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K-pop Fans Practices: Content Consumption to Participatory

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Article in Global Digital & Print Media Review · June 2023

DOI: 10.31703/gdpmr.2023(VI-II).16

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 Citation: Ismail, U., & Khan, M. (2023). K-pop Fans Practices: § Vol. VI, No. II (Spring 2023)
Content Consumption to Participatory Approach. Global Digital & § Pages: 238 – 250
Print Media Review, VI(II), 238-250. § p- ISSN: 2788-4988
https://doi.org/10.31703/gdpmr.2023(VI-II).16 § e-ISSN: 2788-4945

§ URL: http://dx.doi.org/10.31703/gdpmr.2023(VI-II).16 § DOI: 10.31703/gdpmr.2023(VI-II).16

Ushba Ismail * Musa Khan †

K-pop Fans Practices: Content Consumption to Participatory Approach

Abstract: This article gives insight into K-pop fans' practices from the perspective of consumption
patterns to a participatory approach. Digital advancement requires reshaping strategies to persuade
fans to participate for idols' good image. The article examines and explores trends of participation by
fans emerging due to psycho-social needs of connectedness with idols and fan communities. The study
uses a systematic review method and discusses the different ways in which fans participate in the K-
pop genre of fandom. The findings highlight the importance of fan communities in digital times and
how they use social media to connect with other fans to participate in fandom activities. The study
concludes that K-pop strategies for fans' involvement and retaining them as enthusiastic participants
are exceptional. A case study of K-pop may be taken as a complete understanding of digitized fans
targeting and utilizing their energies for K-pop image building.

Key Words: K-pop, Fan practices, Content consumption to participation, Digital fandom

Corresponding Author: Ushba Ismail (Assistant Professor, Department of Communication &

Media Studies, Fatima Jinnah Women University, Islamabad, Pakistan.
Email: zartashiakynat@gcuf.rdu.pk)

Introduction become a cultural phenomenon that has

sparked scholarly interest in the practices of its
K-pop, or Korean popular music, has gained
fans. The traditional view of media
global popularity in recent years, with millions
consumption was that of a passive audience,
of fans worldwide consuming and
where the audience simply consumed media
participating in the genre. The popularity of K-
content without actively participating in its
pop is not only limited to the music itself, but
creation or dissemination. The rise of the
also the visual and performance aspects that
internet and social media, however, has
accompany it, such as music videos, concerts,
fundamentally changed this dynamic, as fans
and fan interactions. As such, K-pop has
are now able to create and share content with

* Assistant Professor, Department of Communication & Media Studies, Fatima Jinnah Women's

University, Islamabad, Pakistan.

† Assistant Professor, Riphah Institute of Media Sciences, Riphah International University,

Islamabad, Pakistan.
K-pop Fans Practices: Content Consumption to Participatory Approach

