Level of K-pop Influence to the third year BSEd students of Leyte Normal University

Marl Jeric A. Robillos

Student, Leyte Normal University

Hanne Gay S.Gerez

Student, Leyte Normal University

Janine C. Ronda
Student, Leyte Normal University

Abstract

This study looked into the level of K-pop influence to the third year
BSEd students of Leyte Normal University. The researchers used the seven
stages of K-pop fandom as indicators of the study. The underlying framework
of the study is the Media Dependency theory. A survey (questionnaire)
distributed through random sampling to the sample population of 3rd year
BSEd students. This questionnaire designed to get a quantitative overview of
the frequency about the level of K-pop Influence. The study found out that K-
pop has slightly influence in most of the stages of K-pop fandom. This means
that K-pop influence is minimal only.
Key words: Korean Wave, Korean Pop (K-pop) music, Level of Influence, Stages
of K-pop fandom (Yia, 2012), Media Dependency Theory.
I. INTRODUCTION
Nowadays, there are some Filipino people who are fond of listening different genre of
music, singing those songs, dancing to the beat of music, watching movies, or even in the sense
of fashion with regards to the Korean culture. The Korea Tourism Organization (2000) defined
this phenomenal Korean sensation as Hallyu. Yang (2012) stated that:
Hallyu means both the flow and popularity of Korean popular cultural products, especially
media content, in other Asian countries and beyond, as well as exported Korean popular
cultural products themselves.

According to Deen (2012), Hallyu has undoubtedly reached the Philippine shores. Their
dramas, actors and actresses, music videos, cosmetic products and fashion have drawn the
attention of a great number of Filipinos. In her paper entitled “Korean Wave: the Great Splash on
the Philippine popular culture and life,” Flores (2012) stated that the Korean wave has swept the
Philippine shore in many forms including popular culture and life. Also, she stressed that Korean
wave has become an unstoppable force in today’s pop culture. Moreover, Flores (2012)
concluded that the Korean wave was a tsunami and thus expects more Korean wave will come to
shore.

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 A powerful facilitator of the Hallyu in particular is K-pop. Korean pop music or
commonly known as K-pop is a musical genre started in South Korea. Flores (2012) stated that:
K-pop is the commodification of upbeating songs, synchronized dance movement and
youthful carefree- aesthetic performed and projected by the hardworking, good looking
young Korean packed in digital technology.

In addition, Flores (2012) reiterated that K-pop music and dance was the effect of the
second wave of Hallyu in the Philippines. She added that K-pop is well known for its focus on
dance and performance with less focus on lyrics and content. According to Korea net, the official
website of South Korean Government, K-pop plays an important role in Hallyu’s spread. The
website stated that the power of word of mouth and the ripple effect of online media sites like
YouTube have been a major factor for the K-pop to go beyond Asian market.
In the Philippines, the rising popularity of K-pop can described as unique (Hicap, 2009).
Korean music, according to Choy (2012), introduced through teledrama shown on local
Philippine TV. As time goes by, it became more popular on our society.
The Filipino youth are the ones who are mostly influenced by the Korean culture
(Alanzalon, 2011). The Filipino teens undoubtedly put under the spell of their charisma. During
the show of “Kapuso Mo, Jessica Soho,” last April 17, 2010, Jose Wendeli Capili, a Filipino
popular culture expert, stated about the four reasons why Filipinos, especially the youth are
engage with K-pop music. Capili (2010) said:
It does not matter if you’re Korean or Filipino, even if you cannot understand the lyrics, the
first thing that would appeal to you is the melody. Even if the fans cannot understand the
lyrics of the song, the tune is the very first thing that will appeal to the listener. Second is
the K-pop artist. The third reason is the production value and last is the “fantasy factor.”
Most of the Filipino fans belong to the lower income generating class, or they can also be
well off but they want to travel in other country.

During the “Hallyu sa Pinas Forum,” in her paper titled “Hallyu Fans: the Force behind
K-pop’s success in the Philippines,” Yia (2012) described the ‘stages of fandom’to understand
how K-pop fan form admiration and emotional attachment. These are the following stages:
1. The ‘getting to know you’ stage

This is when a potential fan takes notice of a Korean star- whether influenced by peers, or
simply by seeing the star in a music video or telenovela. It is like “love at first sight.” Once
hooked, the spectator slowly transform into a fan.

2. The makeover

The curiosity to learn about Korean culture soon follows. Being a K-pop fan does not end
by just loving and admiring your favourite Korean stars. Some fans change their lifestyles
in order to somehow understand the fantastical world of Korea- by eating Korean food,
applying Korean cosmetics, wearing Korean style of dressing, or (if fandom reaches its
paramount level) learning the Korean language.

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 3. Building the collection

This stage supports the economics of K-pop and sustains the market of Korean cultural
products. This is one of the most costly stages of fandom, as fans buy official merchandise
in different forms such as music albums, clothes, standees (cardboard statues), and other
collectibles featuring the groups they idolize.

4. Finding a support group

A fan needs fellow fans to share his or her fandom with, and finds them through fan blogs
and other social media tools such as Twitter, Tumblr, and Facebook.

5. Pilgrimage to Seoul

Every K-pop fan’s journey is not complete without visiting the Motherland of K-pop:
Seoul, South Korea.

6. First date

Being a K-pop fan is never easy, both physically and financially. But it is all worth it. Every
fan needs to see their Korean idols in the flesh in any way possible, and this is their chance
to do so. This could be events such as concerts, fan signings, or meet and greets. A simple
handshake, autograph, or a photograph means the world for these K-pop fans.

7. Giving back

This is when fans put their passion and experiences to good use. Sharing a K-pop moment
with others can help them feel the same fandom experience. This can be done through
blogs, social media, fan clubs, and fan websites (GMA News, 2012).

