The Rise of Hallyu A Study On The Consum

The Rise of Hallyu
A Study on the Consumption of Korean

Content in India
Project Report
(A Report Submitted in Partial Fulfillment of the Requirements for the Degree
of Master of Business Administration in JNTU University)
Submitted by Mr./ Ms K.C.Neela

Enrolment No 16XH1M2705
MBA Media
Jawaharlal Nehru Technological University

Hyderabad – 500 085
The Rise of Hallyu
A Study on the Consumption of Korean
Content in India
Project Report
(A Report Submitted in Partial Fulfillment of the Requirements for the Degree
of Master of Business Administration in JNTU University)
Submitted by Mr./ Ms K.C.Neela

Enrolment No 16XH1M2705
MBA Media
Done under the guidance of : Mrs. Mamatha Cherukuri and Mr. MNVVK Chaitanya
Annapurna International School of

Film and Media
Synopsis
Over the past few years it has been observed that more and
more of Indian youth have been getting into Korean Pop
Culture. This is the influence of Hallyu3, or Korean Wave, a
global phenomenon of the spread of Korean culture,
encompassing of music, television, and film. From entering
the Indian space in Manipur in 20005 to being played on TV
channels like VH1, Puthuyugam and Zindagi7, the awareness
towards Korean media has spread to different parts of the
country. This study explores the market segments that tend to
consume this media while determining the reasons for their
interest. It records the shift between western and Indian media
towards Korean media and attempts to study the correlation of
consuming k-pop to k-drama among Indian Youth. This study
is a descriptive study conducted via an internet questionnaire
distributed to a sample size of over 925 people all over India.
Acknowledgements
I take this opportunity to express my gratitude to all those who have helped me and made it
possible for me to successfully complete this project, “The Rise of Hallyu - A Study on the
Consumption of Korean content in India”. I would like to give special thanks to The Korean
Cultural Centre India - Delhi for their help in collecting responses for the study. I would also
like to express my deep gratitude and appreciation towards my best friend, Navneeth Dodla,
who took time out to assist me in cleaning the data for analysis.
I sincerely thank Annapurna International School for Film and Media, the dean and the
faculty for giving me this opportunity to undertake a project that I have been meaning to do
for a very long time.
I express solemn gratitude to Mrs. Mamatha Cherukuri and Mr. MNVVK Chaitanya, my
project supervisors, for their wholehearted guidance and supervision throughout the process
of my project preparation.
Finally, I express my thanks to my parents and friends who have been a constant source of
support and recognition.
Certificate of the Guide
This is to certify that the Project Work titled “The Rise of Hallyu - A Study on the
Consumption of Korean Content in India” is a bonafide work of Ms. K.C.Neela
Enroll No:16XH1M2705 Carried out in partial fulfilment for the award of degree of MBA
Media of JNTU University under my guidance. This project work is original and not
submitted earlier for the award of any degree / diploma or associate ship of any other
University / Institution.
Signature of the Guide Head of the Department

Students Declaration
I, Ms K.C. Neela, hereby declare that the Project Work titled “The Rise of Hallyu - A Study
on the Consumption of Korean Content in India” is the original work done by me and
submitted to the JNTU University in partial fulfillment of requirements for the award of
Master of Business Administration in Media is a record of original work done by me under
the supervision of Mrs.Mamatha Cherukuri and Mr. MNVVK Chaitanya of Annapurna
International School for Film and Media.
Enroll No: 16XM1M2705

Date : 5/5/2018 Signature of the Student
Table of Contents
Chapter No. Content Page No.
I Introduction 1
II Review of Literature 4
III Data Analysis 10
IV Findings and Conclusions 40
Bibliography 42
Annexure 1 45
Annexure 2 50
Annexure 3 55-56
The Rise of Hallyu : A Study on the Consumption of Korean Content in India
Introduction
Abstract
Over the past few years it has been observed that more and more of Indian youth have been
getting into Korean Pop Culture. This is the influence of Hallyu3, or Korean Wave, a global
phenomenon of the spread of Korean culture, encompassing of music, television, and film.
From entering the Indian space in Manipur in 20005 to being played on TV channels like
VH1, Puthuyugam and Zindagi7, the awareness towards Korean media has spread to different
parts of the country. This study explores the market segments that tend to consume this media
while determining the reasons for their interest. It records the shift between western and
Indian media towards Korean media and attempts to study the correlation of consuming
k-pop to k-drama among Indian Youth. This study is a descriptive study conducted via an
internet questionnaire distributed to a sample size of over 925 people all over India.
Research Questions
● Why are Indian Youth shifting interest from traditional Indian or English media to
Korean Media and what are the factors that influence the youth to take interest in this
media?
● How has the Indian audience been encountering Korean media?
● How can Korean entertainment companies take advantage of this shift in interest?
Significance and Scope of the Research
This study gives an insight of the socio economic and cultural impact of korean popular
media in India, and will be useful for Korean entertainment companies who are looking to
expand in India and for Indian entertainment companies that seek to collaborate in knowing
the potential it has. While previous studies and articles have looked into the presence of
Hallyu (Korean Wave) in the northeastern parts of India, there hasn’t been a lot of research
done with regards to the rest of India consuming Korean media. With the rate of penetration
into Indian households growing exponentially, studies done even a year ago are obsolete.
This study describes the status of Korean content in India as of April 2018.
1
Objectives
● To explore the demographic segments that consume Korean Pop Media (Music,
Videos, Television)
● To determine the points of initiation and factors for interest towards Korean Pop
Media
● To explore the association between the consumption of korean music and korean
television
● To determine if there is a shift from consumption of English language media to
consumption of Korean media.
Research Methodology
This study was conducted using a questionnaire on Google Forms which was distributed via
social media with the help of the Korean Cultural Centre Facebook page. A random sample
of 928 respondents between the ages of 13-30 was collected for this purpose. This qualitative
data was then cleaned and converted into dummy variables on Microsoft Excel. Frequencies
were determined using these dummy variables and, descriptive statistics and graphical
representations were generated through Google Sheets and Tableau. Simple correlation and
Cross Tabulation were applied to a couple of questions. These descriptive statistics were then
analysed and conclusions were drawn.
Limitations
● Limited access to research papers and other materials for secondary research.
● The study has been conducted in English and thus only English language papers have
been reviewed. This ignores the studies done in Korean or any other language due to
the language barrier.
● For the purpose of this study, Hallyu or Korean Pop Culture is only limited to include
Music, TV Dramas and to an extent Films. Other areas of interest such as fashion, and
traditional culture have not been explored in this study.
● Questionnaire method does not guarantee reliable answers due to the risk of
misunderstanding and impatience.
2
● Points of contact might not be willing to give up complete information.

