Hostname: page-component-77f85d65b8-pkds5 Total loading time: 0 Render date: 2026-04-12T21:59:47.582Z Has data issue: false hasContentIssue false
  • English
  • Français

From Seoul to Copenhagen: Migrating K-Pop Cover Dance and Performing Diasporic Youth in Social Media

Published online by Cambridge University Press:  12 May 2020

Chuyun Oh
Get access Rights & Permissions [Opens in a new window]

Abstract

This article examines the practice of the Danish K-pop (Korean pop) cover dance crew CODE9 as an example of the rapid cultural exchange on the Internet that reshapes the diffusion of dance styles and ideas. CODE9 demonstrates K-pop as a “migratory dance practice,” forming a transnational dancing community with modern technology at its center. By adapting and embodying K-pop, CODE9 creates a “Thirdspace” in between reality and fantasy, between being oneself and being a Korean idol. With CODE9, K-pop moves in and out of Denmark, through the practice of watching, learning, performing, and then circulating dance online.

Keywords

FandomK-pop Cover DanceMigratory DanceNordic Social DancePopular DanceThirdspaceYouTube

Information

Type
Articles
Information
Dance Research Journal , Volume 52 , Special Issue 1: In and Out of Norden: Dance and the Migratory Condition , April 2020 , pp. 20 - 32
Copyright
Copyright © 2020 Dance Studies Association