In his article entitled “Mass Media Technologies and Popular Music Genres,” Oh and Lee
(2013) explored the possibility of applying a sociological thesis of the music industry and the
importance of mass media technologies in the birth of new popular music genres. Oh and Lee
(2013) agrees that K-pop is also a new music genre that is based on the invention of new
technologies in digital music recording and online free music distribution through YouTube.
A significant number of papers on Korean wave and K-pop have already conducted by
Foreign and Filipino researchers. There are studies attempting to understand the K-pop fandom
among the Filipino youth. However, there have been no studies attempting to find out to what
extent does K-pop influence the Filipino youth. These observations and the findings of several
researchers all over the world on enormous spread of K-pop music prompted the interest of the
researchers to investigate the level of K-pop influence to the 3rd year BSEd students specifically
in Leyte Normal University. Hence, this research tries to investigate the media as it influences
the respondents’ attitude and behaviour on K-pop music.

Research problem:
What is the level of K-pop influence to the 3rd year BSEd students in terms of the
following stages of K-pop fandom:
a. The getting to know your stage;
b. The makeover;

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c. Building the collections;
d. Finding a support group;
e. Pilgrimage to Seoul;
f. First date; and
g. Giving back?

Theoretical Framework
The study was anchored on the Media Dependency Theory. Developed by Ball-Rokeach
and DeFleur, the key idea behind this theory is that audiences depend on media information to
meet needs and reach goals, social institution and media systems interact with audiences to
create needs, interests, and motives in the person. The degree of dependence is influenced by the
number and centrality of information functions and social stability. Dependency theory proposes
an integral relationship among audiences, media, and the larger social system. This theory
predicts that you depend on media information to meet certain needs and achieve certain goals.
But you do not depend on all media equally. Furthermore, Ball-Rokeach and DeFleur suggests
that the cognitive, behavioural, and affective consequences of media use are premised upon
characteristics of both individuals and their social environment.

Review Related Literature

In her study entitled, “K-popped! Understanding the Filipino Teens’ Consumption of
Korean Popular Music and Videos,” Alanzalon (2011) attempted to look into the popularity of
Korean popular (K-pop) music among Filipino teens aged 15-19 years. In her study, she used the
combined assumption of Straubhaar’s Cultural Proximity Theory, Ball Rokeach and De Fleur’s
Media Dependency Theory and Blumler and Katz’s Uses and Gratifications Theory. Alanzalon
(2011) conducted both traditional and online survey quantitative among 270 Filipino teenage K-
pop fans, and focus interview (qualitative) to six Filipino fans of six Korean groups in the
Philippines. She determined the variables of consumption of K-pop consumption of K-pop
context and needs of the fans satisfied by K-pop context. Results of Alanzalon’s study revealed
that Filipino teens highly exposed to Korean popular music, and consumed this media texts from
their everyday by utilizing various media, most especially the Internet. Also, Alanzalon (2011)
stated that Filipino fans are also attracted to the cultural offerings of K-pop content especially the
visual elements including the physical appearance of the artists (face, fashion, hairstyle) and
visual aspect of the music videos (choreography, sets). Moreover, Alanzalon (2011) found
that consuming K-pop content gratified the entertainment need of the fans though it’s appealing
visual elements and high quality content (song, choreography, and talented artists).
The study of Alanzalon (2011) has bearing to the current study because it describes the first stage
‘getting to know you stage’ and second stage the ‘makeover.’
On Atienza (2012), his research focuses on the popularity of East Asian
culture particularly in Japan and Korea. His research intends to find out why Filipino audiences
consume popular media products of Japan and Korea and how they gain from consuming these
products. The research based on the Uses and Gratification theory which “concerned with how
individual gratify their needs through media use. With this perspective, the audiences or users of
the media are goal-directed and active.” Cultural factors were also discussed as the “determinants
of fan’s preference” which explained in Cultural Proximity by Straubhaars. In his research, he
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uses the focus-group discussion as the method which is a qualitative communication research. In
his conclusion, Atienza (2012) stated that:
Filipino audience are actively seeking out these media contents because they are motivated by
their search for information and entertainment. These fans are engaged in Japanese and Korean
pop simply for the sake of relaxation and spending their leisure hours.

Atienza’s research is related to the current study because it describes the third stage of K-
pop fandom ‘building collections.’
A paper conducted by Wonkboonma entitled “Consumer behavior and factor as
influenced by Korean entertainment of Teenager in Mueang District, Chiangmai
Province,” focused on the consumer behavior and the most influence factor that consumer are
favors from the Korean entertainment media cause too much influence to consume and cosmetic
is the most product that consumer likes. Wonkboonma (2009) concluded that the most
influential factor of the Korean entertainment is the interest to Korean singer and celebrities and
the advertisements of products. Wonkboonma’s paper has relevance to the present study because
it discussed the third stage of K-pop Fandom ‘building the collections.’

Through the interest of the students to the K-pop culture, they develop fandom that
causes them to interact with the other people who have the same interest. In her research study
entitled “Popping the K-pop bubble: A study on the world of K-pop Fandom
as a subculture,” Pacis (2012) describes how the culture developed, and how the fans interact
with one another in the fan community. She discussed the Korean pop (K-pop) music fan culture
in the Philippines. In her research, Pacis’ primary aim is to provide an all-encompassing account
of the intricacies and distinct characteristics of the K-pop fan community. She stated that:

In media and cultural scholarship, music is not seen as merely a cultural form or product. Music
also plays a significant role in influencing human behaviour, and even in the creation of a
particular culture. Youth cultures are particularly often associated with musical consumption and
the development of lifestyles based on it.

