.com.

Hua Qiang tells CRI that during a 2008 annual conference for lawyers, an influential lawyer by the name of Malcolm S. McNeil gave her a ride home after her car broke down. On the highway, Hua states, the lawyer suddenly started harassing Hua, grabbing her bosom, while driving. Too afraid to cause an accident on the freeway, Hua was too scared to fight him off. His wide network and strong influence in the area also made Hua too afraid to speak out, until the #metoo movement arrived.

 
● February 2018: MeToo in South Korea
 

The spread of the ‘Me Too’ movement in South Korea makes headlines in Chinese (state) media and becomes a topic of discussion on Chinese social media.

 
● 9 March 2018: Wang Ao Speaks Out
 

Chinese assistant professor of East Asian Studies Wang Ao (王敖) at Wesleyan University, Connecticut, writes an article on sexual harassment on Chinese social networking site Douban, in which he expresses his admiration of Luo Xixi and her #MeToo story.

In a lengthy post*, Wang details sexual harassment cases he has encountered inside academic circles.

In one example, Wang tells about an acquaintance who planned to study overseas and received an invitation from the professor in charge of admissions. When she arrived at his Beijing residence, the man tried to grab her and she finally manages to escape. Wang also alleges that the same professor has been targeting students for more than 20 years, and even had to change schools because of it. Although Wang does not mention any names in his article, the Douban link is soon removed.

 
● 10-16 March 2018: The Gary Xu Scandal
 

Wang Ao publishes another article on March 10, first on Douban and then on Zhihu, in which he provides a name with the professor mentioned in his earlier story. According to Wang, it concerns Xu Gang (徐钢), better known as Gary Xu, a prominent art curator at the Shenzhen Biennale and associate professor of East Asian studies at the University of Illinois Urbana-Champaign (UIUC). UIUC is known for its large numbers of Chinese students.

Wang adds that not only students but also some his own colleagues became a victim of Xu’s improper conduct. A female commenter under the name “Survivor 2018” replies to the thread, telling her own story of alleged abuse by Xu Gang.

Chinese law graduates in North America start asking people to offer relevant information regarding Xu Gang’s misconduct to be able to take legal actions against the professor.

On March 16, Xu Gang posts a lengthy article through WeChat in response to the accusations made against him. Xu states that he supports the #MeToo movement, but that he denies any sexual misconduct allegations and says that Wang just aims to destroy his reputation.

Meanwhile, Chinese media outlet Sixth Tone reports that two women have come forward about sexual misconduct they say they experienced at the hands of Xu.

One woman told Sixth Tone she was forced into unwanted sexual actions with Xu, which she says “ruined her life” at the time. She furthermore claimed that other UIUC students also had sexual relations with Xu. In 2015, an undergraduate student already reported Gary Xu to the school for engaging in sexual misconduct with several female students.

 
● March 19 2018: Gary Xu Non-Active
 

According to Sixth Tone, the University of Illinois responded to this case through email, saying that “the University investigates and takes appropriate action whenever conduct is reported that may jeopardize or impact the safety or security of our students or others,” and that they are not allowed to discuss any potential investigations. They added that “Dr. Xu currently is not teaching any courses but will hold his tenured status until Aug. 16, 2018, when he will resign from the university.”

Xu has since also been fired from his post as the curator of the upcoming 2018 Shenzhen Biennale.

 
● March 20 2018: Various Hashtags
 

Many discussions using the ‘metoo’ hashtag on social media now relate to how the #metoo movement is gaining traction in South Korea.

*MeToo: 34.8 millions views, 20.000 comments, 241 fans of this hashtag.

*WoYeShi #我也是: 1.7 million views, 2339 comments, 6 followers of this hashtag.

*MeTooinChina #Metoo在中国#: 7.2 million views, 6941 comments, 134 followers of this hashtag.

*MiTu #米兔: 3.2 million views, 8050 comments, 0 followers.

*MiTuinChina #米兔在中国: 3.5 million views, 4456 comments that include this hashtag, 64 followers of this hashtag.

 
● UPDATE – April 2018: Gao Yan Case
 

A two-decade-old sexual abuse case becomes trending on Weibo when Canada-based netizen named Li Youyou (李悠悠), inspired by Luo Xixi and ‘#metoo’, comes forward on social media about a Peking University classmate named Gao Yan (高岩), who committed suicide in 1998.

Twenty years after her death, Li and some of Gao’s other old classmates, link Gao’s suicide to the behavior of Professor Shen Yang (沈阳), who had since moved on to work in the Literature & Language department of Nanjing University. They claim Gao was raped by the professor on multiple occasions over a two-year period, and had been called “mentally ill” by him.

Gao Yan when she was going to university.

The case draws much attention and also leads to the dismissal of Professor Shen. On Chinese social media, rather than a ‘#metoo’ movement, netizens link the story with that of two other university suicides, namely that of male student Yang Baode (杨宝德) and Tao Chongyuan (陶崇园); they address a bigger problem of exploitation of students in Chinese universities. More than sexual abuse, it is also about emotional and verbal abuse, and official misconduct in academic circles – regardless of gender. Also read our article about this here.

 


By now, there are sporadic discussions of China’s ‘metoo’ movement on Weibo. “I still hope #metoo can influence China,” one netizen (@末未木十) writes.

Another netizen says: “The #metoo movement is meaningful, but it hasn’t really been able to become a reality in China.”

“#MetooinChina has returned,” one other Weibo user says: “But there’s barely discussions about it anymore. Now, the hashtag “International Women’s Day Against Harassment” (#三八反骚扰#) has been deleted. I wonder when that one will come back.”