● The information was collected electronically and thus might be less reliable.
3
Review of Literature
“The hallyu or Korean Wave has been aired since 1990’s from China, Taiwan and Japan.
The regional distribution of Korean cultural products was begun with trendy dramas, then
extended to popular songs, movies with the growth of Korean media markets. The export of
Korean media contents has continually expanded even to Singapore, Vietnam and Mongolia
which is beyond East Asia to Southeast Asia . Now the term Hallyu seems to connote the
influence of Korean social and cultural aspects such as clothes, fashion and technological
goods among the Asian countries.” Kim, D. T. (2006)3. The term Hallyu, literally
translating to Korean Wave in Mandarin, first appeared in Chinese newspapers in the 1990s,
when journalists were trying to describe the phenomenon that was sweeping the asian
subcontinent. The Korean Wave comprises of music, television shows, movies; all in all
popular culture originating from South Korea. It made its entry to India in the late 90s-early
2000s when Korean channels and pirated music CDs started making an appearance in the
North Eastern states of India. (Hindustan Times, August 2017)5. Reimeingam (2017)7 notes
that the cause for the penetration of Korean culture into Manipur came from the advent of
technology, liberalisation and globalisation. Internet penetration enabled easier
communication and enabled the Manipuri youth to have access to international culture and
trends. With distribution of hindi films banned in the north east, the youth turned towards
international entertainment; namely, the Korean Wave.
The Arirang channel was launched in Mizoram in 1996 and with the newly enacted ban on
Bollywood products in 2000,it served as a gateway to Korean entertainment. Close trade
connections with neighbouring countries like Myanmar and China enabled the youth to also
consume this content.“Myanmar imported Hallyu products with English subtitles from China
which in turn found their way into the Northeastern part of India where youth, proficient in
English and disenchanted with cultural products from North India, instantly patronized
them” Mohan (2017)2. The first dubbed Korean drama broadcasted in India were called
Emperor of the Sea, and Jewel in the Palace, both aired on Doordarshan 1. Neither of the
shows did particularly well in the rest of India. But then came Boys over Flowers. Released
in January 2009, it is the most popular Korean drama series till date. Although it is unclear
4
what caused it’s success, it became a sensation overnight. Pirated CDs were circulated.
Families and neighbourhoods gathered to watch the show together with English subtitles.
(Indian Express,2016)10.
North eastern fans brought their obsession westward and down south, when migrating for
studies and the interest spread to their classmates, with many migrating from Indian and
Western content to Korean content. As blogger Rhythm Sachdeva (Youth Ki Awaaz, 2014)12
notes, Indian content is “unrealistic” and Western content oversexualized. “Korean dramas
demonstrate parts from real life, where friendships and relationships are built in a healthy
way and which teach morals and lessons.” They conclude by mentioning that the reason
K-Dramas hadn’t yet hit the mainstream was a lack of marketing.
The exposure to K-Dramas has only grown from there. In a feature of Hindustan Times in
October 20175, Orlinda Fernandes, president of the India-Korea Friends Mumbai, noted that a
local tv channel, Firangi, broadcasted Korean dramas Full House and Hwang Jini. Soon after,
Reliance DTH offered KBS World to its subscribers in 2009. In 2014, a Tamil channel,
Puthuyugam started broadcasting Korean Dramas dubbed in Tamil under the slot ‘K-Serial’.
Along with Boys over Flowers, they aired multiple other popular Korean dramas such as My
Love From the Stars, Coffee Prince, To The Beautiful You, The Heirs, among others. In the
Spring of 2017, Zee Zindagi decided to air Descendants of the Sun. Speaking with Hindustan
Times9, Archana Anand, a spokesperson of OZEE, said, “When we decided to introduce
South Korean shows like Descendants of The Sun and Boys Over Flowers on our platform, it
was done as a litmus test of sorts to understand how engaged our audience would be with the
content – and how they would connect with the actors on screen. We found overwhelming
acceptance. The video views for these shows ran into millions,” According to studies
conducted by the Korean Cultural Centre, Delhi, ratings for Descendants of the Sun ran as
high as 55,920,000. It was no doubt that K-Dramas were here to stay.
In the realm of films, Korean movies were quick to catch on too. The highly successful film
My Sassy Girl was remade into Hindi as Ugly Aur Pagli in 2008 with a lukewarm response.
(Y.Kuwahara, 2014)13. “Quite a few Korean films have been remade into Hindi and Tamil
films. That 'loosely inspired' list includes Prem Ratan Dhan Payo from Masquerade; Ek
5
Villain from I Saw The Devil; Zinda from Oldboy; Murder 2 from The Chaser; Jazbaa from
Seven Days; and in Tamil, Yaamirukka Bayamey from The Quiet Family and Jigarthanda
from A Dirty Carnival” (Times of India, 2016)1. Films weren’t seen as anything more than
fodder for remakes until distributors took note of Train to Busan’s international success and
decided to release the English language version of it in India, along with local language dubs.
It raked in decent business with major reviewers rating it an average of 4.5/5.
From the interest towards K-Dramas, came an interest towards K-Pop. With K-Pop stars
frequently making appearances in K-Dramas, and lending their voices to the title tracks, fans
began exploring that side of Korean entertainment media. Manipur and other north eastern
states were acculturated to the Korean lifestyle, with the youth dressing and acting like their
‘idols’, as found by Reimeingam (2017)7, but the rest of India was still slow to catch on.
Nonetheless, in 2008, the first ever Korea-India Music Festival was held in Kohima, under
the joint partnership of the Nagaland and South Korean governments. (Hindustan Times,
August 2017)5. With the virality of Psy’s Gangnam Style in 2012, the people were starting to
become aware of the existence of K-Pop.
The Korean Cultural Centre took note of this interest in K-Pop, and organized it’s first K-Pop
contest in Delhi, with a mere 300 people attending. “Six years later, the total number of
participants swelled to 898 and the venue of the ‘K-pop Contest India 2017’ on July 29 was
the swanky Talkatora Indoor Stadium that saw a turnout of over 2,000 K-pop fans.”
(Hindustan Times, August 2017)5 Not only were cultural centres taking note, Korean
entertainment companies were too. Rookie groups like IMFACT, N-Sonic, BESTIE and one
of the more popular ones, Teen Top, tied up with the KCC to perform in their events. In
2015, KBS news, along with it’s entertainment division, KBS2, decided to put together a
team of K-Pop idols; Super Junior’s Kyuhyun, SHINee’s Minho, CNBLUE’s Jonghyun,
INFINITE’s Sunggyu, and EXO’s Suho. The objective was to send them to India to interact
with the public, find out if Hallyu had penetrated Indian markets, make a report, and send it