She added that, “fandom is an inherently collective activity. One doesn’t merely become
a fan by himself, thus the creation of fan clubs and organizations.” With the combination of
qualitative methods and the Grounded theory approach as a guide for his research, Pacis (2012)
come up with the conclusion on the different aspects of the Filipino K-pop fan community,
namely; (1) The different factors that influences the active participation of fans; (2) The nuances
of Filipino K-pop fan culture as a subculture; and (3) How the media affects the development of
this particular subculture. She also added the fact that, “K-pop fans have unequal opportunities to
actively participate in the fandom.” She come up with the three primarily factors which are the
prior interest to similar things, access to and knowledge of technology, and economic
capacity. Moreover, on his application of Jenkins and Fiske’s theories on fan participation, she
was able to confirm the fact that K-pop fandom can indeed be considered as a young subculture.
Pacis (2012) research provides information that will support one of the stages of fandom under
stage four ‘finding a support group.’
A study conducted by Deen (2012) entitled “Formation, Purpose, and Gains:
An exploratory study of Hallyu Fan club in the Philippines,” focused on the formation and
purpose of Hallyu fan clubs. Deen included responses to an online survey from administrators of

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22 Philippine Hallyu fan clubs and used a combination of descriptive statistics and content
analysis. According to Deen (2012), there exists a strong subculture of Hallyu fans in the
Philippines. She added that the formation of Hallyu fan clubs driven by fans themselves. She
found out that the main purpose of Hallyu fan club formations include the need to express
support for the artist/s and socialize with others. She concluded that importance of socialization
with other fans emerged as a strong motivator for joining fan clubs. The study of Deen (2012)
has bearing to the current study because it discussed the stage four ‘finding a support group.

In the study conducted by Lee (2005) entitled “From Fandom to Tourism: An

Examination of Self Expansion Theory,” he attempted to examined the impact of pop stars on
a destination from the perspective of fans. He investigated whether fans at different degree of
fandom had different travel attitudes and behaviours with regard to motivation, satisfaction,
attachment, and loyalty in the destination context by applying self- expansion theory. In
particular, Korean pop star’s fans used as the study example of Korean pop-culture. Lee (2005)
utilized a quantitative method to provide empirical support for the impact of fandom on tourism.
Results of Lee’s study revealed a new character of fans, a high level of self- expansion.
According to Lee (2005), fans self- expansion was significant in influencing their fandom and
travel motivation. As a result, a high degree of fandom had a significant effect on travel
satisfaction and destination loyalty. Lee’s study is among the first studies to investigate
the impact of fandom on tourism, providing new insights in understanding the niche segment
from the pop- culture fans’ perspective. Lee’s examination of self-expansion theory on fandom
and tourism has helped to bridge the link between a fan and a destination, extending the literature
on destination studies, and suggesting meaningful implications for destination marketers.
Lee’s study has bearing to the current study because it described the fifth stage of K-pop fandom
‘Pilgrimage to Seoul.’
A study conducted by Capili (2014) entitled, “Painting the Scenario of Filipino K-
pop Fan Culture,” he examined the aspects of K-pop fan culture in the Philippines. Capili (2014)
gathered data from fieldwork and participant observation in various fan events, as well as, online
and actual informal discussions with Filipino K-pop fans. According to Capili (2014):
The ultimate event for a fan, this is when s/he gets to see his/her idol/s perform live on stage….
the fan consummate his/her passion amidst a spectacle of lights and sounds… during the concerts,
the fans organize a fan project, a cheer banner/ a fan chant or special gifts which they take
backstage, or throw on stage hoping their idols would pick them up or keep them.

He concluded that the Philippine K-pop fandom scene has truly become a rich aspect of
our youth culture. This study is related to the previous study because it discusses the sixth stage
‘first date.’

II. METHODOLOGY

In understanding the level of K-pop Influence among the respondents, the researchers
utilized quantitative descriptive survey method. Survey questionnaire employed in order to
gather a quantitative data of the level of K-pop Influence based on the stages of K-pop fandom.

The researchers conducted this study within the premises of Leyte Normal University,
Tacloban City. The researchers decided to select the third year Bachelor in Secondary Education

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(BSEd) students since some have already took up the Korean class at Leyte Normal University
last August-October 2014. Also, the researchers observed that there were third year BSEd
students who were fond of listening K-pop music, watching movies and searching K-pop artists
and groups in the social media.

The survey sampling was random in order to specifically target the population of
third year BSEd students.

The following concepts used as the indicators in the study:

1. Getting to know your stage;

2. The makeover;
3. Building the collection;
4. Finding a support group;
5. The pilgrimage to Seoul;
6. First date; and
7. Giving back.

A survey questionnaire was design to measure the level of K-pop Influence based on the
stages of K-pop fandom among the respondents. A cover letter was attached to briefly explain
the purpose of the study, the mechanisms to maintain confidentiality and an assurance that the
study used for purely academic purposes only. The researchers constructed twenty-one (21) item
survey questionnaires. In a Likert Scale of 5 to 1 (5=totally influenced, 4=very influenced,
3=fairly influenced, 2=slightly influenced, and 1= no influenced). The respondents have rated
each items of the questionnaire in accordance whether the item describe their attitude and
behaviour or not.

Each item is group according to each indicator. Item 1, 2, 3, 4, 5, and 6 measure the first
stage (getting to know your stage). Also statement 7, 8, 9, and 10 discuss the second stage (the
makeover). Moreover, item 11 and 12 indicate the third stage (building the collection). In
addition item 13, 14, 15, and 16 discuss the fourth stage (finding a support group). Furthermore,
statement 17 and 18 discuss the fifth stage (pilgrimage to Seoul). Also, item 19 and 20 indicate
the sixth stage (first date). Finally, the seventh stage (Giving back) is in item 21.