Perhaps saying that there is no Chinese MeToo movement at all is too crude; after all, there are important stories and initiatives in China that are connected to the global #metoo movement. But unlike in the US and other countries, these events have not led to a wider movement of common netizens widely sharing their own stories of abuse on social media.

Why is this the case? According to the Washington Post, it is because of China’s “patriarchal culture and a male-dominated one-party state that obsessively protects those in power.”

Stephany Zoo at RadiiChina says that ‘metoo’ has not taken off because China’s business landscape is built on guanxi, relationships, and that speaking out would pose too much of a risk to individuals within such a stability-focused culture.

One Chinese blogger claims that China’s metoo movement has been hindered by, amongst others, the decade-old abuse case of Tang Lanlan. This case triggered massive attention earlier this year when Chinese media exposed the identity of the victim, potentially ruining her chances to lead her life out of the public eye.

The Chinese so-called ‘human flesh search engine‘ could cause victims of sexual abuse to become victimized once again by becoming the focus of attention in an online environment that is joined by more than 700 million people; in order to protect oneself, not speaking out in public might be the safer option in the eyes of many people.

But maybe there is also another reason for it, namely that some social movements emerge in a country because it is the right time and the place for it. Just as many Chinese movements have never emerged in the US, many American movements will have no success spouting up in the PRC. #Metoo is not a movement that can have a cookie-cutter approach – even if it does spring up in other countries, it will have different shapes, voices, and outcomes.

“Foreign media can report whatever they want [about China],” one Weibo commenter says: “In the end, it’s up to us to pay attention to [the movements] we find important.”

By Manya Koetse with contribution from Boyu Xiao

* title: 《关于学校里的性侵犯,我看到了什么,想了什么,能做什么》

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©2018 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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Manya Koetse is the editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.

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2 Comments

2 Comments

  1. kaka

    April 7, 2018 at 6:26 pm

    Please add the latest news about Professor Shen Yang into this article. Looking forward to that.

    • admin

      April 8, 2018 at 1:41 am

      Thanks for letting us know, we’ll try to update asap.

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Backgrounder

This Was Trending in China in 2018: The 18 Biggest Weibo Hashtags of the Year

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First published

It’s been an eventful 2018 on Chinese social media. What’s on Weibo lists the 18 topics that have generated the most views and discussions on Chinese social media platform Sina Weibo over the past year.

What’s trending in Western media when it comes to China is not necessarily what is trending on Chinese social media, too. While topics such as the Xinjiang ‘re-education centers’, China’s nascent Social Credit System, #MeToo in China, or the allegedly “banned” Winnie the Pooh movie were some of the biggest China-related topics on social media sites such as Twitter and Facebook this year, Chinese internet users were discussing other things – some issues trending in the Western media were not as big within the PRC due to censorship, but some also simply weren’t as big because of a seeming lack of public interest.

What’s on Weibo has selected the 18 biggest hashtags that were trending on Weibo in 2018, mostly based on their total views, but also based on the impact they had on the meme machine, and the overall discussions that flooded Wechat.

This list has been fully compiled by What’s on Weibo.1 Please note that we have left some topics and hashtags out. One such example is the World Cup. While the World Cup hashtag (#世界杯#) has received a staggering 31 billion views on Weibo alone, this is a more general hashtag that has also been used before 2018; we have attempted to make a selection of topics that were the biggest of this year and 2018 alone.

Due to the scope of this article, some major topics such as the arrest of Richard Liu, the Changchun vaccine scandal, or the online success of the two vlogging farmers and their bamboo rats, did not make the cut, simply because other hashtags garnered more views.

Here we go –

 

#1 The Didi Murders

Hashtag “Female Passenger Murdered by Didi Driver” (#女孩乘滴滴顺风车遇害#) – 2,45 billion views on Weibo. Hashtag “Stewardess Killed in Didi Ride” #空姐滴滴打车遇害案# – 55 million views.

See article here

This year Didi Chuxing, China’s most popular car-hailing app, faced huge public backlash on Weibo, where netizens threatened to boycott the company amid safety concerns. Over the past years, Didi has seen dozens of cases where female passengers were assaulted by their drivers. The terrible murders of two young women in 2018 sparked national outrage.

In May of this year, the murder of a 21-year-old flight attendant by her Didi driver became a major topic of discussion on Weibo. The young woman, Li Mingzhu, was killed in the early morning when she was on her way home from Zhengzhou airport. The body of the driver who killed Li was later found in a nearby river. In August, the 20-year-old passenger Xiao Zhao was raped and stabbed to death by her Didi driver on her way to a birthday party on a Friday afternoon. Hours later, the driver was arrested.

What contributed to the major impact this topic had on social media was the fact that several people came forward on WeChat and Weibo to tell how Didi was warned beforehand: Xiao’s friend immediately contacted Didi after her friend had called out for help during that fatal ride, but she was told to wait and no immediate action was taken. Another female claimed she had already reported the driver to Didi for indecent behavior earlier that week.

In a rapidly changing society where companies such as Didi play an increasingly important role in how people travel and navigate their lives, the Didi murders not only showed the enormous responsibility these companies have in creating a safe environment for passengers, but also showed that the public expects these companies to provide these secure conditions.

After the August murder, Didi suspended its Hitch service, which pairs drivers and passengers traveling the same route (the young women were killed while using Hitch), and added several new safety features to make Didi safer for passengers and to quickly assist customers with any problems they might have.

