The voice actors of "The First Slam Dunk" take a commemorative photo holding a banner celebrating the film's success. ("The First Slam Dunk" official Instagram account)
Japanese songs playing on South Korean TV and radio stations and giant posters of Japanese anime hung outside cinemas -- unimaginable just over two decades ago -- are no longer surprising.
This year marks 20 years since Korea fully opened its doors to Japanese pop culture products. Following liberation from 35 years of Japanese colonial rule in 1945, Korea had banned Japanese cultural products from reaching its shores, only gradually opening the market to Japanese cultural products in 1998. The phased market opening was completed in 2004.
As Japanese cultural products expand their presence in Korea, there has been an increase in interaction between Korean and Japanese artists as well. Atlantis Kitsune, which debuted this month, is the second Korean-Japanese duo formed through cable channel MBN singer competition program "Korea-Japan King's Battle," following the formation of teen trot duo Lucky PangPang in June.
"It's very new for Korean and Japanese artists to collaborate," said Miyu Kanou, a Japanese member of the duo, during a group interview on Aug. 13.
"In Japan, K-pop, Korean fashion and makeup are trendy, making it a perfect time for a Korea-Japan duo to emerge. On the other hand, Korean fans also send us tremendous support," said Kanou, adding that some fans have thanked them for forming a Korea-Japan duo.
Such changes are not limited to the pop music industry. "The First Slam Dunk," a Japanese animated film based on a popular anime series, was a major hit when it was released in Korea last year. The film became something of a cultural phenomenon, particularly among those who grew up with the original series in the 1990s.
Moreover, several Japanese singers and bands are drawing significant audience numbers, including duo Yoasobi, singer-songwriter Imase and band King Gnu.
Korean-Japanese trot duos Atlantis Kitsune (left) and Lucky PangPang (n.ch Entertainment)
Separation of pop culture and politics
“Consuming Japanese culture is now so natural that no one even bats an eye if you place a Japanese anime character product on your office desk or listen to J-pop,” said Kim Jae-hee, an office worker in her mid-20s.
Unresolved issues stemming from Japan's colonial rule over the peninsula and the resulting political tensions had been the main reason Koreans shunned Japanese cultural products. However, Korea's young generation, especially teens and those in their 20s who enjoy Japanese pop culture, tend to separate the cultural products they enjoy from issues at the level of national politics.
When asked if unresolved historical issues affect her consumption of Japanese culture, Kim said, “Of course, if I see scenes in an anime that evoke Japanese imperialism, like the use of the Rising Sun Flag, or if a creator makes far-right statements, I feel uncomfortable and hesitate to consume that work. But if there are no such issues, I don’t avoid Japanese products just because they’re Japanese.”
Jang Ha-young, a graduate student in her late 20s and another anime fan, shared a similar view. Jang noted that the young generation no longer feels aversion to a cultural product just because it is of Japanese origin but also added that this doesn't mean they've forgotten historical issues.
“There have been times when I stopped watching a series because its creator made hate-filled remarks about Korea or glorified war crimes, and there was even a favorite game I quit playing after an event was set amid the background of 1945, which led to mass refund requests from users,” said Jang.
“For core fans who consume a lot of Japanese content, it seems that the more they consume, the more they pursue a kind of perfectionism regarding historical issues. Works associated with the Rising Sun Flag, war crimes glorification or anti-Korean sentiment are taboo,” she added.
Japanese duo Yoasobi and session musicians pose for a photo during the duo's first standalone concert in Korea held at Korea University’s Hwajung Gymnasium in Seoul, Dec. 17, 2023. (LIVET)
Pride in K-culture
Another notable change compared to a few decades ago is the status of Korean pop culture.
Lee Seok-hyun, an office worker in his 50s, recalled that things were different when he was back in his 20s. “Back then, Japan was far more prosperous than Korea. When the cultural opening to Japan began, a flood of music CDs, fashion magazines and comic books poured in and it was a whole new world for youngsters at the time.”
Lee recalled that when the government announced the lifting of the ban on Japanese popular culture, there were widespread concerns in Korea that the nation’s culture would be tainted by Japanese influence, that the local cultural market might erode, and that the competitiveness of Korea's entertainment and cultural industries would be weakened.
“But, now, things are different. Korean music, movies and dramas have all achieved remarkable growth, and we all know that Japanese culture can't be a threat.”
Music critic Lim Hee-yoon agreed.
“In the early 2000s, there was still economic and cultural inferiority (in Korea) vis-a-vis Japan. People envied Japan in some ways, but there was a social atmosphere that discouraged openly expressing those feelings,” Lim said.
Kim Hun-sik, a cultural critic, described today's young generation as the “For me” generation of those who prioritize personal preferences over ideologies, ethnicity or nation, saying that the Korean public is no longer burdened by a sense of inferiority, the important thing simply being their taste.
“The Korea we are experiencing now is surpassing Japan in every aspect -- economically, technologically, culturally -- so naturally our feelings have changed as well,” Kim said.
Exposure through social media
Experts also noted that social media has significantly changed the way Koreans view other countries by lowering the entry barrier to unfamiliar cultures.
“Social media has freed cultural elements from national ideology,” said Lim.
"Concepts like historical context or the notion of the nation-state are far less familiar to younger generations than the countless images and videos shared on social media. So naturally, they see the content they enjoy separately from political, historical issues,” Lim added.
Critic Kim also noted the larger range of options that the public now has, saying nations can no longer meddle in the public's choices. "Several decades ago, the media was limited by what broadcasters or distributors chose to import. Now, there are countless channels beyond government control and people can consume whatever they like."
Older generations, too, seem to have learned to appreciate Japanese sensibilities and culture through repeated exposure.
“I was moved when I heard a Japanese singer perform on 'Korea-Japan King's Battle,' and I was surprised by my reaction as well. Thinking back, I realized that I hadn’t had many chances to listen to Japanese singers or songs before, which might be why I never had the opportunity to like them,” said Park, a housewife in her mid-50s.
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