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Article purchase

Temporarily unavailable

References

Works Cited

Appadurai, Arjun. 1990. “Disjuncture and Difference in the Global Cultural Economy.” Theory Culture and Society 7: 295–310.CrossRefGoogle Scholar
Balance, Christine. 2012. “How It Feels to Be Viral Me: Affective Labor and Asian American YouTube Performance.” Women's Studies Quarterly 40 (1–2): 138–152.CrossRefGoogle Scholar
Bench, Harmony. 2010. “Screendance 2.0: Social Dance-Media.” Participations: International Journal of Audience Research 7 (2). https://www.participations.org/Volume%207/Issue%202/special/bench.htm.Google Scholar
Bent [pseud.]. 2019. Interviewed by the author, email. March 10 and April 14.Google Scholar
Borelli, Melissa Blanco. 2014. “Introduction: Dance on Screen.” In The Oxford Handbook of Dance and the Popular Screen, edited by Borelli, Melissa Blanco, 1–17. Oxford, UK: Oxford University Press.CrossRefGoogle Scholar
Butler, Judith. 1993. Bodies That Matter: On the Discursive Limits of “Sex.” New York: Routledge.Google Scholar
CODE9 Dance Crew. 2018a. “[KPOP IN PUBLIC COPENHAGEN] DDU-DU DDU-DU (뚜두뚜두) - BLACKPINK | CODE9 Dance Cover.” YouTube video, November 3. Accessed January 31, 2020. https://www.youtube.com/watch?v=9SMFEWNEcV8.Google Scholar
CODE9 Dance Crew. 2018b. “Likey - TWICE ㅣCODE9 Dance Cover.” YouTube video, May 20. Accessed January 31, 2020. https://www.youtube.com/watch?v=8QFbCJZ7×3g.Google Scholar
CODE9 Dance Crew. 2019a. “KPOP RANDOM PLAY DANCE IN PUBLIC, COPENHAGEN, DENMARK 26-10-2019 | CODE9 Dance Crew.” YouTube video, October 27. Accessed January 31, 2020. https://www.youtube.com/watch?v=8l88s0mhde4.Google Scholar
CODE9 Dance Crew. 2019b. “1 Year With CODE9 | CODE9 Anniversary Video.” YouTube video, March 16. Accessed March 19, 2020. https://www.youtube.com/watch?v=BmuEu0WXvoM.Google Scholar
CODE9 Dance Crew. 2019c. “J-POPCON VLOG | CODE9 DANCE CREW.” YouTube video, June 19. Accessed January 31, 2020. https://www.youtube.com/watch?v=pTCZcTFH7ew.Google Scholar
CODE9 Dance Crew. 2019d. “KPOP IN PUBLIC COPENHAGEN] Q&A – CHERRY BULLET | CODE9 Dance Cover.” YouTube video, February 26. Accessed January 31, 2020. https://www.youtube.com/watch?v=xvdIRZCZMbg.Google Scholar
CODE9 Dance Crew. 2019e. “SNAPPING – CHUNGHA (청하) Dance Cover | CODE9 DANCE CREW.” YouTube video, November 10. Accessed January 31, 2020. https://www.youtube.com/watch?v=Bch7_4oQAk0.Google Scholar
Code9 L [pseud.]. 2019. Interviewed by the author, Facebook and email. March 12 and April 19.Google Scholar
Damsholt, Inger. 2016. “Rock around the North.” In Nordic Dance Spaces: Practicing and Imagining a Region, edited by Vedel, Karen and Hoppu, Petri, 19–48. New York: Routledge.Google Scholar
Damsholt, Inger, and Hoppu, Petri. 2018. “Call for Submission.” Dance Research Journal 50 (3): 132–134.Google Scholar
Dodds, Sherril. 2014a. “The Choreographic Interface: Dancing Facial Expression in Hip-Hop and Neo-Burlesque Striptease.” Dance Research Journal 46 (2): 39–56.CrossRefGoogle Scholar
Dodds, Sherril. 2014b. “Dancing the Popular: The Expressive Interface of Bodies, Sound and Motion.” In The Sage Handbook of Popular Music, edited by Bennett, Andy and Waksman, Steve, 401–417. London: Sage.Google Scholar
Edirisinghe, Chamari, Ryohei Nakatsu, Adrian Cheok, Widodo, Johannes. 2011. “Exploring the Concept of Third Space within Networked Social Media.” In Lecture Notes in Computer Science, vol. 6972, edited by Anacleto, J. et al. , 399–402. Heidelberg, Germany: Springer.Google Scholar
Flemse [pseud.]. 2019. Interviewed by the author, email and Skype. March 7 and 14.Google Scholar
Franko, Mark. 2013. “Editor's Note: Taking (A)part: Investigations into Participation.” Dance Research Journal 45 (3): 1–2.Google Scholar
Ginger [pseud.]. 2019. Interviewed by the author, email. March 12 and April 10.Google Scholar
Hoppu, Petri. 2016. “Together and Apart: All-Nordic Folk Dance Events before 1975.” In Nordic Dance Spaces: Practicing and Imagining a Region, edited by Vedel, Karen and Hoppu, Petri, 207–232. New York: Routledge.Google Scholar
Hübinette, Tobias. 2018. “Who Are the Swedish K-pop Fans? Revisiting the Reception and Consumption of Hallyu in Post-Gangnam Style Sweden with an Emphasis on K-Pop.” Culture and Empathy. International Journal of Sociology, Psychology, and Cultural Studies 1 (1–4): 34–48.CrossRefGoogle Scholar
Jin, Dal Yong, and Yoon, Kyong. 2016. “The Social Mediascape of Transnational Korean Pop Culture: Hallyu 2.0 as Spreadable Media Practice.” New Media & Society 18 (7): 1277–1292.CrossRefGoogle Scholar
Jung, Sun, and Shim, Doobo. 2014. “Social Distribution: K-pop Fan Practices in Indonesia and the ‘Gangnam Style’ Phenomenon.” International Journal of Cultural Studies 17 (5): 485–501.CrossRefGoogle Scholar
Khiun, Liew Kai. 2013. “K-pop Dance Trackers and Cover Dancers: Global Cosmopolitanization and Local Spatialization.” In The Korean Wave: Korean Media Go Global, edited by Kim, Youna, 181–198. New York: Routledge.Google Scholar
Kwon, Jungmin, and Ono, Kent A.. 2013. “Re-worlding Culture? YouTube as a K-pop Interlocutor.” In The Korean Wave: Korean Media Go Global, edited by Kim, Youna, 215–230. London: Routledge.Google Scholar
Louise [pseud.]. 2019. Interviewed by the author, email. April 1.Google Scholar
Malnig, Julie. 2009. Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader. Champaign, IL: University of Illinois Press.Google Scholar
Marinescu, Valentina, and Balica, Ecaterina. 2013. “Korean Cultural Products in Eastern Europe: A Case Study of the K-Pop Impact in Romania.” Region: Regional Studies of Russia, Eastern Europe, and Central Asia 2 (1): 113–135.CrossRefGoogle Scholar
Mendez, Michele. 2019. “These 20 Records BTS Has Broken Over the Years Are Truly Mind-Blowing.” Elite Daily, November 1. Accessed January 31, 2020. https://www.elitedaily.com/p/these-20-records-bts-has-broken-over-the-years-are-truly-mind-blowing-19252268.Google Scholar
Nilsson, Mats. 2016. “Folk Dance Competitions in the 21st Century.” In Nordic Dance Spaces: Practicing and Imagining a Region, edited by Vedel, Karen and Hoppu, Petri, 79–100. New York: Routledge.Google Scholar
Oh, Chuyun. 2014. “The Politics of the Dancing Body: Racialized and Gendered Femininity in Korean Pop.” In The Korean Wave: Korean Popular Culture in Global Context, edited by Kuwahara, Yasue, 53–81. New York: Palgrave Macmillan.CrossRefGoogle Scholar
Robertson, Roland. 1995. “Glocalization: Time-Space and Homogeneity-Heterogeneity.” In Global Modernities, edited by Featherstone, Mike, Lash, Scott, and Robertson, Roland, 25–44. London: Sage.CrossRefGoogle Scholar
Scolieri, Paul. 2008. “Global/Mobile: Re-orienting Dance and Migration Studies.” Dance Research Journal 40 (2): v–xx.CrossRefGoogle Scholar
Soja, Edward W. 1996. “Introduction/Itinerary/Overture.” In Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places, 1–23. New York, USA: Blackwell.Google Scholar
Thomas, Philippa. 2014. “Single Ladies, Plural: Racism, Scandal, and ‘Authenticity’ Within the Multiplication and Circulation of Online Dance Discourses.” In The Oxford Handbook of Dance and the Popular Screen, edited by Borelli, Melissa Blanco, 289–303. Oxford, UK: Oxford University Press.Google Scholar
Vedel [pseud.]. 2019. Interviewed by the author, email. March 7.Google Scholar
Yang, Jeff. 2019. “No, Simon Cowell, It's Not Time for UK-Pop.” CNN, November 28. Accessed January 31, 2020. https://www.cnn.com/2019/11/27/opinions/k-pop-groups-are-changing-music-and-world-yang/index.html?fbclid=IwAR3CWLCRpgyl6LJ1DAO-7BgcI8t0tgbN7ULZcnNi-qgx5g6jblpRNHQKqIs.Google Scholar