a wider audience, often blurring the lines Fandom experience is done on an individual or
between producer and consumer (Khan, Won, community level and fan studies have been
& Pembecioğlu, 2021; Khan & Won, 2020). shifted to the nature of identity and issues at
This research paper aims to explore the the community level (Booth, 2010).
practices of K-pop fans in terms of their Technology advancements led the way to
content consumption and participatory a transformation of traditional media to new
approach. The study seeks to investigate the media. Rapid advancements were required to
different ways in which K-pop fans consume bring shifts in production systems while on the
and participate in the genre, including other end, consumption patterns were also
listening to music, watching music videos, evolving. From broadcasting to narrow-
attending concerts, and interacting with casting targeting audiences has always been
protagonists, producers, and other fans online. challenging.
The importance of fan communities and social For the last two decades, the fandom
media in shaping fan practices is also concept has also provided a different set of
examined, as K-pop fandom is known for its concepts to understand new media audiences.
active online presence and the formation of fan Practices to maintain fandom comprise
communities. The study particularly explores stressing the fans to actively participate within
the evolution of fan practices over time such as their networked fan communities, providing
content creation and reproduction, purchase platforms for fans’ own creative
intentions, social grouping and community, transformations and negotiations for mass
para-Social relationships (Affective media texts, thinking of ways to speak back to
connections), learning the Korean language, fans, and assertion of a particular agenda
culture learning, competitive performativity, about knowing what kind of popular culture is
social identities, and concepts of beauty. endorsed by fans (Booth, 2018).
Advancement in digital communication The rise of social media has not only
has paved the way to change the fan culture of required studying fandom through the lens of
the entertainment industry. A fan is one who modernity but also led to a transition from
has enthusiasm as an individual towards a constant consumption of content to an
content or personality while in fandom; energetic participatory approach by fans.
communities are developed to share their While discussing the return of fandom in the
ideas and enjoy experiences with members of digital age with the rise of social media Guo
the same community. Pre-digital fandom (2019) has defined three distinctive “waves” of
apparently referred to excessive passion and fandom studies since the 1980s. The author
enthusiasm toward certain popular forms. A elaborates that the first wave consisted of
fan in the digital age is considered an focusing on the derogatory practice of fandom
imaginative prosumer that is a combination of for a worthy cause. The second wave had a
producer and consumer who is not supposed more sociological perspective and it explored
to just consume media but is actively involved how hierarchies of fans are mirrored through
in processes of cultural significance (Booth, the expansion of the internet and new media.
2015). Consuming content on media as a fan The focus was more on the social and cultural
results in different socio-cultural changes. world. The third wave has now emerged to
These changes first occur on an individual and evaluate how fandom is part of our day-to-day
later on the societal level. In a detailed lives to capture insights into modern life.
examination of fan culture Gooch (2008) as
The concept of fan has travelled from
cited by Abd-Rahim (2019) conclude that fans
"leisure and passive" to "enthusiastic
have recognition for the rules of fan culture
participant". In the era of traditional media
they are following. To be a fan, they adopt
apparently, fan loyalty was evaluated based
different types of dress codes, vocabularies,
on consumption of media content but in the
knowledge, and skill, and these elements are
presence of new media not only participatory
understood by a fan community member only.

Vol. VI, No. II (Spring 2023) 239

 Ushba Ismail and Musa Khan

culture has been developed but new elements bringing differences in beauty concepts make
are emerging for fans to be connected, fans realize that every minor change in their
gathering in fan conventions and above all attitude and behaviour matters as they are
recreation or reproducing the content of their getting closer to their idols by doing what is
ideal celebrities. Fandom has become a vital endorsed.
analytical tool in the ever-changing digital In these contexts, this study is to explore
world. Fans are utilizing their technological and understand the practices of K-pop fans in
skills, communal intelligence, individual terms of their content consumption and
knowledge, and skills to socially interact participatory approach. The study aims to
(Booth, 2010). identify the various ways in which K-pop fans
In recent times the worldwide rise of engage with the genre and how their practices
Korean popular media content known as K- have evolved. Specifically, the study seeks to
pop has also played an exemplary role in investigate the role of fan communities and
shaping a new definition of "being a fan". K- social media in shaping fan practices, as well
pop refers to a genre of popular music with as how fans consume and participate in K-pop
origins in Korea. Collectively, the term Hallyu content.
is referred to a Korean popular culture
phenomenon that got a trend in South Asia Research Method
and China in the late 1990s (Bok-Rae, 2015).
Through the systematic review research
From east to west Hallyu has changed the
method, the K-pop fans' practices from content
perspective of Korea for the world (Lee, 2015).
consumption to a participatory approach have
K-pop music includes hip-hop, R&B, rock,
been identified, evaluated, and synthesized.
jazz, folk, disco and country, etc. (Sun, 2022).
The research presents a comprehensive and
Seotaiji and the Boys in 1992 emerged as
unbiased summary of the current knowledge
resulting in a quantum leap. This was the first
of K-pop fans' practices. The paper provides a
group that introduced rap and hip-hop to
detailed analysis of the various ways in which
South Korean popular music (Lie, 2012).
K-pop fans engage with the genre and how
The transformation of media content in their practices have evolved. The paper starts
Korean industry is quantitative and gradual by discussing the history of K-pop and its
but it can also be considered a qualitative global rise in popularity. The study then
jump. The success of K-pop is based on the delves into the different ways in which K-pop
development and effective strategies of the fans consume and participate in the genre,
entertainment industry. Secondly, Social including listening to music, watching music
media rise has provided multiple options for videos, attending concerts, and interacting
reaching and broadening global audiences with other fans online. They also discuss the
(Sun, 2022). various online platforms and communities
K-pop has involved and glued their fans that K-pop fans use to connect and share their
with idols with multiple tactics and their opinion and love for the genre. The findings of
strategies have been developing at a fast pace the study are presented in a clear and
to retain their group's loyalty. The most visible organized manner, with different themes and
strategy is the implementation of a patterns that emerged from the literature
participatory approach. K-pop fandom starts including content creation and reproduction,
from the consumption of Korean content and purchase intentions, social grouping and
leads to enthusiastic involvement and community, para-Social relationships
participation to make their favourite idols (Affective connections), learning Korean
successful and popular. The process of language, culture learning, competitive
involvement and participation has different performativity, social identities, and concepts
intervening factors that result in individual to of beauty. The systematic review of the
societal changes. Changes in social identities, existing literature provides a comprehensive
purchase behaviours, speaking patterns, and and nuanced analysis of the topic. The