Before the actual data gathering, a dry-run made to validate the research instrument. A
small sample of three third year Bachelor in Elementary Education (BEEd) students in the same
institution were the respondents of the dry-run. The study found to be understandable and
acceptable with Waray-Waray version in every item 21.

The data gathering procedure covered a period of one week, beginning on the 5th
of March 2015 to the 11th day of March 2015. As soon as the instrument was validated, the
researchers were personally started to gather data. The survey-questionnaire administered for the
selected 3rd year BSEd students of Leyte Normal University of Tacloban City.

In this study, 5% margin of error was used in the computation of the sample. In
determining the sample size, the Sloven’s formula can also be adapted. Thus,

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 N= N/1+Ne2

Where: N=population size

n= desired sample size

e2= margin of error

On the last day of the data gathering, a total of 152 questionnaires were gathered. The
data which were collected from the various respondents were classified, tabulated and subjected
to statistical analysis in order to formulate objective interpretation in terms of research findings,
conclusions and recommendations. Specified instruments were used to gather data and
appropriate statistical tools were employed. This was a fact-finding study with an adequate and
accurate interpretation of the data. It describes the level of K-pop influence among third year
BSEd students in Leyte Normal University, Tacloban City during the second semester of S.Y.
2014-2015. Thus,

Relative Frequency (%) = n/N x 100

Where:

%=Relative Frequency of Percentage

n=number of responses/question

N=total number of respondents

The researchers also utilized the weighted mean formula in giving interpretation to
the gathered data.

Weighted mean= ∑ 𝐹𝑥 /𝑁

Where:

∑=the summation or total

f = the frequency or the number of responses on each question

x = each indicators of scale

N = the total number of respondents

The following are the ranges to interpret the data gathered in using the qualitative
descriptions adopted in this study.

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 Range: Qualitative Description
4.50-5.00 Totally Influenced
3.50-4.49 Very Influenced
2.50-3.49 Fairly Influenced
1.50-2.49 Slightly Influenced
1.00-1.49 No Influence
The methods and statistical tools used in the study having its own limitation that the
researchers must considered. One limitation of the study is the time constraint. The researchers
failed to include suggestions from the teachers on how to discuss to what extent does K-pop
influence the students.

Also, one limitation of the study is the financial constraint. Moreover, with regards to the
survey method of collecting data, it considered as impersonal, thus means that it may be
difficult to understand answers and thus to act on them. Also, there is a chance that it may
misinterpret rendering the answer useless. In the actual data gathering, some respondents did not
answer the questionnaire seriously. Also, some respondents are not always willing to fill
questionnaires in so they may just throw them.

III. RESULTS AND DISCUSSION

The data gathered using the researcher-modified survey questionnaire herein presented,
analysed, and interpreted.

Table 1 up to 21 illustrate the attitude and behaviour of the respondents with regards to
the Level of K-pop Influence based in the stages of K-pop fandom.

Table 1: The Level of K-pop music influence through Friends Encouragement

Item My friends encouraged me on K-pop music.

5 4 3 2 1
1 F % F % F % F % F %
9 5.92 21 13.817 41 26.97 47 30.92 34 22.37

Table 1 shows the level of K-pop music through friends’ encouragement. It found out
that the highest frequency which is forty- seven (30.92%) of the total respondents, were slightly
influenced by K-pop through their friends. It was slightly influenced in the sense that their
friends were not exposed to K-pop. Some of them don’t depend to their friends but rather on
their own way of seeking satisfaction about K-pop.

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 Table 2: The Level of K-pop music influence through social media and TV drama

Item Social media and TV drama encouraged me on K-pop music.

5 4 3 2 1
2 F % F % F % F % F %
20 13.16 36 23.68 47 30.92 30 19.74 19 12.5

Table 2 shows the level of K-pop music influence through social media and TV drama. It
found out that the highest frequency is forty- seven (30.92%) of the total respondents were fairly
influenced by K-pop through the social media and TV drama. It revealed that the respondents
depend on social media and TV drama because it’s cheap and easy to access that’s why K-pop
has fairly influenced to them. Through the use of media information, the audience (respondents)
meet their certain needs and achieve their goals (K-pop music). This explains the theory used
which is the Media Dependency Theory.

Table 3: K-pop music as a unique and creative concept

Item I admired the unique and creative concepts of K-pop music.

5 4 3 2 1
3 F % F % F % F % F %
23 15.13 32 21.05 29 19.07 39 25.65 29 19

Table 3 shows the influence of K-pop music through its unique and creative concepts. It
found out that the highest frequency which is thirty- nine (25.65%) of the total respondents view
K-pop to be unattractive hence, they are slightly influenced by it.

Table 4: The melody of K-pop music that makes the respondents to sing along with it

Item The melody of K-pop music makes me want to sing along with it.
5 4 3 2 1
4 F % F % F % F % F %
20 13.16 33 21.7 40 26.32 35 23 24 15.79

Table 4 shows the level of K-pop music that makes the respondents’ sing along with it. It
found out that the highest frequency was forty (26.32%) which means K-pop music has fairly
influenced the total respondents. The K-pop music has fairly influenced in the sense that there’s
a part of the song where they can easily join however some parts serves as a barrier because of
its language.

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 Table 5: The beat of K-pop music that makes the respondents to respondents to dance

Item The beat of K-pop music makes me want to dance.

5 4 3 2 1
5 F % F % F % F % F %
22 14.47 41 26.98 38 25 31 20.4 20 13.16

Table 5 shows the level of K-pop music that makes the respondents’ dance. It found out
that the highest frequency which is forty- one (26.98%) of the total respondents were very
influenced by K-pop music. It revealed that K-pop music makes them dance because of its beat
and attractive melody.

Table 6: The starstruck of the respondents to the K-pop artists

Item I am starstruck with K-pop music artists.

