Dominasi Korean Hallyu Dalam Konteks Strukturasi Di Industri Budaya

The popularity of Korean dramas and songs triggers the dominance of Korean Hallyu internationally in various parts of the world. One of the factors which triggers this dominance is the Kpop Bangtan Sonyeodan boy band (BTS). BTS does not only create songs that are massive and standard but also has a meaning that makes them won a number of international awards. The objective of this paper is to analyze the dominance of Korean hallyu especially Korean boy band BTS as a pioneer of the Asian music industry internationally using structuration theory in the context of the cultural industry by using the literature review method, this is to describe a number of findings related to the cultural industry and structuration. As a result, BTS as an agent become an active participant who can reproduce the social system by referring to social actions that ultimately produce a social structure, BTS as an active agent can become a creative labour in the cultural industry by creating works that are not only profit-oriented but combines with the creativity which able to deliver messages through its music, as pioneer of Korean artists internationally.

UK–Asia music business collaborations: Liverpool Sound City, Modern Sky and Zandari Festa

This article explores the dynamics of transnational business collaboration between UK and Asian music companies, focusing on Liverpool Sound City in the United Kingdom, Modern Sky in China and Zandari Festa in South Korea. The specificities of their music business, the nature and motivation for partnership, the respective industry infrastructure and state cultural policies give shape to the outcome of their collaborations, which in turn influence their music products, events, artists and audiences. The complexity of their business transactions and interactions also tell us how the live music sector and its ecologies continue to evolve and reposition themselves in the fast-changing environments of the global music industry. In reflection of an increased transnationalisation and diversification of the global music industries, it is argued that more attention should be given to the transnational and translocal ecologies of live music studies.