240 Global Digital & Print Media Review (GDPMR)

K-pop Fans Practices: Content Consumption to Participatory Approach

research presents a strong case for the Findings and Discussion

importance of understanding fan practices to
From the systematic review of the literature,
better understand pop culture's phenomenon
the following themes have been extracted that
in terms of content consumption to
present an insightful discussion and findings
participation approach.
in terms of fan practices from content
consumption to participatory approach.

Table 1
S.No Themes
1 Content creation and reproduction
2 Purchase intentions
3 Social grouping and community
4 Para-Social relationships (Affective connections)
5 Learning the Korean language
6 Culture Learning
7 Competitive performativity
8 Social identities
9 Concept of beauty

Content Creation and Reproduction reproduce content. Data presented by Jenol

and Pazil (2020) established that now fans are
K-pop marketing strategies for pushing fans to
active producers and content creators which
consume and recreate content have an
denies the concept of fans as a passive entity.
exceptional level in the media industry and are
considered the future of content and The digital revolution and blurring lines
marketing. K-pop fans eagerly wait for every between producers and consumers have
next update by their idols to appear on social created a symbiotic relationship between
media. Different fandoms have separate media corporations and their fans. This gives
attitudinal and behavioural levels similarly K- rise to new ventures of cultural production
pop fans can also be categorized based on their (Pearson, 2010). Producers need a complete
enthusiasm intensity. understanding of the operational working of
fan groups and knowledge about what they
A study by Sun (2020) established and
value. This will enable producers to ensure
categorized K-pop fan labour into three main
enjoyable fan experiences and bring loyalty to
forms specialized labour, managerial labour,
their media text (McCudden, 2011).
and unskilled labour. Fan's creativity,
knowledge and skills are related to specialized
labour. As a result of specialized labour
Purchase Intentions
products such as images, videos, and idol Intention to purchase is a behavioural
performances are released online or offline by tendency that might result in purchasing a
fans. In managerial labour, fans promote their particular product (Hui & Zhou, 2002).
idols by organizing events and assisting fan Purchase of goods recommended by fans' idols
members. Celebrating idols' birthdays and or products comprised of their pictures,
anniversaries in local cafes is one of the signatures, or videos may be considered as
examples. Unskilled labour involves watching showing loyalty to the idol. A range of
videos frequently and voting for idols through products like souvenirs, mugs, and keychains
different polls. are purchased to have a collection of their
What gives success to K-pop is the idol's pictures. Most of such products do not
category of specialized labourers who have the require customers but they are kept as a
capacity for valuable actions to recreate and collection. In research related to purchasing
behaviours of K-pop idol goods, Kim et al.