5 4 3 2 1
6 F % F % F % F % F %
23 15.13 25 16.45 35 23 28 18.42 41 26.97

Table 6 illustrates the influence of K-pop music artists that makes the respondents’
starstruck to them. It found out that the highest frequency which is forty- one (26.97%) of the
total respondents view K-pop music artists as unattractive that’s why they were not influenced by
it.

Table 7: The K-pop influence on the respondents’ fashion style

Item K-pop music influenced my fashion.

5 4 3 2 1
7 F % F % F % F % F %
25 16.44 5 3.29 9 5.92 36 23.68 77 50.66

Table 7 illustrates the influence of K-pop music to the respondents’ fashion style. It
found out that highest frequency was seventy- seven (50.66%) of the total respondents which
means K-pop has no influence to their fashion style. It revealed from the total respondents that
they view K-pop fashion as “over- acting” kind of style and not the type of fashion to be used
daily in school.

Table 8: to what extent K-pop music influenced the respondents’ hairstyle

Item K-pop music influenced my hairstyle.

5 4 3 2 1
8 F % F % F % F % F %
3 1.98 2 1.31 23 15.1 30 19.7 94 61.8

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 Table 8 illustrates the influence of K-pop music to the respondents’ hairstyle. It found out
that the highest frequency was ninety- four (61.8%) of the total respondents which means K-pop
music has no influence to their hairstyle. It revealed that K-pop music’s kind of hairstyle
opposed the policy of the school.

Table 9: to what extent does K-pop influenced the way respondents apply make-up

Item K-pop influenced the way I apply make-up.

5 4 3 2 1
9 F % F % F % F % F %
1 0.66 5 3.3 12 7.9 34 22.4 100 65.8

Table 9 illustrate the influence of K-pop to the respondents’ way of applying make- up. It
found out that the highest frequency was one hundred (65.8%) of the total respondents were not
influenced by K-pop for a reason that majority of them are not actually wearing make- up at
school.

Table 10: To what extent does K-pop influence the respondents’ personal identity

Item K-pop influenced my personal identity.

5 4 3 2 1
10 F % F % F % F % F %
2 1.32 4 2.63 17 11.2 38 25 91 59.9

Table 10 illustrate the influence of K-pop to the respondents’ personal identity. It found
out that the highest frequency was ninety- one (59.9%) of the total respondents were not
influenced by K-pop. From the previous results, it found out that there was no influenced of K-
pop music to the respondents’ taste of fashion and hairstyle. So therefore, there’s also no change
in the personal identity of respondents.

Table 11: To what extent does K-pop urged the respondents’ to buy music album

Item K-pop urged me to buy their music album.

5 4 3 2 1
11 F % F % F % F % F %
1 0.7 3 1.10 15 9.9 32 21.1 101 66.4

Table 11 shows to what extent does K-pop urged the respondents to buy their music
album. It found out that the highest frequency which is one hundred one (66.4%) of the total
respondents were not influenced by K-pop to buy their music album. Instead, with the help of
internet through downloads or via Bluetooth in mobile phones, respondents easily access music
videos they desired of.

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 Table 12: To what extent K-pop urged the respondents’ to buy products’ endorsed by K-pop
stars

Item K-pop urged me to buy the products that are endorsed by K-pop stars.
5 4 3 2 1
12 F % F % F % F % F %
0 0 5 3.3 10 6.6 35 23 102 67.1

Table 12 shows to what extent K-pop urged the respondents to buy the products endorsed
by K-pop stars. It found out that the highest frequency was one hundred two (67.1%) of the total
respondents were not influenced since the respondents view K-pop artists as unattractive.

Table 13: To what extent K-pop urged the respondents’ to join K-pop fan group in social media

Item K-pop urged me to join K-pop fan group in social media (e.g. facebook, twitter, etc.)
5 4 3 2 1
13 F % F % F % F % F %
3 1.97 8 5.3 17 11.2 26 17.1 98 64.5

Table 13 shows to what extent does K-pop urged the respondents to join K-pop fan group
in social media. It found out that the highest frequency which is ninety- eight (64.5%) of the total
respondents were not influenced to join K-pop fan group in social media. It found out that they
see social media as free and easy accessibility in watching or listening to K-pop but not to the
extent of joining any social group.

Table 14: To what extent K-pop music makes the respondents’ interested to be a member of K-
pop fan group in social media

Item My interest in K-pop music makes me a member of K-pop fan group in social media.
5 4 3 2 1
14 F % F % F % F % F %
2 1.3 7 4.6 17 11.2 25 16.4 101 66.4

Table 14 shows to what extent K-pop music makes the respondents’ interested to be a
member of K-pop fan group in social media. It found out that the highest frequency was one
hundred one (66.4%) of the total respondents were not influenced to be a member of K-pop fan
group because they were not interested in joining it.

Table 15: To what extent K-pop music urged the respondents’ interest to be with other K-pop
fanatics

Item My interest in K-pop urged me to be with other K-pop fanatics.

5 4 3 2 1
15 F % F % F % F % F %
4 2.6 8 5.3 10 6.6 34 22.4 96 63.2

13
 Table 15 shows to what extent K-pop music urged the respondents’ interest to be with
other K-pop fanatics. It found out that the highest frequency was ninety- six (63.2%) of the total
respondents were not influenced by K-pop to be with other K-pop fanatics since they were not
interested to join K-pop fan groups.

Table 16: The extent of being a member of K-pop fan group that enriches the respondents’
knowledge about the culture of South Korea

Item Being a member of a K-pop fan group enriches my knowledge about the culture of Korea.
5 4 3 2 1
16 F % F % F % F % F %
5 3.29 12 7.89 18 11.84 37 24.34 80 52.63

Table 16 shows to what extent of being a member of K-pop fan group enriches the
respondents’ knowledge about the culture of South Korea. It found out that the highest frequency
was eighty (52.63%) of the total respondents were not influenced by K-pop since they were not a
member of any K-pop fan group in social media.