 

#2 Flaunt Wealth Challenge

Hashtag “Flaunt Your Wealth Challenge” (#炫富挑战#) – 2,3 billion views

See article here

The ‘Flaunt Your Wealth’ or ‘Falling Stars’ hype, in which people post staged photos of themselves ‘falling’ out of their vehicles surrounded by luxury items, first spread on social media in Russia in the summer of 2018, and then made its way to other countries. In China, it became one of the biggest social media hypes of this year.

But besides those photos of seemingly rich Chinese ‘falling’ out of their super expensive cars surrounded by Gucci bags and Chanel make-up, there was also an anti-movement that became hugely popular. It showed how people were mocking the challenge by laying on the floor surrounded by their diplomas, military credential, or study books – defying superficial ideas on the meaning of ‘wealth’ and what it actually looks like.

 

#3 The Traveling Frog Craze

Hashtag “Traveling Frog” (#旅行青蛙#) – 2,1 billion views

See article here

1997 was the year of Tamagotchi, 2018 was the year of the Traveling Frog. The mobile game, designed by a Japanese company, took Chinese social media by storm this year, with thousands of people sharing their struggles in taking care of their virtual frog, which often goes traveling.

The game is characterized by its rather uneventful nature. While at home, the frog sits around and eats or reads, and while away, the player can’t do anything but take care of the garden and wait for their virtual friend to send them a postcard before finally returning.

There are various theories explaining the success of the game. Some say the uneventful app is appealing for young Chinese with stressful lives since it has a calming effect, others might suggest it offers a sense of ‘home’ in a society where fewer people feel at home where they live, and there were even some voices in state media ascribing the success to China’s low birth rates.

 

#4 Jin Yong Passes Away

Hashtag “Jin Yong Passes Away” (#金庸去世#) – 2 billion views on Weibo

The passing of Chinese wuxia novelist Jin Yong (查良鏞), also known as Louis Cha, became big news on Chinese social media this fall. Wuxia (武俠) is a genre of Chinese fiction that focuses on the adventures of martial artists in ancient China, and Jin Yong is regarded as one of the best – if not the top – authors within the genre. Many of his works, of which over 300 million copies were sold worldwide, have been turned into tv series and films.

Jin’s passing set off waves of nostalgia on Weibo, where thousands of netizens shared their favorite works and scenes, thanked the author for all he did, and praised his contributions to Chinese popular culture.

Another person who passed away in November of 2018 is the renowned Hong Kong actress Yammie Lam (藍潔瑛). News of her death also received millions of views on Chinese social media.

 

#5 Gene-modified Babies

Hashtag “First Case of Gene-Edited HIV Immune Babies” (#首例免疫艾滋病基因编辑婴儿#) – 1,9 billion Weibo views 

See article here

News that a Chinese researcher from Shenzen has helped make the world’s first genetically edited babies made international headlines in November of this year. He Jiankui (贺建奎) claimed that together with his research team, he succeeded in altering the DNA of embryos, making them resistant to HIV. The twin girls were born earlier this year.

On social media, the topic received many mixed reactions, with many condemning the researcher’s work, and others praising it. Chinese authorities launched an investigation into the research shortly after news came out, and He Jiankui has not been heard of since. Many people on Weibo are now wondering about his whereabouts, what will happen to him, and how this will further impact the lives of the two girls whose genes were edited.

 

#6 Golden Horse Ceremony’s ‘Taiwan’ Speech

Hashtag “Gong Li Refuses to Confer Award” (#巩俐拒绝颁奖#) – 1,9 billion views on Weibo

See article here

The annual Golden Horse Film Awards in Taipei turned out to be a painful confrontation between mainland actors and Taiwanese pro-independence supporters this year. Although Ang Lee, chairman of the Golden Horse committee, had probably hoped to keep politics out of the film festival, the atmosphere of the live-streamed event changed when award-winning director Fu Yue expressed her hopes for an independent Taiwan during her acceptance speech. Later on in the show, actor Tu Men from mainland China struck back on stage by saying he was honored to present an award in “China, Taiwan.”

Things got more polarized and political when famous Chinese actress Gong Li, at the end of the show, refused to get on stage with Ang Lee to present the award for Best Feature Film. The evening officially seemed ruined when, at the end of the night, it turned out that most mainland actors and producers declined taking part in the celebratory award dinner and went straight back to the mainland instead.

This was not the only topic this year that showed that the current and future status of Taiwan is still an incredibly sensitive topic that can set off waves of angry nationalism on social media. A brief visit to Taiwanese bakery 85°C by ROC President Tsai Ing-wen and the surfacing of an old video of actress Vivian Sung in which she called Taiwan her “favorite country” also triggered major discussions on cross-Straits relations.

 

#7 Chongqing Bus Plunges Into River

Hashtag “Why Chongqing Bus Plunged in the River” (#重庆公交车坠江原因#) – 1,4 billion Weibo views

See article here

In late October of this year, an incident in which a public bus plunged off a bridge into the Yangtze river, causing all 15 passengers to die, became a huge topic on Chinese social media. The security camera footage from inside the bus later showed how a passenger who apparently had missed her stop gets angry with the driver and starts hitting him with her mobile phone. The driver then abruptly turns the steering wheel, hitting oncoming traffic, crashes through the safety fence, and plunges into the river.

The incident caused major concerns over aggression in Chinese public transport, with other videos of similar incidents also making their rounds on social media. The city of Nanjing soon introduced security partitions on buses, and the existence of special “grievance awards” for bus drivers who do not respond to angry passengers also became a topic of debate. Many people on Weibo called for bus cards to be linked to one’s identity so that troublemakers will be able to be blacklisted from buses in the future.