Vol. VI, No. II (Spring 2023) 241

 Ushba Ismail and Musa Khan

(2018) conclude that fans work hard more if and found that K-pop fans tend to use social
they identify their favourite idols, the more media networks as a platform for their
their income is the more they invest in the activities. In recent years fans have developed
purchase of idols-related goods. Regarding online communities for connections which are
post-buying behaviours, authors reveal that called fandoms.
fans are more inclined to store the products The outcome of becoming part of an 'in
rather than use them. group' is apparently to show loyalty towards
Soft power strategies are the source of their idols and participate in their success
bringing up a country’s image in the eyes of journey. Fans abide by unwritten laws and
fans. Celebrities with a large fan following are rules of that group for cooperation. Kang et al.
utilized for image building of a nation that (2022) defined K-pop fans as active
eventually helps in economic progress. collaborators with each other and elaborated
According to Sun and Jun (2022), attitude that the motivation behind these
towards a country has a positive impact on collaborations is to promote mutual help. This
purchase intentions for a country's products. help is considered effective for the success of
Therefore, the favourable attitudes of Chinese K-pop music bands.
fans led to a strong willingness to buy Korean There are multiple choices of online
products too. communities for K-pop fans. These
Motivations to purchase products on communities offer news, chats, updates, and
endorsement by idols may vary for different activities for the interest of their fans.
fans depending on their economic class level Geographically separated, individuals face
and independence to spend money. Online difficulty to know about people who may be
membership fees, tickets to attend concerts, or closer based on their shared interests. This is
buying DVDs are some of the purchase where such online platforms help to discover
examples that are influenced by their idol fellow fans and develop strong bonds with
worship and emotional attachment. Fans gain them. Malik and Haidar (2020) explored a
satisfaction and comfort by collecting Twitter-based online K-pop fan community
merchandise of their idols supported by them. and found that the members of K-Pop Stan
Twitter have formed interpersonal bonds with
Social Grouping and Community each other, they communicate with each other
on a regular basis and have created a close-knit
A human prefers to live in communities and
online community where fans share and
groups to fill biological and sociological needs.
contribute to their capacities.
Groups are formed according to the hierarchy
level of needs of individuals. Having similar Social media fan networking has defined
interests in content and development and of fandom to its core from a transcultural
desire to share ideas on that interest helps to perspective. Border crossing fandoms due to
form fan’s social groups and communities. social media availability ignite interest in fan
People need platforms to confirm their internal objects. Analyzing the Transcultural fandom
social identities by comparing them with the of the Korean Wave in Latin America Min et al.
masses. Becoming a member of a fan (2019) described that the social-cultural
community is a free choice but different intimacy of K-pop fans in Chile and Latin
pressures (like peer pressure) and behavioural America is specific to social media. K-pop
tendencies result in being forced to be part of a creates affinity spaces through different social
fan community. From traditional non-digital media networks.
groups to digital and social media groups
development dynamics of fan engagement Para-Social Relationships (Affective
have changed. Connections)
MAROS and BASEK (2022) evaluated K- Parasocial relationships are considered one-
pop fans' participation through social media sided relationships from a fan for their

