Sacdalan, Dann Paulo E.

MMA201
Bachelor in Multimedia Arts
Jumel G. Estrañero
Globalizing Inspirations:
K-Pop and its Influence
to Philippine Popular Music
I. Introduction
The Filipino Contemporary Music
In the early mid-1990s, the Filipinos saw the emergence of the pop-rock
group, Eraserheads, which became a turning-point in the OPM music scene. In the midst of their
popularity was the emergence of more influential bands such as Yano, Siakol, Parokya ni Edgar,
Grin Department, Rivermaya, Moonstar 88 and Hungry Young Poets, who incorporated the
influence of a variety of pop and rock subgenres into their very own styles. Then, from the early
2000s onwards, their came the pioneers of the contemporary R&B music, like Kyla, Nina and Jay
R, together with Gloc-9 and Abra of the hip-hop genre. Novelty songs also began to rise to
nationwide fame through Filipino sing and dance groups – SexBomb Girls and Viva Hot Babes.
The genre of Pinoy popular music (P-pop) has changed dramatically since 2010, when the
regular rock bands and novelty songs from the 1990s and 2000s began to disappear from the
mainstream, producing the current pop genre without any rock and hip-hop influence. There came
Toni Gonzaga, Moira Dela Torre, and Yeng Constantino who are notable pop stars of the 2010s,
there is also Sarah Geronimo, who is dubbed as “Asia’s Popstar Royalty”, whose songs "Tala" and
"Kilometro" were chosen as best songs of the decade by CNN Philippines (Urrutia, 2019).
Hallyu and the Philippines
Hallyu or the Korean wave, refers to a rise in Korean culture's foreign exposure. It started
in East Asia in the 1990s and spread to the United States, Latin America, the Middle East, and,
more recently, parts of Europe. Aside from economic nationalism, the Korean wave depicts an
unparalleled system of Korean popular culture by the Korean media. As a result, the Korean wave
is expressed as a regional cultural pattern that signifies Korean culture's success (Lee, 2011). The
Korean government has significantly changed its cultural policy due to the growing role of the
Korean Wave in the national economy and culture, in particular to capitalize on the Korean Wave
as a means of soft power to enhance their national image (Jin & Yoon, 2017).

Figure 1. Non-Korean fans in a K-pop award show (Photo by Hoy Hoang)

 Studies show that only one of the many patrons of the Korean wave was the Philippines
(Alanzalon, 2011). Since 2003, Korean media became a staple in the Philippines in the form of
Korean dramas. Filipinos were only attracted to Korean dramas (K-drama) in the Philippines,
however, in June 2009, Korean music videos made their debut on the MYX Music Channel. Since
then, Korean popular music (K-pop) has become a staple in the channel’s program as a media
content and has created a fandom, especially among Filipino teenage fans. Korean songs joined
and remained for weeks on the MYX music charts. Since then, Filipino K-pop fans only continued
to grow in numbers and more K-pop related events has been held in the Philippines. Korean
cosmetics and foods are also some of the very well accepted products of the Hallyu by the Filipino
masses.

Figure 2. The Korean wave seen through various 2009-2010 Filipino

adaptations of K-drama hits (Left to right: Endless Love,
Full House, Stairway to Heaven, Lovers in Paris)

II. Body
The Beginning of K-pop
The rise of K-pop can be attributed to South Korea’s democratic government reformation
in 1987, especially the modernization and lightening of censorship changed. Prior to this, the
country has two broadcasting stations which controls what music the people can listen to. Before
the liberalization in the late ‘80s, music produced was mainly slow ballads and trot – a traditional
music. Independent music production barely exists, and rock music was even controversial and
subject to banning. But after 1987, South Korea became more exposed to foreign media, like
contemporary American music.
With television being the primary source of media, weekend talent shows had garnered the
highest viewership among South Korean households. And through these shows music groups were
introduced to the Korean audience. K-pop had a definitive start through the band Seo Taiji and
Boys. They performed one electric hip-hop single “Nan Arayo (I Know)” on a talent show in which
they did not win and got the lowest score that night. However, the song skyrocketed on to the top
South Korea’s singles chart for 17 weeks (Romano, 2018).
 Figure 3. Screenshot of Seo Taiji and Boys' music video for their single
"Nan Arayo (I Know)" (Source: Official SEOTAIJI Youtube Channel)