back. This report was to be broadcasted on the 9PM news and their experiences were filmed
and broadcasted as a reality show, ‘Exciting India’. The show followed them around as they
“visited several famous Mumbai spots, like the Gateway of India, Rhythm House, Phoenix
Mills, and spoke to Mumbaikars whether they knew of the existence of K-Pop and how willing
6
were they to accept it. The boys even managed to speak to a marketing official at YRF and an
officer at the Korean Consulate who knew the gist of K-Pop, but hadn’t really watched any.
They concluded that Bollywood was the main staple of India, and mostly everything else was
secondary… including the Indian independent artists who try making their own albums aloof
from Bollywood. They recognized that the younger urban audience was ready to give K-Pop
a try, but to get into the Indian music circuit anytime soon would be nearly impossible.”
(Jabulee, Free Press Journal, 2016)11 The show also caught a lot of flack for being racist and
ill-informed and was cancelled.
Following the release of Exciting India, blogger Hania did a feature on it on Hallyu site,
Seoulbeats (2015)4. In this post she detailed out the complexities of Indian culture and what
Korean artists would face if they tried to penetrate the market. K-Pop had a history of being
inappropriate and disrespectful towards other cultures. While Exciting India was a respectful
attempt at understanding the culture, she raised the question of whether the market was ready.
The market was saturated with entertainment coming from Bollywood and Hollywood, not to
mention regional industries. K-Pop would have to struggle to set itself apart. “On the other
hand, the fact that India celebrates stunningly synchronised dance routines and extravagant
outfits can be a bonus for K-pop companies seeking to enter the market. K-pop can appear
rather in-your-face for those who are more used to solo acoustic artists than flashy dance
routines, but India is likely to be receptive to K-pop. Korean dramas and Indian dramas also
bear many similarities, with their wonderful melodrama, family oriented-values and plot
lines of heartbreak and forbidden love.” Commenting on the success of the K-Pop Contests
held by the KCC she noted, “This relates back to the underlying factor that will determine
whether K-pop takes off in India or not: respect and recognition. K-pop is plagued by
cultural insensitivity and appropriation, or notions of cultural superiority.If any K-pop
company wants to break into this market, they will need to understand its complexities and
ensure that they deal with the audience, the country and their Indian counterparts with
respect. However, there’s still a long way to go for K-pop companies, who must make sure
that they do not lose the enthusiastic yet relatively small fanbase that they already have.”
By the time 2017 rolled around, this had changed. Although for a country of 2 billion people,
the 2000 attendees of the 2017 K-Pop Contest was a miniscule number, music channels also
7
started to take note. The attendees were only a small portion of the K-Pop fans in the country.
In December 2016, when English music channel VH1 asked viewers for requests on twitter,
fans sent in requests for groups like Exo, BTS, EXID etc. The channel decided to ignore it for
a bit but the fans persisted, VH1’s content head Hashim D’Souza said. “They were
relentless”. On September 16, VH1 India launched K-Popp’d – a Saturday feature that
elusively plays K-pop music. (Hindustan Times, October 2017)9. When asked what made
K-Pop so special, fans said that it was more “soulful”, “catchy” and “groovy” than Western
or Indian music. (Hindustan Times, August 2017)5 “You can’t help but appreciate their
work, be it their songs, choreography or aesthetically made MVs.” said Anushree Kadam in
a feature for Free Press Journal. (2017)11.
Among these fans are the Exo Ls and the ARMY, fans of K-Pop groups Exo and BTS
(Bangtan Boys). “EXO-L India interact over 20 WhatsApp groups divided on regional basis
(because only 256 people can be added in one group). The communication level is ceaseless,
so much so that an EXO-L from Mizoram is well acquainted with the one from Delhi. “In an
age of digital streaming, K-pop is the rare music industry where sale of physical album
copies is still prevalent. The sales contribute to the profit of artists directly. From India, we
ordered 350 physical copies of EXO’s recent albums ‘The War’.” says Ritika Mitra, an
admin of EXO-L India.” (Hindustan Times, August 2017)5. They also collaborated with
EXO-Global and contributed Rs 12,000 for a food truck during their Encore concert in Seoul.
In Manipur, 139 EXO-Ls booked a cinema hall to together watch a recent EXO concert in
2017. Similarly, The Bangtan ARMY India was formed in 2014. In July 2017, the group
created a Google database to assess the number of ARMY in India. “We got response from
2,300 people in four days,” says Twinkle, an admin of Bangtan Indian ARMY Facebook
page, which now has over 8300 likes.Indian Korean Friends Mumbai, a fan club for all things
Korean, estimates that there are over 10,000 fans from all over the country who have joined
their fanclub (Seoulbeats, 2015)4. Destination K-Pop India, a fan cum e-commerce page on
Facebook has around 35000 likes and The Korean Cultural Centre Facebook page has over
59000. Not only on Facebook, K-Pop fan pages on Twitter like @TeamEXOIndia and
@BantanINDIA have over 8000 and 16000 followers, respectively.
8
Over the years, there has been a significant change in the consumption of Korean content in
India, with it having little to no exposure to having TV channels and distributors noticing the
demand for it and Hallyu thriving on social media. This paper is only a limited attempt at
exploring this phenomenon in India and is a partial look into the trends and recent changes in
regards to it.
9
Data Analysis
A total of 928 samples were collected for the purpose of this survey. The questionnaire was
not expected to garner as much attention as it did and was originally intended to collect only
around 200 responses.But the survey surpassed that target within a matter of a day with the
help of the Korean Cultural Centre. By the end of the week, when the survey hit 900
responses, the rate of responses slowed down and it was closed after stagnating at 928 for a
night.
The rate of responses is a testimony to the passion of Korean content consumers and shows
how enthusiastic Indian consumers are to bring Korean content to India, as some of the
responses duly highlighted.
Not all questions have been directly analysed in this chapter, as not all questions had
substantial outputs that directly influenced the outcome of the project. These questions were
used as reference to infer answers for other questions that may have had vague or unclear
answers. However, all questions have been listed in Annexure 2.
In addition to this, a personal interview was conducted with officials at the Honorary
Consulate General for Republic of Korea, which provided an insight on how the government
plans to boost Korean and Indian bilateral cultural ties.Annexure 3
10
Question 1
How old are you?
Below 13 13-18 19-24 25-30 30 Above