242 Global Digital & Print Media Review (GDPMR)

K-pop Fans Practices: Content Consumption to Participatory Approach

idealized celebrity or idol. The idols may sense relationship of media consumers from the
their collective popularity by their fan groups perspective of social media. The study
but are unable to know the level of intimacy of highlights that through social media audiences
individual fans. They have a behavioural are directly addressed by celebrities or
tendency to invest time, money, and energy to influencers. They share content with
maintain this relationship. According to Hills consumers that provoke the audience to follow
(2015) as cited by (McLaren, 2017) fan’s influencers and develop para-social
emotional attachment to their idols works like relationships with them.
a ‘glue’ to maintain fan communities. In such
communities, para-social relationships are like Learning the Korean language
social currency to maintain exchanges and
To be a K-pop fan learning the Korean
group affiliations.
language is not a requirement. Starting
A para-social relationship psychologically learning from a single word is taken as a small
is having a resemblance to real-world victory and each step of enhancement brings
interpersonal relations. Para-social satisfaction for learners. Touhami and Al-Haq
relationships may start from the consumption (2017) have studied the influence of language
of favourite idol content and prolong after the on K-pop international fans and their intention
development of enthusiastic liking. The to learn the Korean language. Researchers
process of para-social relationship revealed that fans start speaking Korean
development is considered both conscious and words in their daily lives, and use English
unconscious activity. Souders (2022) in a words with adapted Hallyu meanings and it
qualitative content analysis of We Verse, leads to the practice of saving phone contacts
YouTube, and V Live comments concluded with perfect Korean terms of kinship. They
that many posts show fans longing for real- start sharing linguistically odd jokes that are
world relationships with their idols. Such shared by their idols, use proverbs, and with
relationships range from friendship to the passage of time they start adopting English
intimacy. The research also concluded that sounds with different pronunciations.
such interactions are developed better due to
K-pop songs are presented with English and
the availability of social media networks.
Chinese subtitles to make them
Despite hard work in music production K- understandable to an extent by content
pop celebrities get time to acknowledge their consumers. If the content is presented with
fans for support. Take the example of BTS supporting translations, it instantly provokes
(Bangtan Sonyeondan, a popular Korean one to see a word in different languages. This
music group that broke the record for highest ultimately urges fans to learn the Korean
viewership for a YouTube premiere) fans who language. Kim (2022) conducted research to
are titled as ‘Army’ have a group identity consider transnational multimodal practices of
based on this notion. A specific title may help students in America who use webtoon apps
to develop more strong affiliation and bonding that display Korean webcomics. The research
with idols. Elfving-Hwang (2018) describes the concluded that young adults do not read
position occupied by a celebrity in the modern webtoons with the intention to get pleasure
Korean mediascape. According to the author instead their goal is to improve their Korean
of the book celebrity is an entity of both language skills and to know about Korean
consumption and para-social interaction. This culture. K-pop is a cultural item developed
results in imagining the celebrity as a ‘Para- through cultural and linguistic perspectives
social Kin.’ (Yoon, 2018).
K-pop idols and fan relationships are Efforts to learn the Korean language to
interesting and innovative to study. K-pop understand songs and participate with the fan
idols send messages in fan chat rooms to create community using the Korean language might
a direct communication feeling among fan not be an ordinary activity and easy to get on
members as Reynolds (2022) explores the

Vol. VI, No. II (Spring 2023) 243

 Ushba Ismail and Musa Khan

stage. If a fan watches content having industry also emphasized strong

translations in Korean and English languages communication strategies among fans and
it may be considered an unconscious activity celebrities to develop a positive image of
by a fan while using different apps for regular Korean culture among the masses.
learning is a deliberate effort. Aisyah (2017) Jang and Song (2017) have studied the
has researched related to Korean-English influence of K-pop on increasing cultural
language translational action of K-Pop in content and evaluated K-pop participatory
terms of social media content taking a case efforts for enhancing cultural contacts among
study of BTS (Bangtan Sonyeondan’s) Twitter local areas and Korea. Concluding interviews
account. The author elaborates that in social with fan’s club administrator’s researcher
media presence, users belong to different defined that person-to-person connections
cultural and linguistic backgrounds and among the local public result in a motivation
translation output might be different from the for participating in Korean culture and K-pop.
source of the text. The findings of the research These connections also bring favorability to
highlighted the cognitive process to learn a Korea as a country.
foreign language as fan followers try to find
Among the most popular works for
alternative ways to get translated text from
contributing to spreading Korean culture seem
different Twitter accounts.
to be entertainment-based genres. A dedicated
A previous study conducted by Sughra et and loyal fan is naturally interested to know
al. (2022) focusing on the linguistic influence of the whereabouts of his idol and while having
the Korean wave concluded that K-media a look at his idol's affiliations cultural elements
provokes fans to use linguistic gestures. 62% of intervene to be learned silently. To some
the selected sample agreed with this notion. extent, an adaptation of different cultures is an
58.3 % had experienced a shift in ways of their outcome of social media usage by K-pop fans
communication. Another interesting finding as it provides an opportunity to reach
indicated that 66% of the sample agreed that globalized audiences having different cultural
they use the Korean language unconsciously traits to share.
in their private thoughts.
Taking the case of Korean artist Psy’s viral
Continuous exposure to a particular video Gangnam Style, Xu (2017) studied the
language might have long-term effects on early stage of cultural diffusion based on social
thought processes, gestures, and media. The researcher studied the
communication patterns. The process of characteristics of YouTube users including
settlement of foreign language seems to have semantics and sentiments expressed in
unconscious effort but this settlement brings comments of users. Young and males were
multiple cultural traits also. more in number and had domination over the
early stages of diffusion. It was concluded
Culture Learning through semantic analysis that the majority of
While considering different aspects of commenters had an interest in the national
persuasion and influence K-pop music cultural origin of the video.
industry is also trying to be struck audiences
with the beautiful, mesmerizing, and colourful Competitive Performativity
side of Korea. Hallyu is the term used to Digitalization had an impact on the
represent Korean culture as a whole. A promotional and participatory role of K-pop
combination of traditional and modern Korean fandom. A number of researches are ongoing
culture is presented in Korean media content. to study practices and beliefs of competitive
Culture is diffused through multiple platforms performativity. The phenomenon of
and strategies and one of the important competitive performativity among K-pop
elements to spread a country’s culture is members is bringing up loyalty for fans' idols
people-to-people connection. The K-pop