 

#8 The Kunshan Stabbing Case

Hashtag (#追砍电动车主遭反杀#) – 1,25 billion views on Weibo

See article here

A bizarre road-rage incident in which a muscular and tattooed BMW driver attacked an innocent cyclist with a big knife, but then ended up dead himself, was the biggest story on Chinese social media this summer, triggering countless of memes.

The entire scene was caught on security cameras. In the night of August 27, a BMW switched from the car lane to the bicycle lane in the city of Kunshan (Jiangsu), colliding with a man driving his bike, who seemingly refused to give way. Two men then step out of their BMW vehicle to confront the cyclist, with one man going back to his vehicle, suddenly pulling out a long knife and going after the cyclist, stabbing him. During the fight, however, the BMW driver suddenly lets the knife slip out of his hands, after which the bike owner quickly picks it up. With the knife in his hands, he now starts attacking the BMW driver, who eventually dies of his injuries.

One of the main reasons for the mass focus on this incident was that there was an ethical question involved, namely: to what extent could this be regarded as legitimate self-defense? It did not take long for the answer to come out, as authorities ruled it self-defense in September. For many, the news was proof that justice had prevailed.

 

#9 The Dolce and Gabbana Controversy

Hashtag “D&G Show Canceled” #DG大秀取消# and “D&G Designer Responds Again” (#dg设计师再次回应#) 820 & 940 million views on Weibo 

See article here

Although 2018 was supposed to be a great China year for Italian luxury brand Dolce & Gabbana, things unexpectedly spiraled out of control in November of this year, while the brand’s “D&G Loves China” campaign was in full swing.

It started with criticism on a video that was launched by the fashion brand to promote its upcoming Shanghai show. The video, that shows a Chinese model failing to eat Italian food with her chopsticks, was deemed sexist and insulting by many. Things started going downhill real fast after screenshots of comments attributed to fashion designer Stefano Gabbana, in which he scolds China and makes derogatory remarks about Chinese, went viral. It soon led to the cancellation of the big D&G show in Shanghai.

Despite apologies issued by the D&G founders, many netizens called for a boycott of the brand. It is yet unclear to what extent the marketing disaster has affected the brand, but one thing this incident shows is that cultural insensitivities in marketing campaigns can soon lead to a public relations mess.

 

#10 Wang Baoqiang’s Divorce Drama Continues

Hashtag “Wang Baoqiang Beats up Ma Rong” #王宝强殴打马蓉#) received some 520 million views before it was taken offline 

See article here 

Will there be another year when the 2016 split between Chinese celebrities Wang Baoqiang (王宝强) and ex-wife Ma Rong (马蓉) does not make into the top-trending lists?! Ever since the dramatic divorce of the two became one of the top hashtags of 2016, their fights have continued to be a major topic on Chinese social media.

This time, Chinese actress Ma Rong claimed that her ex-husband attacked her when she came to pick up her children at his house in early December. Dramatic photos and hospital footage soon made their rounds on Weibo, but when news came out that the ‘attack’ might have been staged, and that Ma Rong had caused a scene at her ex’s house, netizens condemned the actress for her actions.

The incident became a major source of inspiration for the Weibo meme machine, where others imitated the dramatic Ma Rong photo and photo-shopped it into gossip magazines.

 

#11 The High-Speed Train Tyrants

Hashtag “High-speed Train Tyrant Woman” (#高铁霸座女#) – 505 million views and #高铁霸座事件# – 110 million views

See article here

The two train tyrants of 2018 will probably go down in China’s social media history for their meme-worthy and bizarre behavior, that triggered a storm of criticism online. Both of their bad behaviors on high-speed trains were caught on video.

In August of this year, one rude man from Shandong, who refused to give up the seat he took from another passenger, became known as the “High-Speed Train Tyrant” (高铁霸座男 gāotiě bà zuò nán) on Chinese social media. A video showing the man’s rude behavior went viral, and netizens were especially angry because the man pretended he could not get up from the stolen seat and needed a wheelchair – although he did not need one when boarding the train.

In September of 2018, a woman from Hunan, who was dubbed ‘High-Speed Train Tyrant Woman’ (高铁霸座女 gāotiě bà zuò nǚ) by Weibo netizens, had also taken a seat assigned to another passenger while riding the train from Yongzhou to Shenzhen. Despite the conductor’s reasoning, she refused to get up from her window seat to return to her own seat.

Netizens soon linked the two ‘Train Tyrants,’ creating dozens of memes that showed the two as lovebirds getting married. The incidents also showed public support of China’s nascent Social Credit System, with many calling for a system that would allow these kinds of misbehaving people to be blacklisted from public transport in general.

 

#12 Invictus Gaming: The E-Sports Craze in China

Hashtag “The Meaning of IG Championship”  #IG夺冠的意义# – 540 million views on Weibo

See article here

People were going absolutely crazy over the success of China’s e-sports when ‘Invictus Gaming’ (IG) became the first Chinese team to win the League of Legends World Championship. Students were hanging banners from their dorm rooms, videos of cheering crowds in school canteens flooded Weibo, and dozens of new memes surfaced on Chinese social media. One of them showed two monkeys with a big “Congratulations IG” above them and one wondering “What is IG?!”, and the other telling him just to follow the rest in congratulating them anyway, signaling that many people had never heard of ‘Invictus Gaming’ before, and were clueless about the top trending lists being filled up with this new topic.

China’s e-sports craze also made one Weibo post the most popular of all time, when billionaire Wang Sicong announced he would be giving away more than $160,000 to Weibo users to celebrate the victory of the Chinese team.