0.11% 20.15% 60.56% 15.84% 3.34%
The sample was randomly chosen and as expected, the respondents ranged between ages
13-30 with 60.56% of the respondents aging between 19-24 years old. This shows that the
demographic segment of the consumers of Korean content ranges mostly between 19-24
years of age.
11
Question 2
Where in India do you live?
12
The random sample consisted of respondents from all over India. Most of the respondents
hailed from Delhi, Maharashtra (Mumbai), Karnataka (Bangalore) and Tamil Nadu with
22.5%, 16.2%,14.33% and 10% respectively. It was expected that the respondents would be
mostly from the North Eastern states of India as the inception of Korean content in India
happened in Manipur but responses proved this notion otherwise. The vastness of responses
might be biased due to the pool of respondents chosen but nonetheless, proves that Korean
content is consumed by all states of India.
13
Question 3
How do you access the Internet?
3G/4G Wi-Fi Both

42.56% 55.50% 1.94%
The answers were divided almost equally between Wi-Fi and 3G/4G proving that the internet
penetration is a way for most Indian consumers to access and consume Korean content.
Given the fact that it was an online survey that was conducted, it was expected that most
respondents would have fast internet access.
From previous three questions it can be concluded that the demographic for consumption of
Korean entertainment in India is Urban/Semi Urban Youth, ie. people between the ages of
13-30, hailing from all states but mostly metro cities and with access to the internet.
14
Question 4
Are you aware of Korean Entertainment Media?
Yes No
99.35% 0.65%
Almost all the respondents were aware of Korean entertainment media even if not all
consumed it. It was observed that most others were aware of South Korea as a country and
their culture but didn’t seem to be aware of the entertainment media coming out of there.
15
Question 5
Do you consume Korean Entertainment Content?
Yes No
94.72% 5.28%
94.72% of respondents consume Korean entertainment Media. This shows that while almost
all respondents were aware of Korean Entertainment Media, 5.28% of the respondents didn’t
seem inclined to consume it.
16
Question 6
What got you into Korean Media?
Stumbled across it on Peer

Friends the internet Family Television Others Pressure
41.70% 45.04% 3.13% 4.85% 4.85% 0.43%
Friends’ influence or recommendation contributed towards 41% of the respondents’ interest

towards Korean content. Around 45% said they happened across a piece of Korean content
on the internet which piqued their interest and led them to explore the world of Korean
media. A few respondents, mostly from the North East stated their siblings, cousins and some
even citing parents for introducing them to the world of Korean content. Some referenced
Arirang TV, KBS World, Puthuyugam and Zee Zindagi, which air Korean content in India as
the reason for their interest in this type of content.
17
Question 7
What was it about Korean media that attracted you?
Fresh and
Aesthetics Choreography Content Culture Entertaining Fashion Unique
3% 2% 15% 14% 16% 4% 14%
Good Looks Music Storyline Other

5% 11% 13% 5%
This question was a subjective question which was then segregated using keywords. In this
keyword analysis, most of the answers spoke about how the content was genuinely more
engaging and entertaining than Western or Indian content and that it was more grounded to
reality. They also said that it was relatable and offered a new,fresh and unique take on
everyday life situations. The content was such that they had never seen before. The storylines
and the shortness of the shows, standing at 23 episodes per show, was another factor that
influenced the respondents’ tastes. An intrigue towards a new culture, as well as an
appreciation towards how similar the Korean and Indian cultures are also contributed towards
their interest. The music, they said, was new with singers and rappers conversing in a
completely different language than they were used to. The hardwork and talent of K-Pop stars
18
was also a reason often cited by the respondents. The down to earth, humble attitude of the
stars, or idols as they are called, was well appreciated by the respondents as well.
19
Question 8
Do you think consuming Korean Content is a fad?
No, it is here to Maybe/Unsur

stay Yes, it will go away e
79.74% 2.16% 18.10%
While most trends come and go, almost 80% of the respondents believe that consuming
Korean content is not a fad and it is here to stay for years to come. While every trend has to
die some day, it is highly unlikely that the Korean content fad will go away any time soon.
20
Question 9
Do you listen to K-Pop?
Yes No
96.44% 3.56%
96.44% of consumers of Korean content listen to Korean Pop music. K-Pop is a synonym for
Korean music and as a genre includes sub-genres like Hip Hop, Reggae, Rap, RnB, Rock,
EDM/House and Pop.
21
Question 10
Do you watch K-Pop Music Videos?
Yes No
96.88% 3.13%
Most Korean content consumers along with consuming Korean music also engaged in
watching K-Pop Music Videos. The percentage of consumers who watch K-Pop music videos
is higher than those who listen to K-Pop. This shows that while some consumers are not
interested in the music of K-Pop, they are definitely interested in the visuals.
22
Question 11
Do you watch K-Dramas?
Yes No
94.29% 5.71%
94.2% of Korean content consumers watch Korean TV Shows, also known as K-Dramas. The
consumers of Korean Dramas are 2% lower than K-Pop, signifying that not all consumers of
Korean content consume both K-Pop and K-Dramas. The relation between the two is
explored below.
23
Correlation Analysis :
K-Pop K-Drama
K-Pop 1 0.228564
K-Drama 0.228564 1
The data for K-Pop consumers and K-Drama consumers was ran through a correlation test,
and the value of correlation came out to be 0.228564, which signifies Low Correlation. It
shows that while there is a correlation between the two, it is almost negligible. It was
previously assumed that there would be a strong correlation between K-Pop and K-Drama
consumption but it was proven otherwise, showing that not all K-Pop consumers consume
K-Drama and vice versa.
24
Question 12
What is the first piece of Korean Content you consumed and when? Has your interest
grown since?
25
Initiation into Korean