244 Global Digital & Print Media Review (GDPMR)

K-pop Fans Practices: Content Consumption to Participatory Approach

and they need to retain their good fan identity consider different traits while communicating
as well. as race, gender, religion, or national origin.
While discussing Competitive K-pop fan identity can be evaluated based
performativity in Korean Pop fandom Tinaliga on their speaking patterns, dressing, sense of
(2018) found in a research study that avenues belonging, and socialization aspects among
of competition are beneficial to serve their idol the K-pop community. Chin and Morimoto
groups and make them successful in the best (2013) as cited by McLaren and Dal Yong
possible way. These acts of competition result (2020) define that transcultural fan identities
in the enhancement of the fandom's good permit the interrogation of contexts and
image. The researcher argues that fans have a identities that are developed beyond the
feeling of accountability and they have a say in category of the nation. It acknowledges and
the success of their idols and this quantifiable accepts subjective experiences and the
measure is the reason for the sustainability of construction of a fan's emotional investment in
the K-pop industry. popular culture.
Competitive performativity is beneficial In an era of digitalization concept of
for an idol's success and support from fans in digitalized identity has to be understood
different capacities ensures an increase in the separately. Real-time identity and social media
popularity of K-pop groups. However, there identity may differ for fan communities. There
are some dark sides too. Fans not only support, might be a difference between the actual self
like, or admire their idols but create hatred and self-presentation to others. Purwaningtyas
against opponent fan groups. Having access to and Oktara (2023) found that fans or role
digital platforms it is easier for them to create players of K-pop create an account by using
rivalry and enhance hate speech. SAVIRA et the name and identity of their favourite idol
al. (2021) have studied competitive and use it to have conversations with other
performativity leading to toxicity among fans. fans or role-players. This phenomenon is
Researchers have used the term “Fan war” as interesting to understand and raises a question
fans defend their idols and denounce other concerning the social identity of fans who are
idols. The study was conducted on Indonesian using the veil of their idols.
K-pop teenage fans using Twitter. The Williams (2016) believes that the Music fan
research concluded that three triggers are the 'self' is continuously developing having
reason for the competitive performativity of K- complex social processes exist including
pop fans including competition, ignited representation on mass media to interpersonal
emotion, and fake fans & solo stand fans. and intrapersonal conversations. K-pop fans
have a shared identity sense and a specific
Social Identities popular youth culture status. However, they
Understanding the concept of self for an have experienced negative media portrayals
individual is of vital importance to know and this behaviour of deviant fans has
about particular abilities, perceptions, and stigmatized the social identity of K-pop fans.
characteristics. It makes us understand ‘who’
we are. Self-actualization is a source to know Concepts of Beauty
about one’s identity. When it comes to social The term aegyo is used to define a ‘cute’ style
identity it is taken as how we see ourselves in in K-pop society (Streng, 2018). K-pop has
the presence of any social group or successfully defined new concepts of beauty
community. for its fan groups. Fans enjoy the incomparable
Social identity is not a fixed phenomenon aesthetics of K-pop idols. Beauty has always
it depends on the setting of the specific been a source to develop attraction of fans.
intergroup in which we find ourselves From admiration of idols to step in desire of
(McNamara, 1997). Socially human beings becoming like an idol is undoubtedly obvious.
A lot of investment is done to enhance the