The group became the innovators that challenged musical styles, themes, fashion, and
censorship. At the time of their disbandment, they had already changed the music and performance
scene of the country and paved the way for other artists to be more experimental and to break
boundaries. Three powerhouse studios then appeared between 1995 and 1998, namely SM
Entertainment, JYP Entertainment, and YG Entertainment. Since then, new groups and artists have
been formed, which gradually brought K-pop to the world in the form we knew today.
However, the way we experience K-pop now is also thanks to technological advancements
that the industry has, and with the support and importance placed upon the South Korean
government to their music industry. As Oh (2013) said, there is nothing “Korean” to be considered
in K-pop. It is but a commercial combination of global liberalization of Asian and other foreign
music markets and the fast innovations of digital technologies (e.g., YouTube), which prefers to
feature photogenic performers across the world. He also stated that in contrast, J-pop groups and
producers may even find it hard to match Korea’s success simply because of the lack of photogenic
appeal that Koreans have shown in their music videos and live stage performances. Additionally,
success of subculture music (e.g., K-pop) in the new global music industry also depends on the
nature of the organizational ecology made by the music industry of its own country – on how they
manage their talents, producers, and distributors.
K-pop in the Philippines
After K-pop was introduced to Filipino media, Korean albums were sold in the country by
music companies, and several of those albums were best sellers in music shops. MYX channel
launched Asia MYX in December 2009, and Pop MYX: K-pop Edition in May 2010 as a response
to fans wanting for K-pop content. Another milestone for the K-pop fandom of Filipino teens was
the year 2010, when the Philippines were visited by numerous K-pop groups such as Shinee,
4minute, FT Island, Super Junior, U-kiss, Beast, Kim Hyunjoong and Rain to perform.
 Figure 4. MYX International Hit Chart in 2009 featuring three K-pop songs fighting for
first place against worldwide hit “Baby”. (Source: https://kpopameeh.wordpress.com/)

Rise of Pinoy Pop Groups

With the rise of K-pop and Japanese pop influences, many countries have also launched
their very own idol groups just like the Philippines. Viva Communications Inc. debuted Pop Girls,
who can be considered the first P-pop girl group after the era of Sex Bomb and Viva Hot Babes.
They debuted in 2009 with a self-titled 13-track studio album with music videos that reminisce of
the electro pop era of K-pop. Followed by U Go Girls (UGG)vin 2016, tagged as the cheerleaders
of P-pop, who released more songs the following year, with “Dati” as their latest song released in
2018. From the same label came After 5. Launched in 2017, a five-member girl group from the
same dubbed as the girl group with “killer” looks and vocals that was showcased in their first song
“Paano Na”. Last 2019, Viva partnered with RTM of Japan and brought together 45 ladies into the
group called P-Pop Generation. For boy groups, Viva debuted an 8-member boy group in 2010,
XLR8, who was first seen live in GMA’s afternoon show, Party Pilipinas. A couple of Philippine
boy groups also debuted in Philippine television, like Gimme 5 in 2013 under ABS CBN, and
Boyband PH from the same station after winning a reality show in 2016. A notable pop boy band
is 1:43 who started in 2010, known for the viral song “Sa Isang Sulyap Mo” released in 2012.

Figure 5. P-pop boy group, XLR8, performing "Yakap" in

Party Pilipinas in 2011 (Source: GMA Network)
 While P-pop groups has not yet found its way to mainstream music, Filipinos continue to
patronize foreign acts. J-pop has been brought to the local music scene through the announcement
of new AKB48, a Japanese group, sister groups with one being formed in Manila (Japan Today,
2020). MNL48, dubbed as the first Filipino Idol group is formed by Hallo Hallo Entertainment via
reality talent search as a segment in noontime show “It’s Showtime”, wherein they garnered fans
both locally and abroad. Their debut single “Aitakatta (Gustong Makita)” reached No. 1 spot on
iTunes Top Albums in its release and was able to enter the MYX Daily Top 10 Pinoy, Pop Charts
PH and Pinoy MYX Countdown. Their single titled Pag-Ibig Fortune Cookie gave MNL48 their
first Gold and Platinum awards from the Philippine Association of Record Industries and Star
Music. MNL48 also received Pinoy POP Awards for young artists’ year-end special award, Youth
Model of the Year — Huwaran ng Kabataan Award, last 2018 (Abunda, 2019). MNL48 formed
in 2016 has been a step to expand the idol culture in the Philippines.

Figure 6. MNL48 in ABS-CBN's It's Showtime (Source: ABS-CBN News)

Korean trainers also have effectively passed on the main ingredient for the success of K-
pop groups to local talents. In March 2020, debuted the group Clover. The four-member girl group
is being managed by KP Entertainment, a Korean label with a Philippine branch, and is the first
Filipino girl group that was trained by a Korean entertainment company. Another group handled
by a Korean-based label, is 1st.One, a P-pop boy group who debuted in July 2020. But one group
of the most notable groups who were trained and debuted under the the Philippine arm of a Korean
label, ShowBT Entertainment, is the five-member group SB19, composed of Josh, Sejun, Stell,
Ken, and Justin. SB19’s rise to Filipino consciousness after a video of their dance practice of their
song “Go Up” went viral. The group was praised for their singing prowess and, especially, their
synchronized dancing. SB19, who was a K-pop-influenced group, then took their place in the P-
pop scene as they became the first Southeast Asian artist to break the Top Ten of Billboard's Social
50, and more.
 Figure 7. SB19 winning Artist if the Year, Song of the Year: "Go Up",
and New Artist of the Year at MYX Music Awards (Source: ABS-CBN News)