Year Content %Increase Growth %
1998 1 0%
1999 0 0% 0.00%
2000 6 1% 1%
2001 2 0% 33.33%
2002 3 0% 150.00%
2003 2 0% 66.67%
2004 7 1% 350.00%
2005 15 2% 214.29%
2006 18 3% 120.00%
2007 18 3% 100.00%
2008 15 2% 83.33%
2009 38 5% 253.33%
2010 47 7% 123.68%
2011 48 7% 102.13%
2012 60 8% 125.00%
2013 57 8% 95.00%
2014 73 10% 128.07%
2015 97 14% 132.88%
2016 120 17% 123.71%
2017 85 12% 70.83%
K-Drama K-Film K-Pop

No 1% 15% 2%
Yes 99% 85% 98%
The first recorded consumption of Korean content by this study was in 1998 by a respondent
from the North East. This was around the time of the Bollywood ban in North Eastern states.
Slowly, the consumption grew with the growth peaking in 2004 when Doordarshan first
broadcasted Korean Dramas. It peaked again in 2009, the time of the release of K-Drama
26
Boys over Flowers and has been growing steadily since. It peaked again in 2014 with K-Pop
group Exo garnering western attention and BTS debuting their first song. It hit an all time
high in 2016, with the release of shows like Goblin, Descendants of the Sun and BTS gaining
the attention of western social media influencers.
Along with K-Drama and K-Pop consumers, some consumers also said they consumed
Korean Films. While only 85% of consumers said that their interest grew since they first
consumed Korean films, a whooping 99% and 98% of K-Drama and K-Pop consumers said
their interest has grown since their first piece of Korean content.
27
Question 13
How much would you rate your interest in Korean Content?
Rank Frequency Cumulative Frequency Percent Frequency
1 3 3 0.3%
2 0 3 0.0%
3 4 7 0.4%
4 3 10 0.3%
5 10 20 1.1%
6 21 41 2.3%
7 71 112 7.7%
8 178 290 19.2%
9 248 538 26.7%
10 390 928 42.0%
Most of the respondents rated their interest in Korean Media between 8-10, 10 being highest
1 being least, with the average rating being 8.896.
28
Question 14
Do consume ONLY Korean Media?
Yes No Mostly
19.61% 35.45% 44.94%
Most of the respondents said they consume only Korean content with 19% leaning towards
yes and 45% responding ‘mostly’. 35% of respondents said they don’t consume just Korean
content. The other types of content they consumed before and along with Korean is explored
in further questions.
29
Question 15
What kind of content did you consume before Korean content?
American 34.05%
British 15.70%
Other Asian Content (Including
Indian) 50.26%
50% of respondents said they consumed American and British content and the other 50%
listed content of other languages. It was expected that the majority of respondents would say
they consumed mostly English language content but their answers listed Japanese, Thai,
Filipino, Chinese, Turkish, European, South American and Regional Indian content, among
others.
30
Question 16
Would you say you consume less of Western Content now than you used to?
Yes No Maybe
68.64% 13.58% 17.78%
69% of respondents said they consumed lesser of Western, or English Language Content than
they used to, before they discovered Korean content while 17% remained unsure. This meant
that although the majority of Korean content consumers had made the shift from Westen to
Korean content, some continued to consume all sorts of content, out of which Korean was
only a part.
31
Question 17
What K-Pop groups do you listen to?
BTS Exo Blackpink Red Velvet Twice SNSD NCT
12.88% 12.46% 10.87% 10.14% 9.30% 8.06% 6.41%
Super
Monsta X F(x) Astro SHINee Big Bang Got7 Junior
5.73% 4.88% 3.83% 2.73% 1.64% 2.66% 1.98%
Seventeen Wanna One Infinite CN Blue VIXX Kard
1.87% 1.28% 1.01% 0.94% 0.76% 0.58%
The respondents were given the option to choose multiple answers as well as type in their
own for this question. The above graph depicts which K-Pop artists proved to be the most
popular. BTS and Exo were the most popular, as expected. Followed by girl groups
Blackpink, Red Velvet, Twice and SNSD. Rookie groups such as NCT, Wanna One, Astro
and Kard also made an appearance in the respondents’ answers. Superstar groups such as
32
SHINee, Big Bang and Super Junior lagged behind, with most respondents being too young
or too new to consuming K-Pop to actively listen to these groups. CN Blue was the only rock
group that managed to make the cut.
33
Question 18
Do you watch dubbed K-Dramas on Indian television?
Yes No
27.37% 72.63%
Doordarshan, Puthuyugam TV and Zindagi channel made the bold attempt of dubbing
K-Dramas into Tamil and Hindi and broadcasting them on TV. However, only 27.3% of the
respondents claimed that they watched dubbed K-Dramas on Indian television. It is surprising
to observe that whole only 4% of respondents were introduced to K-Drama via television,
27% of them actively participate in watching them through TV.
34
Question 19
Would you be open to watching K-Dramas on TV if they were subtitled, as opposed to
dubbed?
Yes No
96.12% 3.88%
Most of the respondents, however, were enthusiastic to watch Korean Content on Indian TV
if it was broadcasted in Korean and subtitled in English, as Arirang does in.the North East.
Even though majority of the consumers had stopped consuming pure English content, they
still heavily depend on the language to understand the Korean content they consume.
35
Question 20
Do you tune in to VH1's K-Popp'd segment?
Yes No Sometimes
47.20% 25.32% 27.48%
There was a lukewarm response to the recently launched VH1 segment K-Popp’d. While
most of the respondents were aware of it, only about 47.2% said they actively tuned into the
segment.
36
Question 21
Would you want K-Pop artists to visit India?
Yes No
98.49% 1.51%
98.49% of respondents were interested in Korean music artists visiting India. Even in a lot of
their subjective answers, respondents wanted artists such as BTS and Exo to perform in India.
37
Question 22
Would you watch a Korean film in the theatre if it had subtitles or if it was dubbed?
Yes Yes
(Dubbed) (Subtitled) No
11.53% 86.42% 2.05%
As previously observed, Korean content consumers in India were more inclined towards
using subtitles than watching dubbed content. The same was reflected on Korean films as
well with 86% of consumers saying they would watch Korean films if they were subtitled.
38
Question 23
If Indian streaming services (both music and VOD) added Korean content to their
catalogue, would you be open to using them?
Yes No Maybe
90.63% 1.51% 7.87%
Most consumers use illegal sources to access K-Dramas and K-Films and use foreign
streaming services to access music. The cause for this is unavailability of Korean content on
Indian services, with the exception of Viu. However, 90% of consumers said they would
consume Korean content through legal Indian streaming services if they were made available.
39
Findings and Conclusion
The demographic for consumption of Korean entertainment in India is Urban/Semi Urban