 

#13 The Boy who was Duped at the Hair Salon

Hashtag “Hairline-boy expressions” (#发际线男孩表情包#) – viewed  470 million times on Weibo

See article

What was supposed to be a quick visit to the hairdresser turned into a disaster when the 18-year-old Wu Zhengqiang (吴正强) was presented with a 40,000 yuan ($5750) bill and a bad haircut. Although the teenager eventually could pay a much lower amount of money to the salon, Wu turned to local media to tell about his unfortunate haircut, and shared that he was not just sad about losing the money, but that he was also unhappy with his new hairstyle and hairline.

The story soon went viral and triggered the creation of dozens of new memes across Chinese social media, turning the duped boy into one of the biggest internet sensations of 2018.

 

#14 Meng Wanzhou WeChat Moments Post

Hashtag “Meng Wandan’s WeChat Moments Post after Release” (#孟晚舟保释后发朋友圈#) – 380 million views on Weibo

See article

The December 1st arrest of Meng Wanzhou (孟晚舟), the financial officer of Chinese telecom giant Huawei Technology – which happens to have been founded by her father, Ren Zhengfei (任正非), – became huge news in China and across the world.

Meng was detained during a transit at the Vancouver airport at the request of United States officials. She is accused of fraud for violating US sanctions on Iran. Meng allegedly helped Huawei get around these sanctions by misleading financial institutions into believing that subsidiary company ‘Skycom’ was a separate company in order to conduct business in Iran. Chinese officials, demanding Meng’s release, have called the arrest “a violation of a person’s human rights.”

Meng was released on bail on December 11th. She then shared an update on her Wechat ‘Moments’ page, which received mass attention on Weibo. It showed the feet of a ballet dancer along with a quote saying that “there is suffering behind greatness” (伟大的背后都是苦难). Meng also thanked people for their support, and in doing so, once again received thousands of supportive messages on social media.

 

#15 The Tang Lanlan Case

Hashtag “The Truth about the Tang LanLan Case” (#汤兰兰案真相调查#) – viewed 340 million times on Weibo (also 汤兰兰性侵案 => hashtag now removed, then 50 million views)

See article 

The news story of a decade-old abuse case caused an uproar on Chinese social media in late January of 2018, when many netizens on Weibo believed that reporters of the story were biased and were harming the privacy of Tang Lanlan, the alleged victim in the case.

In 2008, a then 14-year-old girl named Tang Lanlan (汤兰兰, pseudonym) accused her father, grandfather, uncles, teachers, the rural director and neighbors of sexually abusing her since the age of seven. It later led to the prosecution of 11 people for rape and forced prostitution of a minor – including Tang’s own parents. As some of those people, including Tang’s mother, had since been released after serving their sentence, they sought the attention of the media in claiming that Tang, now 23 years old, had fabricated the story and that they were searching for her.

Netizens harshly criticized Chinese media outlets such as The Paper for featuring the story and giving away details about the identity of Tang, saying they should protect the victim instead of choosing the side of those convicted. The outrage was so huge that some reporters were even doxxed by netizens, and that articles and hashtags were removed, making the Tang Lan Lang case the greatest clash between Chinese media and netizens in 2018.

 

#16 Foreigners’ “Preferential Treatment”

Hashtag “Pretend to be foreign and Ofo gives back deposit right away” (#假装外国人ofo秒退押金#) – 250 million views. 

See article

There have been many topics over the past year that involved national pride and Chinese social media users feeling insulted or discriminated against. One such topic is the recent collective anger directed at bike sharing platform Ofo for allegedly helping foreigners much quicker than Chinese nationals.

A Weibo user who did not feel like waiting for hours on the phone to get his Ofo deposit back decided to pose as a foreigner to see if it would help. He sent an email in English via Gmail to Ofo, requesting his deposit back. It worked. He posted about it on Weibo, and millions of people responded with anger. Earlier in 2018, there was also outrage when a short movie went viral on Chinese social media that exposed the big differences between the dorm conditions of Chinese students and of foreigners studying in China.

 

#17 The Sweden Controversy

Hashtag “Chinese Tourists Abused by Swedish Police” #中国游客遭瑞典警察粗暴对待# and “Swedish TV Show Insults China” #瑞典辱华节目#– 170 and 50 million views on Weibo

See article here and here

The alleged maltreatment of a Chinese family in Stockholm ignited major discussions on Chinese social media this September when footage showed how a Chinese man was dragged out of a hotel lobby by Swedish police, while his elderly parents were crying on the sidewalk. The dramatic footage was shot after the tourists arrived at their hotel long before check-in time, and were refused permission to stay overnight in the lobby. When they refused to leave, police got involved.

Chinese media greatly criticized Swedish authorities for how they handled the incident, and it even led to the Chinese embassy in Sweden issuing a safety alert. Not long after, a satirical Swedish TV show made fun of Chinese people through a sketch that listed a number of do’s and don’ts for Chinese tourists, including “not taking a poo outside of historical places.” The TV show added fuel to the fire and was condemned by Chinese social media users. The Chinese embassy in Sweden denounced the satirical Swedish TV show for “maliciously attacking” China. The entire ordeal did not do any good for the relations between Sweden and China, that have already been tense due to the imprisonment of Swedish-Chinese author Gui Minhai.

 

#18 Fugitives on the Loose

Hashtag “Two Fugitives on the Loose” (#两名重刑犯逃脱#) – 170 million views

See article here

It was almost like a movie: two criminals spectacularly escaped from a Liaoning prison and the entire country went on a manhunt, with authorities giving out a big reward for those who’d catch them and setting out drones to catch the two.

