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“White” Korean Music: How a Thesis Rendered Centuries of Culture Invisible

“White” Korean Music: How a Thesis Rendered Centuries of Culture Invisible

Richard Hu
Copyright: © 2023 |Pages: 28
ISBN13: 9781799858171|ISBN10: 1799858170|ISBN13 Softcover: 9781799868538|EISBN13: 9781799858188
DOI: 10.4018/978-1-7998-5817-1.ch005
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MLA

Hu, Richard. "“White” Korean Music: How a Thesis Rendered Centuries of Culture Invisible." Music and Engagement in the Asian Political Space, edited by Uche Titus Onyebadi and Delaware Arif, IGI Global, 2023, pp. 125-152. https://doi.org/10.4018/978-1-7998-5817-1.ch005

APA

Hu, R. (2023). “White” Korean Music: How a Thesis Rendered Centuries of Culture Invisible. In U. Onyebadi & D. Arif (Eds.), Music and Engagement in the Asian Political Space (pp. 125-152). IGI Global. https://doi.org/10.4018/978-1-7998-5817-1.ch005

Chicago

Hu, Richard. "“White” Korean Music: How a Thesis Rendered Centuries of Culture Invisible." In Music and Engagement in the Asian Political Space, edited by Uche Titus Onyebadi and Delaware Arif, 125-152. Hershey, PA: IGI Global, 2023. https://doi.org/10.4018/978-1-7998-5817-1.ch005

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Abstract

With the rise of K-Pop globally, demonstrated through popular groups like BTS, NCT, or AESPA, K-Pop's influence has also expanded into the West and leads to the question: Can—and should—white people be K-pop idols? This chapter seeks to answer this question by exploring the example of EXP-Edition, an all-white K-Pop group created by then-NYU MA student Bora Kim, who wrote a Master's thesis defending the creation and attempting to legitimize the group. This chapter critiques EXP and Kim's thesis through racial rhetorical criticism, examining how Korean and other Asian performers are both racialized—and how EXP and Kim's thesis erase their racial experiences. The chapter works through racial rhetorical criticism by unpacking concepts such as orientalism, white privilege, and aculturality, a concept that requires more in-depth interrogation. The chapter concludes with recommendations for the future study of intersections with music education and future directions for cultural and rhetorical scholars.

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