Youth, ie. people between the ages of 13-30, hailing from all states but mostly metro cities
,around
and with access to the internet. According to the Central Statistics Organization 14
35% of the population of India are ‘youth’ between the ages of 13-29. With India’s youth
population of 45.1 crores, out of which 57.4% are above the poverty line, and the internet
penetration predicted to reach 500 million by June 20186, the potential for expansion of
Korean entertainment in India is massive.
What attracted Indians the most to Korean content was how fresh and new the storylines
were. As Indian industries have already been doing, remakes of dramas and films from South
Korea should be the next step in the plan of action for Indian entertainment companies. With
companies like Kross Pictures expanding in India8 for the purpose of selling remake rights
and producing local content with Korean storylines, the news of an Indo-Korean
co-production is not far behind. Some North Eastern respondents stated that the lack of
‘people who look like’ them in Indian content is what turned them away from it and towards
Korean content. A push for the casting of North Easterners in said Indo-Korean content might
bring some interest towards Indian content from people who otherwise feel left out. With
most of the respondents interested in the music originating from South Korea, a feature in an
Indian film, similar to Akon in Ra.One and The Vamps in Shivaay, would prove to be
mutually beneficial to industries from both countries. China has already taken advantage of
the Hallyu phenomenon in a similar way by casting Exo’s Park Chanyeol and Zhang Yixing
in movies like ‘So I Married My Anti Fan’ and ‘Kung Fu Yoga’, respectively.
The study also showed that there was a negligibly low correlation between the consumption
of K-Dramas and K-Pop. While this proved that not all K-Drama consumers consume K-Pop
and vice versa, it does not determine the reason for it. The reason for said correlation can be
explored in further studies. However, despite this lack of strong association, research shows
that their interest in Korean content has grown regardless of which type of content they
consumed first. Indian popular trends are deeply influenced by global trends, as shown by the
40
recent popularity of BTS in the US reflecting onto Indian youth. Entertainment companies
must take perceive these occurrences as a sign to push for both musical and visual Korean
content in both India and abroad, more so the United States.
While western trends often influence Indian trends, the consumption of western content by
the Indian youth has decreased significantly, as the study has shown. With the government of
Telangana being keen on bringing in FDI and the Honorary Consul General of the Republic

of Korea, Suresh Chukkapalli, having ties in the entertainment industry Annexure 3
, entertainment
companies can shift their efforts from bringing in investment from western companies to
Korean companies. As previously elaborated, a scope for coproductions is present as well.
41
Bibliography
Primary Citations
1. Kumar, S. (2016). Food to lingo, India goes on a K-trip. [online] The Times of India.
2. Mohan, P. N. (2017). Hallyu in India: A Study of the Reception of Korean Culture in

India Today. Journal of Contemporary Korean Studies.
3. Kim, D. T. (2006). Hallyu-wa Hankookhak (Hallyu and the Korean Study). Yuksa
Bipyong, 213-240.
4. Hania (2015) Hello Hallyu : Kpop in India. Seoul Beats.
5. Gogoi, M. (2017), India knows about EXO, BTS: It’s time to acknowledge, K-pop is
here to stay. Hindustan Times
6. Agarwal, S. (2018), Internet users in India expected to reach 500 million by June:
IAMAI. Economic Times
7. Reimeingam, M. (2015). Korean Media: A Catalyst of Acculturation to Korean

Culture in Manipur. Journal of North East India Studies
8. Frater, P. (2017), Kross Pictures Finds Fertile Ground in India-Korea Remakes.

Variety
9. Gogoi, M. (2017), K-Drama to K-Pop: : Is India finally warming up to the Korean

wave? Hindustan Times
10. Majumdar, A. (2016). K-pop goes India! Riding the Korean musical wave. [online]
The Indian Express.
11. Jabulee, K. (2016), K-Pop Music: From Seoul to the world, The Free Press Journal
42
12. Sachdeva, R. (2014) The Emergence Of Korean Drama On Indian Television: The
Causes And The Need. Youth Ki Awaaz.
13. Kuwahara, Y. (2014) The Korean Wave: Korean Popular Culture in Global Context.
Palgrave Macmillan
14. Central Statistics Office (2017) Youth In India. Ministry of Statistics and Programme
Implementation Government of India
Other References
Jang, G., & Paik, W. K. (2012). Korean Wave as tool for Korea’s new cultural diplomacy.
Advances in Applied Sociology.
Leung, S. (2012). Catching the K-Pop wave: globality in the production, distribution, and
consumption of South Korean popular music.
Noh, S. (2010). Unveiling the Korean wave in the Middle East. Hallyu: Influence of Korean
Culture in Asia and Beyond.
Pacis, J. (2012). Popping the K-Pop Bubble: A Study on the World Of K-Pop Fandom as a
Subculture. Diliman: University Of The Philippine.
Powell, T. (2015). K-Pop: The Definition of a Global Phenomenon and its Implications for
South Korea. Global Connections 2014-2015 The Global Studies and World Languages
Academy.
Reyes, M. (2012). The Wave of Korean Hallyu: A Big Leap to the Global Acceptance of
Popularity and Influence. In 6th World Congress of Korean Studies South Korea.
Won-jun, L. (2015). The Effects of the Korean Wave (Hallyu) Star and Receiver
Characteristics on TV Drama Satisfaction and Intention to Revisit. International Journal of
u-and e-Service, Science and Technology,
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Dhawan, R. (2015). Korean Wave in India. [online] koreatimes. Available at:

http://www.koreatimes.co.kr/www/news/opinon/2016/04/162_188583.html
HuffPost. (2017). Northeast Is The Heart of The Korean Wave in India. [online] Available at:
https://www.huffingtonpost.com/asiatoday/northeast-is-the-heart-of_b_10793776.html
Kenny, G. (2017). The Addictive Charms of South Korean Drama. The New York Times
[online] Nytimes.com. Available at:
https://www.nytimes.com/2017/09/15/movies/korean-drama-streaming.html?_r=0
BBC News. (2017). Close-Up: A corner of Korea in India. [video] [online] Available at:
http://www.bbc.com/news/av/world-south-asia-11525715/close-up-a-little-corner-of-korea-in
-india
Kumar, S. (2016). Straight from Seoul. [online] The Hindu. Available at:
http://www.thehindu.com/features/magazine/sheila-kumar-on-the-korean-invasion-of-our-tv-s
ets/article7512447.ece
Martin Roll. (2017). Korean Wave (Hallyu) - Rise of Korea's Cultural Economy & Pop
Culture. [online] Available at:
https://martinroll.com/resources/articles/asia/korean-wave-hallyu-the-rise-of-koreas-cultural
-economy-pop-culture/
Shah, D. (Unknown) From Culture to Commerce, Blossoming of India-South Korea Ties.

India Writes. Available at :
http://www.indiawrites.org/from-culture-to-commerce-blossoming-of-india-south-korea-ties/
44
Annexure 1: Index
The following is a list of definitions that will help the reader understand the study better.
Market - According to the Cambridge dictionary, under Business English, a market is a part
of the world where something is or might be sold, or a particular group of people who buy or
might buy something
Market Segment - According to Philip Kotler, “Market segmentation is the sub-dividing of

market into homogeneous sub-sections of customers, where any sub-section may conceivably
be selected as a market target to be reached with a distinct marketing mix (the set of
controllable variables that the firm can use to influence the buyer's response).”
Entertainment companies - The definition of entertainment under in the Cambridge

dictionary under business English, entertainment is defined as the business of making films,
television programmes, shows, etc. that entertain people. Companies that profit from
producing such content are termed as entertainment companies. For the sake of this research,
entertainment companies are any such companies which are involved in the production and/or
distribution of music, films and television.
Western (American) Entertainment Media - For the purpose of this research, English
language music, films, television and other entertainment originating from the US and the
UK will be referred to as western entertainment.
Indian Entertainment Media - For the purpose of this research, music, films, television and
other entertainment in languages such as Hindi, Telugu, Tamil, Malayalam, Kannada,
Marathi, Bengali and other Indian languages and/or dialects, originating from India, will be
referred to as Indian Entertainment media.
Indian Youth - According to the National Youth Policy (2014), Youth is defined as persons
aged between 15-29, and that is the age group that will be used as sample.
45
Culture - British anthropologist Sir Edward B. Tylor defined culture (in 1871) as “that
complex whole which includes knowledge, beliefs, arts, morals, law, customs, and any other
capabilities and habits acquired by [a human] as a member of society.”
Pop Culture - Popular culture, or pop culture, is the accumulation of cultural products such
as music, art, literature, fashion, dance, film, cyber culture, television and radio that are
consumed the majority of a society's population. Popular culture has mass accessibility and
appeal. In his book, Cultural Theory and Popular Culture, sociologist John Storey defines
Popular Culture as "a hopelessly commercial culture [that is] mass-produced for mass
consumption [by] a mass of non-discriminating consumers.” He further states that popular
culture is “formulaic [and] manipulative.”
Korean Pop Culture - Korean popular culture refers to entertainment and culture that is
inherent to Korea and its people. It mainly consists of music, music videos, television shows,
films, and fashion. For the sake of this study, we will observing music, music videos,
television shows and film.
Korean Wave (Hallyu) - The Korean Wave (Hallyu) refers to the global popularity of South
Korea’s cultural economy exporting pop culture, entertainment, music, TV dramas and
movies.
Hallyu is a Chinese term which, when translated, literally means “Korean Wave”. It is a
collective term used to refer to the phenomenal growth of Korean culture and popular culture
encompassing everything from music, movies, drama to online games and Korean cuisine
just to name a few.
Dramas, in Korean context - Dramas, in Korean context, refer to television shows.
K-Pop, or Korean Pop - K-Pop refers to mainstream Korean music. Although it has “pop” in
the title, K-Pop also consists of Rhythm&Blues (R&B), Rap/Hip-Hop, Rock and Indie music
alongside of pop music.
46
VH1 - VH1 (originally an initialism of Video Hits One) is an American cable television
network based in New York City that is owned by the Viacom Global Entertainment Group, a
unit of Viacom Media Networks. Vh1 India is a music channel in India. It was launched in
2005. On 31 December 2004, MTV India and Zee-Turner teamed up to bring Vh1 to India. It
broadcasts shows like VH1 Top 10, Hit Factory, Good Morning VH1, etc. Since September
16th 2017, VH1 has been broadcasting a K-pop segment called “Kpoppd”
Zindagi (TV Channel) - Zindagi (also known as Zindagi TV) was an Indian general
entertainment television channel, owned by the Zee Entertainment Enterprises (ZEEL). It
also promoted itself as a channel broadcasting short-run programming and as India's new
Hindi entertainment channel, rather than on-going, indefinite serials. It has syndicated content
from various countries including Brazil, Pakistan, South Korea, Turkey and Ukraine
Puthuyugam - Puthuyugam TV is a Tamil language general entertainment channel that's a