Social media played an important role in the search for the fugitives, that took place in early October of this year. Ten thousands of people closely followed the ordeal, as security footage from a local store was posted online only hours after their escape, showing the two criminals buying some food and cigarettes. Within 50 hours of their escape, the fugitives were captured by the police through the help of local villagers.

While you’re here, also check out the top 30 best books to understand China we published earlier this year!

By Manya Koetse

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Backgrounder

K-Pop’s Recipe for Success: Why Korean Idol Groups Got So Big in China and are Conquering the World

The success of K-Pop in China and beyond is evident – the causes for its success are less obvious.

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K-Pop (Korean pop music) is one of South Korea’s most successful export products today. With bands such as BTS that are dubbed the ‘biggest boy band on the planet’, it is obvious that the locally produced K-Pop has become a globally well-liked phenomenon. Although its popularity is obvious, the reasons why K-Pop became so big, from China to the US and beyond, are less evident.

On coming Saturday, October 13, the South-Korean boy band BTS will perform in an Amsterdam area in front of thousands of fans who have been looking forward to this event for months. Ticket sales for the first concert of the 7-member boy group in the Netherlands were sold out within minutes, despite their relatively high prices, with people paying up to €250 ($290) in the official sales, or even €400 ($460) and more for a single ticket in the unofficial online sales afterward.

It is not just the success of the BTS European tour that is making headlines; the record-breaking views on YouTube on their videos – the latest being the song ‘Idol’, that had more than 200 million views in little over a month – is also attracting the attention of the media.

And BTS is not alone. Other Korean pop (K-Pop) groups such as EXO, BIGBANG, TWICE, Shinee, or Got7, have also broken records when it comes to online video views or Spotify plays.

Although the English-language media attention for the K-pop phenomenon is more recent, the Korean entertainment industry has since long been extremely popular in China and on Chinese social media. In this overview, What’s on Weibo explores the K-Pop popularity (focusing on its idol boy and girl groups), its short history, and success formula.

 

BTS and More: An Army of Fans

 

The pop group BTS (방탄소년단), also known as the Bangtan Boys (防弹少年团, lit: ‘Bulletproof Boyscouts’), is an award-winning seven-member South Korean boy band formed by Big Hit Entertainment that debuted in the summer of 2013. They are currently hyped as the “biggest boy band on the planet.”

Initial auditions for the band were held in 2010, followed by roughly three years during which the band was formed and prepared for their major debut, that was promoted on social media months before their actual launch in June of 2013.

The band consists of multi-talented young men. Singer-songwriter Kim Seokjin (Jin) (1992) was studying film at Konkuk University when he was invited to audition by Big Hit; rapper Min Yoongi (Suga) (1993) was an underground rapper before he was signed; dancer and rapper Jung Hoseok (J-Hope) (1994) was part of a dance team in his pre-BTS life.

Lead rapper Kim Namjoon (RM) (aka Rap Monster, 1994) was already active in the music scene as rapper and producer; dancer and vocalist Park Jimin (Jimin) (1995) was a top student as Busan School of Arts before joining; vocalist Kim Taehyung (V) (1995) is known to have one of the most expressing voices of the group; and main vocalist Jeon Jungguk (Jungkook) (1997) was only 12 years old when he auditioned for BTS, followed by three years of intense training.

BTS, formerly ‘Behind The Scenes’, is known for its strong social media presence, which helps to spread its music and connect to its fans, who call themselves an ‘ARMY’ (also stands for Adorable Representative Master of ceremonies for Youth). The band has more than 16 million followers on Twitter, 3.3 million fans on Weibo, 12 million subscribers on Youtube, and nearly 8 million followers on Facebook.

Although BTS is the band that is currently dominating the headlines, there are many more K-Pop bands that are extremely popular on Weibo and beyond. The nine-member South Korean–Chinese boy band EXO, for example, has dozens of fanclubs on Chinese social media. Band member Oh Se-hun alone already has almost 9,5 million fans on his Weibo page. BIGBANG has more than 7 million Weibo fans, the eight-member girl band Girl’s Generation (少女时代) is on the rise with 1,5 million Weibo followers, Super Junior over a million, and the list goes on.

 

CREATING SUCCESS

A Short History of K-Pop: Finding a Sublime Entertainment Formula

 

Besides media attention, there has been ample scholarly attention for the Korean pop culture phenomenon over the past decade. The year 2012 especially marked a special moment in the history of K-Pop, when the song ‘Gangnam Style’ by Korean rapper Psy broke all YouTube records and became a global hit.

But before K-Pop became a global force to reckon with – that seemingly rose out of nowhere -, it had already made its first international successes in neighboring countries China and Japan since the early 2000s.

In China, the success of Korean popular culture is defined as Hallyu (韩流)*, the ‘Korean Wave’ since 1997 (Yang 2012, 105). Hallyu encompasses far more than idol bands; it includes the boom of South-Korean dramas, films, celebrity idols, and entertainment programs. In 2002, for example, the South-Korean soap opera ‘Winter Sonata’ became a hit in both China and Japan.

The former Exo (formation has now altered): a Chinese-South Korean band formed by SM Entertainment in 2011, consisting of twelve members separated into two subgroups, EXO-K and EXO-M, performing music in Korean and Mandarin.

The early 2000s mark the ‘first Korean wave’ in China, that mainly revolved around TV dramas produced in South Korea and were liked by females above the age of 30. It was followed by the second wave from the mid-2000s to 2010, when the K-Pop music genre popularized in China.