III. Analysis
With K-pop being an established industry, it is undeniable how far the quality is compared
to P-pop. Thus, when talking about P-pop, Filipinos often have lower expectations, and Losa’s
(2020) Scout Magazine article sums up a common perception on how Filipinos view P-pop in the
light of its foreign counterparts, “P-pop groups felt like they were trying too hard to emulate a
foreign act instead of embracing their roots”. But it seems like, through MNL48 and SB19, P-pop
has entered its next level. Filipinos who consume K-pop have expectations for what a good idol
group looks like. Aside for the idols being trained to perfection, K-pop’s appeal depends on their
live performance shows, which make the crucial elements that makes a K-pop song – how easy it
is to sing live, how catchy it is, the impact of the choreography, the wardrobe, good promotion and
sound and video production are all big factors for success. When scanning through comment
sections of various P-pop music videos and live performance, it is noticeable that viewers look for
these factors. There are numbers of comments that can be seen that are giving constructive
criticisms to videos directed to the group or the producers, or sharing their hopes and sentiments
about the group’s potential. It is obvious that the Filipinos are waiting, expecting, and rooting for
more local groups that can be at par with their Korean counterparts.

Figure 8. YouTube users sharing their opinions in

girl group Clover's dance performance video.
IV. Recommendation
These newer P-pop releases has brought the standard of of music productions and live
performance quality a bar higher. In South Korea, Korean entertainment labels often take a very
crucial role that will dictate the fate and fame of most K-pop groups. Management, production,
promotion, and distribution are important elements that are outside the individual talents of the
groups’ members. With that, Philippine labels should take the initiative to hone the talents of
aspiring idols. More producers should grab opportunities that will make these groups more
competitive, both locally and globally, to provide the Filipino audience what they are waiting for.
This can lead for local audiences to be more encouraged to patronize more local acts in a way that
will help our local economy and also our global visibility in the music industry.
V. Conclusion
The Philippine music scene are filled with solo acts, singing groups, and bands, but not
idol groups like South Korea’s. Starting from rock, R&B, hip-hop, with the ever-growing rise of
foreign influences, Filipino music has entered a new era. And with the huge numbers of talents
and fans in the Philippines it might only take time for local pop groups to achieve the same
mainstream success of their foreign counterparts (Villa, 2020). Though looking back to groups
that have debuted, none of them seemed to stick out and was received well. Quintet group After 5
was not able to reach half a million views for all their three music videos despite their powerful
vocals. UGG also suffered the same fate, with their music videos not gaining enough recognition
from the masses. Other groups are also short-lived and was not able to compete with prominent
solo acts, bands, balladeers, and other foreign artists. But in the recent years, music groups are now
being more well-received by the Philippine audience as P-pop groups and entertainment labels
apply more of what made its Korean counterpart successful.
VI. Way Ahead
Newer P-pop idol groups that have been introduced to the masses have shown how
competitive Filipino artists can be. The cringy and mediocre songs, music videos, and live
performances are becoming more like things of the past as K-pop continue to inspire and challenge
local labels and talents. As the Philippine entertainment industry becomes more technologically
advance and on high quality, it will only take time for more groups to finally enter the mainstream
Filipino music scene and eventually make it global.
VII. Reference

Abunda, B. (2019, March 14). What sets MNL48 apart from other girl groups. Retrieved January
04, 2021, from https://www.philstar.com/entertainment/2019/03/15/1901479/what-sets-
mnl48-apart-other-girl-groups

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.

Japan Today. (2016, March 28). New AKB48 sister groups to be formed in Manila, Bangkok and
Taipei. Retrieved January 05, 2021, from
https://japantoday.com/category/entertainment/new-akb48-sister-groups-to-be-formed-in-
manila-bangkok-and-taipei

Jin, D., & Yoon, T. (2017). The Korean Wave: Retrospect and Prospec. International Journal of
Communication 11, 2241-2249.

Lee, S. (2011). The Korean Wave: The Seoul of Asia. The Elon Journal of Undergraduate
Research in Communications, 2(1), 85-93.

Losa, R. (2020, July 24). SB19's continuous growth is my fave underdog story. Retrieved
January 05, 2021, from https://www.scoutmag.ph/music/sb19-interview-get-in-the-zone-
debut-album-roginl-20200724

Romano, A. (2018, February 16). How K-pop became a global phenomenon. Retrieved January
04, 2021, from https://www.vox.com/culture/2018/2/16/16915672/what-is-kpop-history-
explained

Urrutia, I. (2019, December 20). The 10 best Filipino songs of the 2010s. Retrieved January 02,
2021, from https://cnnphilippines.com/life/entertainment/music/2019/12/20/best-filipino-
songs-2010s.html

Villa, G. (2020, August 22). "P-pop on the upswing this New Normal". Retrieved January 02,
2021, from https://www.philstar.com/entertainment/2020/08/21/2036687/p-pop-upswing-
new-normal