“Sustainability of ‘The Korean Wave’:

Popularity of Korean Dramas among Malaysian TV Audiences”

By P. RAMACHANDRAN (RADIO TV MALAYSIA)

When television dramas Winter Sonata and Dae Janggeum were premiered in Malaysia, their audiences were swept away, not knowing it was actually the ‘Korean Wave’ that had struck them. Since then the press hype surrounding the ‘Korean Wave’ and subsequent dramas has gradually brought them back to their feet. Five years have since past, media analysts, critics and relevant authorities are still concerned over their popularity and sustainability. 

This researcher, on a fellowship here at Chonnam University, enquires on how multi-cultural audiences in his home country Malaysia, consume transnational cultural products such as Korean dramas. It is an analysis of expert opinions and perceptions of the ‘Korean Wave’; an attempt to distinguish the phenomenon through experiences from other regions and initiatives to sustain its popularity.

The enquiry asks several questions as followings: What characteristics do Korean dramas emanate, so that they are successfully received by Malaysian TV audiences? How historically relevant Korean cultural contents are consumed by culturally diverse Chinese and non-Chinese TV audiences in Malaysia? What challenges do the Korean stakeholders encounter in sustaining the ‘Korean Wave’?

The enquiry makes an assumption that Koreans generally belong to a Confucianist Society; that their rich cultural practices, language and mannerisms are rooted in old Chinese traditions and that these are so well portrayed in Korean dramas that audiences outside of Korea, especially the Chinese communities in Malaysia have become ardent fans. 

Television audiences in Malaysia are multi-cultural communities comprising Chinese, Malay, Indians and others. There are just as many Non-Chinese fans as there are Chinese fans of Korean dramas. However, they belong to different cultural backgrounds and as such would appreciate Korean dramas differently. Television audiences in Malaysia enjoy a very large number of transnational programming. They enjoy programs with good entertainment and cultural contents related to them, irrespective of their country of origin. These audiences may enjoy television content at the entertainment level. That is, at the negotiated reading. They may understand the drama in parts and may not fully comprehend it as prescribed or intended by the producers. But audiences who share a common cultural background with Koreans, such as the Chinese community, who are ‘culturally proximate’ to Confucianism, can become connected to the drama text at a closer level. Such audiences may comprehend the deeper meaning implied by the drama text. Chinese audiences are longing for such articulation of their culture. And that they find it narrated in Korean dramas.

This difference at the deeper level of understanding among television audiences arising from cultural differences is important.  The producers and other important stakeholders need to address this issue.

Challenges

The enquiry finds that cultural and economic barriers exist, that need to be removed.  These challenges can be at the global level, domestic level and broadcasting level.

   At the global level, country specific regulatory matters protecting local television industry and cultural settings may be in place. Local cultural sensitivities are of concern to producers. Transnational cultural products from other regions pose serious challenges to Korean dramas in multi-cultural Malaysia. At the domestic or home level, the views of commentators and concerned action groups, however trivial, are important reference points to consult for improvements. Stakeholders’ bottom line realities and broader objectives are matters that require meticulous strategies. At the broadcasting level, most importantly, the cultural imaginaries must be well constructed, offering appropriately blended entertainment programs.

Conclusion   

The “Korean Wave” should be appropriated to recognize the differences in the consumption of cultural products among diverse audiences.  Producers should ensure the flow of consistently quality dramas, complemented by promotional efforts through intercultural relations on the ground.  This would enhance public diplomacy among audiences and peoples of the host culture and Korea. The experiences of the Korean Wave elsewhere in the region can be a yardstick to sustain a moderated campaign in Malaysia. There are great benefits to be derived from establishing relationships with people from different cultures, the ability to interact with people within and outside the country.