The third period, after 2010, marks the moment when K-Pop was further incorporated into mainstream Chinese popular culture, with a ubiquity of K-Pop idols in everyday Chinese pop culture, and the launch of Chinese versions of Korean entertainment programs (Ahn 2014, 47). It was also in this ‘third wave’ that you saw the debut of pop groups such as EXO. Formed in 2012, that band incorporates both Korean and Chinese members, performing in both languages.

Although K-Pop from South Korea became somewhat less visible in the PRC during the past few years, mainly because the industry suffered from various politically-motivated bans on Hallyu in China, the genre’s influence on China’s mainstream pop culture is evident, with some Chinese groups, for example, also being modeled after K-Pop bands.

Entertainment Powerhouses

Many studies explain the foreign success of Korean popular culture in Asia, mainly China and Japan, through “cultural proximity,” saying that the success of K-Pop especially occurred in China and Japan because they have, for example, linguistic similarities and corresponding Confucian values (Ahn 2014, 47; Messerlin & Shin 2017, 412).

But the more recent global wave of K-Pop shows that cultural proximity is not the sole answer to the genre’s success. Besides, there is actually nothing traditionally “Korean” about K-Pop, which only emerged in the 1990s (Shin & Kim 2013, 256).

The genre’s success mainly lies in the big players that brought forth the first Korean pop idol groups and have excelled (and still do) in selecting the right entertainment “products” to invest in, with a strong focus on both on the production side and the market demand side.

SM Entertainment, JYP, and YG Entertainment are the first major and leading entertainment houses of the 1990s. Big Hit Entertainment, home to BTS, followed later; founder Bang Si-Hyuk (1972) used to collaborate with JYP Entertainment founder Park Jin-Young (1971) before going his own way in 2005.

-SM Entertainment, founded 1988 by musician and TV host Lee Soo Man (1952)
-YG Entertainment, founded in 1996 by musician Yang Hyun-Suk (1970)
-JYP Entertainment, founded in 1997 by musician and producer Park Jin-Young (1971)
-Big Hit Entertainment, founded in 2005 by producer/songwriter Bang Si-hyuk (1972)

What characterizes these entertainment houses is that they are/were small in terms of revenue and employees (very different from big labels such as Sony or Universal), and play multiple roles as intermediate between musicians and consumers, as well as producers.

Different from many international big players in the entertainment world, K-Pop entertainment companies integrate processes of artist selection, songwriting, management, signing advertisement deals, etc. in-house rather than leaving these processes to various parties outside their own studio (Shin & Kim 2013, 260). Significant about the founders of these entertainment powerhouses is that they all had ample experience in the music industry themselves before starting their studios.

Lee Soo Man, image via AllKpop.com

The story of SM Entertainment, which was founded by musician and TV host Lee Soo Man in 1988, is crucial in understanding the beginning of the K-Pop industry. Lee was inspired by the transforming American music market after spending time there in the 1980s, and decided to replicate US entertainment in a new way. In his first studio he brought together the right equipment, the right expertise, and the right talent all in one place to kick-start his business (Shin & Kim 2013, 263).

Although the first acts that came from SM’s studio were no instant success, Lee was determined in learning through trial and error until he found the right beat and image that struck a chord with young consumers. In doing so, he adopted a strategy in which teenagers were surveyed on what they wanted, and in which he focused on scouting new talent from all over the country to give them intensive training in dancing, singing, and acting at the SM Studio (Shin & Kin 2013, 264).

The band H.O.T. stood at the beginning of the K-Pop genre. (Image by Soompi).

In 1996, eight years after Lee Soo Man started his entertainment company, and going through years of changing, refining, and improving his strategies, the first success was there. The boy band H.O.T., consisting of five hand-picked members who each had their own strength, debuted in 1996 and became the first major success in the short history of K-Pop.

Companies that followed after SM’s initial successes further experimented in adopting new strategies and trying out new styles of music, but stayed true to the idea of in-house training of young, new artists, rather than selecting renowned artists with defined styles (Shin & Kim 2013, 264). With frequently held auditions and training programmes that can last for years, some trainees start as young as 5 or 6 so that they are fully equipped for the entertainment industry by the time they reach adolescence (ibid., 265).

More than being teachers, producers, songwriters, marketers, etc., these entertainment houses are also trend watchers; training their talents in various areas now in order to be able to place them in the right setting and format in the future, corresponding with (global) market demands.

Companies such as SM place an emphasis on the export of music, and focus on appealing to global audiences, making use of hundreds of composers and experts from around the world in doing so. In producing and performing the K-pop girl band Girl’s Generation’s song ‘Genie’, for example, SM Entertainment used a Japanese choreographer, a Norwegian songwriter, and Korean lyricist (Shim 2016, 38).

 

SHAPING SUCCESS

The Popularisation of K-Pop: A Digital Strategy

 

Although a main cause of K-Pop’s initial success lies in the (training) strategies adopted by the aforementioned entertainment houses, there are also other major factors that have contributed to its global influence.

The Korean government contributed to the initial success of K-Pop by developing a world-leading internet infrastructure (although the goal of developing that infrastructure, obviously, was not to promote K-Pop), which helped the rapid rise of the genre through online strategies.

According to some studies (e.g. Messerlin & Shin 2017, 422-425), Korean entertainment companies have been the first in the world when it comes to realizing the potential of the internet for the distribution and marketing of their performances; they were already long awake to its possibilities and were acting upon them, while many big players in Europe and America were still focusing on traditional album formats.

What also helped the spread of K-Pop at the time were the relatively friendly and equally balanced Korean policies on issues such as copyright, that were (and are) less protective and restrictive compared to America or the EU (Messerlin & Shin 2017, 421).

