Chuyun Oh – författare

This book examines key features, problems, and implications of the 2016–2017 Candlelight Movement, a historical cornerstone for democracy and social movements in South Korea.

The Candlelight Movement brought profound social changes with important lessons and questions for scholars, practitioners, activists, and the public. To examine the full complexity of the movement, this edited volume utilises wide-ranging methodological and theoretical approaches, which include case study approaches, ethnography, survey, feminist film criticism, critical discourse analysis, and rhetorical criticism. Chapters place ‘communication’ at the centre of their analyses, calling attention to the mediated and mediatised, the performative and other discursive practices of the 2016–2017 Candlelight Movement. In doing so, the book discusses not only the usual players and factors – nor the institutions that exert their influence through democratic politics and the public sphere – but also the counter-public embracing new and social media, collective singing, the body, and performance, as their choice of political media. As such, this volume offers important insights into how communication plays a critical role in forming, moving, and transforming new social movements.

The Candlelight Movement, Democracy, and Communication in Korea will appeal to students and scholars of communication and media studies, political science, sociology, and Korean studies.

This book examines key features, problems, and implications of the 2016–2017 Candlelight Movement, a historical cornerstone for democracy and social movements in South Korea.

The Candlelight Movement brought profound social changes with important lessons and questions for scholars, practitioners, activists, and the public. To examine the full complexity of the movement, this edited volume utilises wide-ranging methodological and theoretical approaches, which include case study approaches, ethnography, survey, feminist film criticism, critical discourse analysis, and rhetorical criticism. Chapters place ‘communication’ at the centre of their analyses, calling attention to the mediated and mediatised, the performative and other discursive practices of the 2016–2017 Candlelight Movement. In doing so, the book discusses not only the usual players and factors – nor the institutions that exert their influence through democratic politics and the public sphere – but also the counter-public embracing new and social media, collective singing, the body, and performance, as their choice of political media. As such, this volume offers important insights into how communication plays a critical role in forming, moving, and transforming new social movements.

The Candlelight Movement, Democracy, and Communication in Korea will appeal to students and scholars of communication and media studies, political science, sociology, and Korean studies.

This book is about K-pop dance and the evolution and presence of its dance fandom on social media.

Based on five years of ethnographic fieldwork, interviews, choreography, and participation-observation with 40 amateur and professional K-pop dancers in New York, California, and Seoul, the book traces the evolution of K-pop dance from the 1980s to the 2020s and explains its distinctive feature called ‘gestural point choreography’ – front-driven, two-dimensional, decorative and charming movements of the upper body and face – as an example of what the author theorizes as ‘social media dance.’ It also explores K-pop cover dance as a form of intercultural performance, suggesting that, by imitating and idolizing K-pop dance, fans are eventually ‘fandoming’ themselves and their bodies.

Presenting an ethnographic study of K-pop dance and its fandom, this book will be a valuable resource for students and scholars of Media Studies, Korean Studies, Performance Studies, and Dance.

This book is about K-pop dance and the evolution and presence of its dance fandom on social media.

Based on five years of ethnographic fieldwork, interviews, choreography, and participation-observation with 40 amateur and professional K-pop dancers in New York, California, and Seoul, the book traces the evolution of K-pop dance from the 1980s to the 2020s and explains its distinctive feature called ‘gestural point choreography’ – front-driven, two-dimensional, decorative and charming movements of the upper body and face – as an example of what the author theorizes as ‘social media dance.’ It also explores K-pop cover dance as a form of intercultural performance, suggesting that, by imitating and idolizing K-pop dance, fans are eventually ‘fandoming’ themselves and their bodies.

Presenting an ethnographic study of K-pop dance and its fandom, this book will be a valuable resource for students and scholars of Media Studies, Korean Studies, Performance Studies, and Dance.

K-pop Dance Education is the first comprehensive guide to teaching, studying, and researching K-pop dance in global contexts.

Through ethnographic fieldwork with fifty K-pop dance professionals, idols, agency CEOs, and choreographers across the US and Korea, this book offers an inside view of K-pop dance pedagogy. Integrating dance and performance studies, media studies, and cultural studies, it establishes five foundational movements of K-pop dance training in studio and establishes K-pop dance studies framework and research methods, theorizing its cultural, aesthetic, and industrial specificities. Addressing issues of authenticity, training, and postcolonialism, it shows how Korea’s rigorous idol-training model becomes a creative fan practice in the US and how it overshadows local teachers’ labor under Western choreographers.

Positioned to meet growing academic and public demand, this book provides adaptable teaching strategies for universities, arts high schools, community studios, and children’s and continuing education programs and serves as an essential resource for Korean pop culture, global performing arts, tourism, and study abroad courses.