Joseph Hwang
The popularity of K-pop idol groups varies significantly between South Korea and other countries. Additionally, there is a distinction in the dissemination of information. However, in the current era of social media and fandom communities, minimal discrepancies exist in the transmission of information; more comprehensive details are often shared overseas. The difference in preferences for K-pop artists in South Korea and abroad likely stems from the influence of differing tastes.
The term “fandom” is difficult to define. The phenomenon in question is not a tangible entity; still, it is a real and observable phenomenon. The passion of K-pop idol group fans is evident in their unwavering dedication to the artists they adore. The sheer number of devoted followers, the palpable energy, and the enthusiastic displays of affection in the presence of the idols are all indications of the profound love and admiration these fans hold for their idols. At times, it may be discernible through objective data such as attendance figures. At other times, however, it can only be perceived abstractly.
In the context of K-pop, the term “DeokJil” refers to the behavior of actively and voluntarily following one’s favorite artist. This encompasses a range of activities, including searching for and collecting artist materials, participating in artist events, and providing support. Should one cease their DeokJil activities, they would be considered a “TalDoek.” The term “Tal,” derived from Chinese, signifies “to break away.” Engaging in DeokJil indicates that, as a fan, one actively expresses their affection for an artist and contributes to the artist’s fan community.
1. The Inherent Substance of DeokJil
The core concept of DeokJil is the “empowerment of affection.” For those who are relatively weak to gain power, it is essential to organize their like-minded peers. It is imperative that they are aware of their surroundings and given the chance to gather. To achieve this, it is necessary to provide individuals with the requisite means of communication, including the ability to convey their thoughts and ideas coherently. At present, cell phones and social media applications can fulfill this function.
Before the advent of cell phones and social media, it was challenging to mobilize fans collectively. Even when such mobilization was feasible, it was seldom achieved in a sophisticated and sustained manner. Prior to this, the primary modes of expression were admiration and appreciation for the artist. Fans who were more proactive might send gifts to the artist’s management company, but that was the extent of their involvement.
The advent of cell phones and social media has transformed the nature of fandom from one primarily focused on expressions of affection to one characterized by the empowerment of affection. As fandom became capable of sophisticated communication and expression within the community, it became organized and able to manage the process by setting goals and strategies for artists’ protection and facilitating communication between fans and the artists they admire. In a manner analogous to the organization of an army or company, the objective is to achieve the desired outcome.
2. Creating a Collective Will
The formation of a collective will also make it possible for artists and their management companies to respond in distinct ways. The advent of digital communication has empowered fan communities to engage directly with artists and exert pressure on their management companies. Initially, fans merely expressed their discontent. However, they subsequently intervened in disputes and conflicts between management companies and artists. The collective nature of fandom has led to the formation of a unified will, whereby the moral and economic judgment of what is beneficial or detrimental to the artist is now made collectively.
The act of gathering people together can create chaos. However, if someone can organize that chaos, it becomes evident that there is power in the collective will of the crowd. The emotional and passionate nature of the fandom has remained constant throughout its history. Conversely, the concept of governance has never been a prominent feature. However, the advent of cell phones and social media has equipped fans with the tools to establish decision-making structures, set goals, and strategize actions. In the event of an unfair or unjust action directed toward an artist they admire, fans are inclined to take action in their defense. This behavioral shift has become a moral imperative for fans, and with the establishment of administrative roles within the collective, their opinions and stances are now subject to social enforcement.
Management companies representing K-pop artists have engaged in merchandise sales and limited quantities of older formats, such as CDs and LP albums, to generate revenue from their fan base. Notably, they have implemented optional promotions whereby patrons who purchase a substantial number of physical albums by an artist over a specified monetary threshold are granted admission to a fan meeting, where they can interact with the artist in person. Fans hurried to buy these additional physical albums to meet their idols in person. Management companies even offered an option for online album purchases without physical delivery.
Contrary to public stereotypes, contemporary K-pop enthusiasts are not as naive and uncritical as they are often perceived. Moreover, they possess a collective intelligence that enables them to disseminate information and reach decisions more expeditiously and precisely than ever before. There is a growing presence of activist fans. If a management company engages in unscrupulous behavior toward an artist or fan, they no longer merely complain; they make it a matter of public record. In the current era, if a management company exhibits signs of exploiting fans for financial gain, fans will mobilize collectively to take action. Even when a member of their favored idol group resigns or is recruited, fans demonstrate their collective will. Times have changed.
3. The Ultimate Purpose of DeokJil
Those who are fans of K-pop artists have become educated about the entertainment industry. They are aware of the strategies these artists employ and the tactics they use to mobilize their fan base. Management companies acknowledge that fandom can be a source of revenue, but it can also present a potential threat or liability.
Fans are willing to expend significant resources to support the artists they admire. However, when individuals exploit this relationship or cause harm to fans and artists, even if management companies use their collective influence to remove the source of disruption, the consequences can be severe. For some, this collective entity represents a source of revenue, while for others, it exemplifies the pinnacle of communal affection, unified by a common affinity. In one group, two distinct value systems conflict with one another: one is economically oriented, while the other is morally oriented.
The genesis of politicians and celebrities can be traced back to the fundamental human desire to disseminate one’s preferences. As this sharing of tastes becomes more sophisticated and structured, it takes on the characteristics of a force and, by extension, a social phenomenon. The impulse to share tastes and the desire for recognition are intrinsic human drives; however, when these instincts are organized and managed, they can give rise to powerful social influences.
* References and Quotations:
https://www.hanryutimes.com/news/articleView.html?idxno=935
https://magazine.cheil.com/55710?fbclid=IwY2xjawE6FeVleHRuA2FlbQIxMAABHdKfwbMHBrc2uKhcsnZmQu1Kh3Nvj1gsAukhHtxJoUcPHffDYNXwrO2NEw_aem_iR76OHDdc7S30jVawLuCuw
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