Vol. VI, No. II (Spring 2023) 245

 Ushba Ismail and Musa Khan

overall package of attraction with beauty watching music videos to participating in fan
standards. According to Yoon (2018) cute communities online. The role of fan
images of K-pop idols are designed by Korean communities and social media in shaping fan
entertainment agencies through different practices has also been highlighted, as has the
marketing platforms like TV variety shows evolution of fan practices over time.
and stage performances. Conceptualizing the phenomena with a
According to Stephen Epstein with James growing body of existing literature, the fan
Turnbull as cited by Lee (2016) ‘Korean content consumption to participatory
popular music is driven by the visual’. The approach has been used to explain the active
researcher elaborates that K- pop idols’ and participatory nature of K-pop fandom,
“looks” are managed by entertainment emphasizing the importance of fans in shaping
companies and then commodified along with the practices and culture of the genre. The
music and dance. It is promoted as a package study recognizes that fans are not just passive
for the international audience. consumers of content, however, are also active
contributors to the creation and dissemination
Most of the Korean boys' and girls' music
of that content.
groups demonstrate ideal body images, and
unrealistic social aspirations to achieve The study further concludes from
(Laurie, 2016). To be like an idol and follow a reviewing the literature about K-pop content
set beauty standard a fan does physical efforts consumption leading to a participatory
from hair styling to dressing and body fitness. approach by K-pop fans, the K-pop industry
A perfect body figure displayed in music has developed new and unique strategies to
videos may bring complexity among content hold their fans loyal. Korean content
consumers. appearance since the 1990s till date has seen
different reasons for popularity. K-pop has
Siswanti (2014) in research to understand
utilized OTT (Over the top) platforms for
the phenomenon of the body in consumer
reaching millions of fans. The digital media
culture selected K-pop popular songs for
boom changed the concept of fans and has
analysis. The study discovered that songs have
allowed providing platforms for the active
embodied the body concept in the consumer
participation of fans in different capacities.
culture. As the body is considered a vehicle of
Shifts from fandoms to digital fandoms have
interest so the body must have full energy with
drawn a new picture of the fan world and its
a young and beautiful look. It must present
community. A digitized fan has different
fitness and fun as well.
psycho-social needs to be connected to his
Tresna et al. (2021) In an analysis to idols. What makes him a fan is dependent
determine the relationship between celebrity upon his performance in participation at
idealization and body image among female online fan community platforms. A fan has
adolescents having K-pop girls as their idols travelled a journey from consumer to
researcher describes that K-pop girl groups prosumer to show enthusiasm for their idols.
have set ideal body standards. A perfect nose, K-pop fans have developed bonding not only
white skin colour, and slim smart body are with idols but with their fan communities and
some of the traits for fans to adore and create a interest groups too. A K-pop fan possesses an
desire to become like their idols. interest in learning the Korean language,
knowing Korean culture, recreating K-pop
Conclusion content, buying K-pop idols-related products,
In conclusion, the practices of K-pop fans in getting an identity being a K-pop fan, and
terms of their content consumption and following standards of beauty defined by their
participatory approach are complex and idols. These are some of the consuming and
multifaceted. This study, however, explored participating practices of K-pop fans however
the various ways in which K-pop fans engage the motivations behind such practices may
with the genre, from listening to music and vary for fans depending on their

246 Global Digital & Print Media Review (GDPMR)

K-pop Fans Practices: Content Consumption to Participatory Approach

psychological, social, cultural, and economic practices of its fans, highlighting their
status. engagement with the genre and the role they
Overall, this research contributes to the play in shaping its culture and practices.
growing body of literature on fan practices and K-pop may be taken as a successful case
fandom and highlights the importance of study with impressive strategies to get
understanding fan practices to better connected to the targeted audiences and utilize
understand the cultural significance of their enthusiastic energies for image building
popular culture. K-pop fandom is a dynamic of Korean idols, products, and above all
and active community, and this research paper country.
provides a nuanced exploration of the

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 Ushba Ismail and Musa Khan

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