Table 17: To what level does K-pop influence the respondents’ intension to go to South Korea

Item I wish to go to Korea because of my interest to K-pop groups/ different K-pop group.
5 4 3 2 1
17 F % F % F % F % F %
21 13.82 21 13.82 25 16.45 38 25 47 30.92

Table 17 shows to what level does K-pop influenced the respondents’ intension to go to
South Korea. It found out that the highest frequency was forty- seven (30.92%) of the total
respondents were not influenced by K-pop in their intension to go to South Korea since they
were not influenced by any K-pop fan group.

Table 18: To what extent K-pop influence the respondents’ visitation to South Korea

Item I have been to Korea because of my interest to K-pop groups/ different K-pop groups.
5 4 3 2 1
18 F % F % F % F % F %
1 0.66 2 1.32 3 1.97 9 5.92 137 90.13

Table 18 shows to what extent K-pop influenced the respondents’ visitation to South
Korea.it found out that the highest frequency was one hundred thirty- seven (90.13%) of the total
respondents were not influenced by K-pop since none of them have been to South Korea and also
due to lack of financial support.

14
 Table 19: The level of K-pop group influence the respondents’ to watch their concerts

Item My interest to K-pop groups encouraged me to watch their concerts.

5 4 3 2 1
19 F % F % F % F % F %
3 1.97 14 9.2 14 9.2 28 18.4 92 60.5

Table 19 shows the level of the respondents’ interest to K-pop groups to watch their
concerts. It found out that the highest frequency was ninety- two (60.5%) of the total respondents
were not influenced by K-pop groups to watch their concerts. They prefer to watch concert
videos through internet than to watch them live where they spend a big money for a ticket.

Table 20: The level of K-pop influence the respondents to meet their bias in person

Item My life as an avid K-pop fan will be fulfilled the moment I personally meet my biases.
5 4 3 2 1
20 F % F % F % F % F %
5 3.3 4 2.6 12 7.9 23 15.1 108 71.1

Table 20 shows to what level of K-pop influence to the respondents to meet their bias in
person. It found out that the highest frequency was one hundred eight (71.1%) of the total
respondents were not influenced by K-pop to meet their bias in person since they view K-pop to
be unattractive.

Table 21: The level of K-pop influence to the respondents to share their personal experience
about South Korea to the other people

Item I can share my “personal experience” about Korea to other people.

5 4 3 2 1
21 F % F % F % F % F %
3 1.97 5 3.3 16 10.5 24 15.8 104 68.4

Table 21 shows the level of K-pop influence to the respondents to share their personal
experience about South Korea to other people. It found out that the highest frequency was one
hundred four (68.4%) of the total respondents were not influenced by K-pop in sharing their
personal experience about South Korea to other people.

Table 22: Stages of K-pop Fandom

Stages of K-pop Fandom Mean Interpretation

1. Getting to know your stage 2.87 Fairly Influenced
2. The make-over 1.71 Slightly Influenced
3. Building the collection 1.48 No Influence
4. Finding a support group 1.61 Slightly Influenced
5. The pilgrimage to Seoul 1.86 Slightly Influenced
6. First date 1.62 Slightly Influenced

15
7. Giving back 1.55 Slightly Influenced
Total 1.81 Slightly Influenced

Conclusions

From the above mentioned statements, it concluded that media operates in the public
interest by reflecting the interest of the audience. The media produced information and
entertainment which is the K-pop music. This information expands their knowledge on Korean
culture. As time goes by, this information satisfies and influenced their behavior and attitude.

The researchers concluded that BSEd students of Leyte Normal University slightly
influenced by K-pop through its audio performance than its visual concept. The theory used
which is Media Dependency Theory serves as the proof that through media availability, the
BSEd students has been influenced by K-pop. It was slightly in the sense that the effect of K-pop
is only minimal. Moreover, the researchers found out that the economic aspect greatly affects
their fandom on K-pop.

The theory focused on the role played by media institutions in the creation and
distribution of K-pop music. The current study found out that level of K-pop music is at level
two which means slightly influenced. This means that .the capacity of K-pop music has a
minimal amount of effect from the respondents’ fandom on K-pop. In addition, the researchers
concluded that the degree of influence depends on the availability and pervasiveness of media.
Lastly, the researchers concluded that despite the flow of Korean Wave in the Philippines, it
proves that K-pop has not yet totally penetrating the Leyte Normal University students.

Recommendation

The researchers recommend to strengthening the K-pop influence by exposing the third
year BSEd through the use of media. With media exposure, there is a greater impact of the media
which can help to increase the level of K-pop influence.

The researchers recommend to the other researchers to investigate the influence of K-pop
through the phenomenological approach. With this, they can be able to understand the reasons
why K-pop influences the students. Also, the researchers suggest to investigate the implication of
K-pop influence to the personal identity of the youth.