The first success (1997-2007) of K-Pop and other Korean popular culture products in China, Japan, and other countries within Asia, have also been called the first major Korean Wave, whereas the current period (2008-present), represents the ‘New Korean Wave,’ that is defined by the role that is played by new media technology and social media as a platform for K-Pop to reach every corner of the world (Jin 2016).

Online strategies were particularly relevant in the context of the (early) K-Pop industry because 1) it was dominated by relatively small businesses that did not have the means to invest in other major publishing platforms than that of efficient online distribution and 2) they did not have costly plants where they could produce CDs, DVDs, or vinyl. Having the high-tech Korean electronical market on their side, online strategies were thus a natural and cost-efficient solution to give publicity to their performances (Messerlin & Shin 2017, 426). More so than focusing on traditional album releases, the release of digital singles that come with visually attractive online videos, for example, is one important K-Pop production characteristic.

Probably the best example showing that this strategy works is the global success of ‘Gangnam Style’ that was made possible through YouTube. By now, six years after its release, the world-famous song by Psy, who was signed by YG Entertainment, has over 3,2 billion plays on YouTube.

The revenue of concert tickets for K-pop performances, its merchandise industry, the digital singles, advertisement income, the many brands wanting to associate themselves with the star industry that K-pop has generated, etc., makes K-Pop production a money-making machine that shows that the model that focuses on traditional (CD) album formats and promotional single releases has become outdated.

 

CONTINUING SUCCESS

Marketing more than a Band: Active Fans and Interesting Characters

 

While South-Korea’s innovative music enterprises were crucial for the international launch of K-pop, its worldwide fanbase has now also become a motor driving its continuing success.

Different from the initial spread of K-Pop in China or other Asian countries – where K-Pop has become common in everyday pop culture -, is that many consumers of the genre in the US, Europe, or elsewhere, fully depend on the internet and social media to access K-Pop, as it is not a genre that is prevalent in the mainstream popular culture of their own countries.

The fact that fans of K-Pop in these regions have to actively seek for the latest information and releases of their favorite groups, also means that they have become participatory and engaged consumers in the spread of K-Pop – almost turning them into the ‘soldiers’ of fandoms such as the BTS ‘army’. They have become part of enormous (online) subcultures in various countries across Europe and America.

More than just listening and watching K-pop, these fans become members of the ‘culture’ by translating material, circulating it to friends, or integrating it on their own social media channels (Jin & Yoon 2016, 1285).

TWICE

What further strengthens this fandom is that the successful K-Pop bands are anything but one-dimensional. More than just building on their synced choreography, flawless singing, fashionable looks, and visually attractive videos, the band members of groups such as BTS, EXO, or TWICE, have their own identities, voices, and goals that go beyond music; their various characters and roles within the group resonate with their different fans.

The fact that many K-Pop groups and members also have an androgynous and gender-bender appearance also makes them more interesting to many fans, with many K-pop boys being ‘pretty and cute’ and girls having a ‘strong and handsome’ look, breaking through typical male and female stereotypes.

Amber from F(x) has an androgynous look.

Heechul from boy band Super Junior.

Furthermore, more than pop bands, these K-Pop groups have virtually become ‘platforms’ with their own streaming channels, websites, television shows, merchandise shops, lively online communities, stories, and so on.

In their recent appearance on the US Tonight Show by Jimmy Fallon, BTS frontman RM explained the group’s mission in perfect English, saying: “It is about speaking yourself, instead of letting other people speaking for you. Cause in order to truly know ourselves, it is important to firstly know who I am, where I’m from, what my name is, and what my voice is.”

Many find their voice in K-Pop. And that is a sound, from a local Korean product to a global force, we can expect to grow much louder in the future.

By Manya Koetse

* For clarity: note that due to scope this article focuses on the development of the K-pop phenomenon, and does not explore the anti-Hallyu or anti-Korean wave movement in China, and the previous bans on Hallyu in the PRC.

References

Ahn, Jungah. 2014. “The New Korean Wave in China: Chinese Uders’ Use of Korean Popular Culture via the Internet.” International Journal of Contents, 10 (3): 47-54.

Jin, Dal Yong. 2016. New Korean Wave: Transnational Culture in the Age of Social Media. University of Illinois.

Jin, Dal Yong, and Kyong Yoon.2016. “The Social Mediascape of Transnational Korean Pop Culture: Hallyu 2.0 as Spreadable Media Practice.” New Media & Society 18 (7): 1277-1292.

Messerlin, Patrick A. and Wonkyu Shin. 2017. “The Success of K-Pop: How Big and Why So Fast?” Asian Journal of Social Science 45: 409-439.

Shim, Doobo. 2016. “Hybridity, Korean Wave, and Asian media.” Routledge Handbook of East Asian Popular Culture,Koichi Iwabuchi, Eva Tsai, Chris Berry (eds), Chapter 3. London: Routledge.

Shin, Solee I. and Lanu Kim. “Organizing K-Pop: Emergence and Market Making of Large Korean Entertainment Houses, 1980-2010.” East Asia 30: 255-272.

Yang, Jonghoe. 2012. “The Korean Wave (Hallyu) in East Asia: A Comparison of Chinese, Japanese, and Taiwanese Audiences Who Watch Korean TV Dramas.” Development and Society, 41 (1): 103-147.

Spotted a mistake or want to add something? Please let us know in comments below or email us.

©2018 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com

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What’s on Weibo provides social, cultural & historical insights into an ever-changing China. What’s on Weibo sheds light on China’s digital media landscape and brings the story behind the hashtag. This independent news site is managed by sinologist Manya Koetse. Contact info@whatsonweibo.com. ©2014-2018

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