IV. REFERENCES

A. ARTICLE

Capili, P. M. Painting the Scenario of Filipino K-pop Fan Culture. Retrieve January 15,
2015 from http://www.ateneo.edu/ sites/default/files/attached-files/Hallyu%20Proceedings_Draft
1b_2014-Sept-25.pdf

16
 Choy, K. A. (September 12, 2012) Kpop in the Philippine Industry: the Influence of
Kpop to the Filipinos‟ Musical Taste. Retrieve January 31, 2015 from http://phil.korean-
culture.org/download.do?boardType=bb&siteCode=phil&langCode=phil&menuCode=20110427
0122& seq=46344&fileSeq=201212190109&tempFileName=1355882290092.pdf
Deen, C. (June 19, 2014 p. 25) Formation, Purpose and Gains: An Exploratory Study of
Hallyu Fanclubs in the Philippines. Retrieve February 24, 2015 from http://www.ateneo.edu/
sites/default/files/attached-files/Hallyu%20Proceedings_Draft1b_2014-Sept-25.pdf
Flores, M. C. (September 12, 2012). Korean Wave: The Great Splash on Philippine
Popular Culture & Life”. Retrieve December 18, 2014 from http://phil.korean-culture
.org/download.do?boardType=bb&siteCode=phil&langCode=phil&menuCode=201104270122&
seq=46344&fileSeq=201212190109&tempFileName=1355882290092.pdf
Hicap, J. (September 6, 2009). Filipinos get hooked on K-pop craze. The Korea Times.
Retrieved December 15, 2014 from http://www.koreatimes.co.kr/www/news/nation/
2009/10/117_51347.html.
Wonkboonma, C. (2009). Consumer behavior and factor as influenced by Korean
entertainment of Teenager in Mueang District, Chiangmai Province .Retrieve December 20,
2014 from http://library.cmu.ac.th/faculty/econ/Exer751409/2552/Exer2552_no2
B. JOURNAL
Oh, I and Lee, H. Mass Media Technologies and Popular Music Genres: K-pop and
YouTube* .Korea Journal, vol. 53, no. 4 (winter 2013): 34-58. .Retrieve January 2015 from
http://www.iwahs.org/research/data/3%29%20Mass%20Media%20Technologies%20and%20Po
pular%20Music%20Genres%20Kpop%20and%20YouTube,%20Ingyu%20OH%20and.pdf
C. THESIS

Alanzalon, S.M. (2011). Kpopped! Understanding the Filipino Teens’ Consumption of

Korean Popular Music and Videos, Unpublished Undergraduate Thesis, University of the
Philippines College of Mass Communication. Retrieve February 24, 2015 fromhttp://iskwiki.
upd.edu.ph/images/d/d5/Alanzalon,_Sarah_Kristine_Masiglat_0411_Kpopped!.pdf

Atienza, V. S. (2012). The East Asian Pop Fandom: An Analysis of the Motivations and
Gains of the Filipino Audience in Consuming Japanese and Korean Popular Culture,
Unpublished Undergraduate Thesis, University of the Philippines College of Mass
Communication. Retrieved January 31, 2015 from http://iskwiki.upd.edu.ph/index.
/The_East_Asian_Pop_Fandom:_An_Analysis_of_the_Motivations_and_Gains_of_the_Filipino
_Audience_in_Consuming_Japanese_and_Korean_Popular_Culture.
Lee, S. J. (2012). From fandom to tourism: An examination of self-expansion theory.
Retrieve January 15, 2015 from http://digitalscholarship.unlv.edu/cgi/viewcontent.cgi?article=
2590&context=thesesdissertations
Martinez, C. M. (2011). Fandom in Cyberspace: A Case Study on the Culture and Online
Behavior of SJ United Philippines, Unpublished Undergraduate Thesis, University of the

17
Philippines College of Mass Communication. Retrieve February 24, 2015 from
http://iskwiki.upd.edu.ph/index.php/Fandom_In_Cyberspace:_A_Case_Study_on_the_Culture_a
nd_Online_Behavior_of_SJ_United_Philippines.
Pacis, J.C. (2012). Popping the K-pop Bubble: A Study on the World of K-pop Fandom
as a Subculture, Unpublished Undergraduate Thesis, University of the Philippines College of
Mass Communication. Retrieve February 24, 2914 from http://iskwiki.upd.edu.ph
index.php/Popping_the_Kpop_Bubble:_A_Study_on_the_World_of_Kpop_Fandom_As_a_Subc
ulture.
Yang, J. (June 2012). The Korean Wave (Hallyu) in East Asia: A Comparison of
Chinese, Japanese, and Taiwanese Audiences Who Watch Korean TV Dramas. Retrieved
December 18, 2014 from http://isdpr.org/isdpr/publication/journal/41_1/05.pdf.
Yia, G. (September 12, 2012) Hallyu Fans: The Force Behind K-Pop’s Success in the
Philippine. Retrieve December 18 from http://phil.korean-culture.org/download.do?
boardType=bb&siteCode=phil&langCode=phil&menuCode=201104270122&seq=46344&fileSe
q=201212190109&tempFileName=1355882290092.pdf.
D. INTERNET SOURCES

Korea Tourism Organization (2000). Korean Wave. Retrieve November 23, 2014 from
http://www.korea.net/Government/Current-Affairs/Korean-Wave?affairId=209

Korean Culture and Information Service (n.d.) Hallyu (Korean Wave). Retrieve January
15, 2015 from http://www.korea.net/AboutKorea/Culture-and-the-Arts/Hallyu

Macapendeg, M. (2012). The KPop spectacle: Good looks, catchy music, and a devoted
fandom. Retrieve December 15, 2014from:http://www.gmanetwork.com/news/story/274270/
lifestyle/artandculture /the-kpop- spectacle-good-looks-catchy-music-and-a-devoted-fandom

Korea Tourism Organization (2000). Korean Wave. Retrieve November 23, 2014 from
http://www.korea.net/Government/Current-Affairs/Korean-Wave?affairId=209

Korean Culture and Information Service (n.d.) Hallyu (Korean Wave). Retrieve January
15, 2015 from http://www.korea.net/AboutKorea/Culture-and-the-Arts/Hallyu

Vagias, Wade M. (2006). Likert-type scale response anchors. Clemson International

Institute for Tourism& Research Development, Department of Parks, Recreation and Tourism
Management. Clemson University. Retrieve February 11, 2015 fromhttps://www.clemson.edu/
centers- institutes/tourism/documents/sample-scales.pdf

__________ (2015). Slovin’s Formula: What is it and When do I use it? Retrieve
February 14, 2015 from http://www.statisticshowto.com/how-to-use-slovins-formula/

18
 Leyte Normal University
Tacloban City

(Instrument tool)
Survey Questionnaire

Level of K-pop Influence to the third year BSEd students of Leyte Normal University

Dear Respondents,

Greetings!

We are the third year BSEd Social studies majors from Leyte Normal University
working on our research entitled “Level of K-pop Influence to the third year BSEd students of
Leyte Normal University.”

In view of this, we have chosen you as one of our respondents. We humbly ask for your
answer to the questions below. We assure you that this survey will be treated with utmost
confidentiality.
Thank you and more power.

Truly yours,

Hanne Gay S.Gerez

Marl Jeric A. Robillos

Janine C. Ronda
Noted:

Prof. Ryan G. Destura

Research Adviser

Prof. Voltaire Oyzon

Research Professor

19
 Level of K-pop Influence to the 3rd year BSEd students of Leyte Normal University
(An Lebel han Impluwensiya an K-pop ngadto han mga estudyante hit Leyte Normal
University)

Name (Ngaran):_________________________ (optional)

Age (Edad):________
Sex (Tawhanan):
[ ] Male/ Lalaki
[ ] Female/ Babayi

Instruction: Below is a list of mind sets expected from the 3rd year BSEd students. Using the
following scale, please rate yourself as principal by marking check ( ) on the corresponding
box for the Level of K-pop Influence with which you think appropriately belong. For positive
statements, “Totally Influence” should be the highest level, while “No Influence” should be at
the lowest level. Please answer all items.

(Ha ubos mayda listahan hin mga ginlalauman ha usa nga istudyante hin BSEd ha ika-3 nga lebel
ha kolehiyo. Gamit hit mga masunod na eskala, usisaa ngan timbanga hit imo kalugaringon paagi
hin pagbutang hin tsek ( ) han tama nga kahon nga ikamumutangan ini. Para ha positibo nga
pahayag, it “Totally Influenced” hit dapat maging pinakahitaas na lebel. Para ha mga negatibo
nga pahayag, it dapat nga baton it pabaliktaran. Alayon batuna tanan na aytem.)

5- Totally Influenced
4- Very influenced
3- Fairly Influenced
2- Slightly Influenced
1- No Influence

Level of K-pop Influence

Totally Very Fairly Slightly No

Influenced Influenced Influenced Influenced Influence

1. My friends encouraged me on K-pop

music.
(Tungod tak mga sangkay, naaghat ako
han k-pop.)
2. Social media and TV drama
encouraged me on K-pop music.
(Tungod han social media ngan TV
drama, naaghat ako han k-pop.)
3. I admired the unique and creative
concepts of K-pop music.
(Tungod han pagiging “unique” han k-

20
pop, na “love at first sight” ako.)

4. The melody of K-pop music makes

me want to sing along with it.
(Ha takna na namamati ako han K-pop,
napapakanta ako.)
5. The beat of K-pop music makes me
want to dance.
(Ha takna na namamati ako han K-pop,
napapasayaw ako.)
6. I am star struck with K-pop music
artists. (Ha takna na namamati ako han
K-pop, napapahanga ako han mga
Korean star.)
7. K-pop music influenced my fashion.
(Naimpluwensyahan han tukar na K-
pop tak pamado.)
8. K-pop music influenced my
hairstyle. (Naimpuwensyahan han K-
pop tak “hairstyle”.)
9. K-pop influenced the way I apply
make-up.
(Naimpluwensyahan han K-pop tak
pamaagi han pag-make up.)
10. K-pop music influenced my
personal identity.
(Naimpluwensyahan han K-pop tak
“personal identity”.)
11. K-pop urged me to buy their music
album.
(Naaaghat ako hit K-pop na pumalit
han ira “Music album”.)
12. K-pop urged me to buy the
products that are endorsed by K-pop
stars.
(Naaaghat ako hit K-pop stars na
pumalit hit ira gin iendorso.)
13. K-pop urged me to join K-pop
group in social media (e.g. facebook,

21
twitter, etc.)
(Naaaghat ako umapi hit K-pop fan
group ha social media (e.g. facebook,
twitter, etc.)
14. My interest in K-pop music makes
me a member of K-pop fan group in
social media.
(Tungod han akon interes ha K-pop,
naging usa ako nga miyembro han K-
pop fan group.)
15. My interest in K-pop urged me to
be with other K-pop fanatics.
(Tungod tak interes han K-pop,
naenganyo ako makig-urusa ha mga
igkasi K-pop fanatic.)
16. Being a member of a K-pop fan
group enriches my knowledge about
the culture of Korea.
(Tikang an akon pagiging usa nga
miyembro han K-pop fan group, mas
nadukwag tak kinaadman han kultura
han Korea.)
17. I wish to go to Korea because of
my interest to K-pop groups/ different
K-pop group.
(Tungod tak interes ha mga K-pop
group, naaghat ako kumadto ha South
Korea.)
18. I have been to Korea because of my
interest to K-pop group/ different K-
pop groups.
(Tungod tak interes han mga K-pop
group, nakakadto ako ha South Korea.)
19. My interest to K-pop groups
encouraged me to watch their concerts.
(Tungod tak interes han mga K-pop
group, naaghat ako na tumambong hit
Korean concert.)
20. My life as an avid K-pop fan will
be fulfilled the moment I personally

22
meet my biases.
(Han nakita ko ha personal an mga K-
pop group, naging kompleto tak
pagiging K-pop fanatic.)
21. I can share my “personal
experience” about Korea to other
people.
(Tungod tak “personal experience”,
naipapasamwak ko an akon Korean
fandom ha iba na tawo.)

23