part of the New Generation Media Corporation. Puthuyugam was launched in the year 2013
and is the sister channel of Puthiyathalaimurai TV. Puthuyugam TV online also happens to be
one of the premier Tamil TV stations to introduce ‘K-series' or Korean dramas dubbed in
Tamil to the Indian audience.
Exo
47
BTS
Boys Over Flowers - Boys Over Flowers is a 2009 South Korean television series that earned
high viewership ratings in South Korea and popularity throughout Asia. It stars Lee Min-ho,
Ku Hye-sun, Kim Hyun-joong, Kim Bum, Kim Joon and Kim So-eun. It aired for 25
episodes on KBS2 from January 5 to March 31.The series is about an average girl who gets
tangled up in the lives of an arrogant rich boy and his friends, and is based on the comic
series Boys Over Flowers written by Yoko Kamio.
Korean Cultural Centre, Delhi - Korean Cultural Centers are non-profit institutions aligned
with the Government of South Korea that aim to promote Korean culture and facilitate
cultural exchanges.The Indian branch of the KCC is situated in Delhi and holds cultural
programmes and promotes Indo-Korean cultural exchange.
Random Sampling - A simple random sample is a subset of a statistical population in which

each member of the subset has an equal probability of being chosen.
Correlation Analysis - Correlation analysis is a method of statistical evaluation used to study

the strength of a relationship between two, numerically measured, continuous variables. This
particular type of analysis is useful when a researcher wants to establish if there are possible
connections between variables. If correlation is found between two variables it means that
when there is a systematic change in one variable, there is also a systematic change in the
48
other; the variables alter together over a certain period of time. If there is correlation found,
depending upon the numerical values measured, this can be either positive or negative.
Positive correlation exists if one variable increases simultaneously with the other, i.e. the high
numerical values of one variable relate to the high numerical values of the other.Negative
correlation exists if one variable decreases when the other increases, i.e. the high numerical
values of one variable relate to the low numerical values of the other.
Cross Tabulation - Cross tabulation is a statistical tool that is used to analyze categorical
data. Categorical data is data or variables that are separated into different categories that are
mutually exclusive from one another. It groups variables to understand the correlation
between different variables. It also shows how correlations change from one variable
grouping to another. It is usually used in statistical analysis to find patterns, trends, and
probabilities within raw data.
49
Annexure 2: Questionnaire
1. Name : ____________
2. Age Group*
a. Below 13
b. 13-18
c. 19-24
d. 25-30
e. Above 30
3. Where in India do you live?* : ______________
4. How do you access the internet?*
a. 3G/4G
b. Wi-Fi
c. Other : _____________
5. Are you aware of Korean entertainment media?*
a. Yes
b. No
6. Do you consume Korean entertainment media?*
a. Yes
b. No
7. If not, would you be interested in consuming Korean entertainment media?*
a. Yes
b. No
c. Maybe
8. Do you ONLY consume Korean media?
a. Yes
b. No
c. Mostly
9. What got you into Korean media?*
a. Friends
b. Peer Pressure
50
c. Stumbled Across it on the Internet

d. Other : ________________
10. Do you think consuming Korean Content is a fad?*
a. Yes, it will go away soon.
b. No, it is here to stay
c. Maybe/Unsure
11. Do you listen to K-Pop?*
a. Yes
b. No
12. Do you watch K-Pop Music Videos?*
a. Yes
b. No
13. Do you watch K-Dramas?*
a. Yes
b. No
14. When did you consume your first piece of Korean content and what was it
(K-Drama or K-Pop)?* : ________________________
15. Has your interest grown since?*
a. Yes
b. No
16. How much do you rate your interest in Korean media?(1 being not interested, 10
being I only consume Korean content)*
a. 1
b. 2
c. 3
d. 4
e. 5
f. 6
g. 7
h. 8
i. 9
j. 10
51
17. What drew you to consuming Korean content? What is so interesting/different

about it?* :_____________________
18. Check off groups you listen to :
a. Exo
b. BTS
c. Red Velvet
d. Twice
e. Monsta X
f. Astro
g. NCT
h. F(x)
i. SNSD
j. Blackpink
k. Others : _______________
19. Name a few K-Dramas you have seen or heard of :
___________________________
20. Do you watch dubbed K-Dramas on Indian television?*
a. Yes
b. No
21. Do you tune in to VH1's K-Popp'd segment?*
a. Yes
b. No
c. Sometimes
22. What kind of content did you consume before/ if not for Korean content?*
a. American
b. Indian
c. Japanese
d. Other South East Asian
e. Turkish
f. British
g. Other : ________________
52
23. Would you say your you consume less of Western Content now than you used
to?*
a. Yes
b. No
c. Maybe
24. Has your consumption of Korean content changed the way you speak, dress or
behave?
a. Yes
b. No
c. Maybe
25. Would you want K-Pop artists to visit India?*
a. Yes
b. No
26. Would you be open to watching K-Dramas on TV if they were subtitled, as
opposed to dubbed?*
a. Yes
b. No
27. Would you watch a Korean film in the theatre if it had subtitles or if it was
dubbed?*
a. Yes, if they were subtitled.
b. Yes, if they were dubbed.
c. No
28. Which website do you watch K-Dramas in? : ____________________
29. Where do you listen to K-Pop?
a. Youtube
b. Apple Music
c. Spotify
d. Other : ________________
30. If Indian streaming services (both music and VOD) added Korean content to
their catalogue, would you be open to using them?*
a. Yes
b. No
53
c. Maybe
31. Thank you for filling out this survey. If you have anything more you'd like to say
about Korean content, please use this space to do so. : _____________________
54
Annexure 3
Interview conducted at Honorary Consulate General to the Republic of Korea, Film Nagar,
Hyderabad.
Date and Time : 30th April 2018, 12:30pm.
Interviewees :
K. Tulasi
Director
Rosann Fernandes
Public Relations
G. Sree Ramya Krishna

Cultural Coordinator
What in your opinion is the reason for the rise in interest towards Korean
entertainment and Korean Culture in India?
Indian Culture and Korean culture are similar with each other. People are being attracted to
this similarity and getting influenced to get into Korean entertainment.
What does the Korean Consulate and Cultural Centre plan to do in the near future to
boost the ties between India and Korea?
We plan on conducting Korean classes, Ocarina classes, Taekwondo classes right here in the
Honorary Consulate premises. After June we plan on doing activities at the same national
level as the KCCI in Delhi. The official Hyderabad K-Pop fanclub size is 400 members and
for K-Pop Regionals we plan on bringing artists from Korea as the KCCI has done before.
55
Is there any scope for FDI from Korea in the Media Sector in India? How can
Entertainment companies in Korea take advantage of this sudden growth of interest in
India?
Yes. The Telangana government is very keen on it. The IT minister for Telangana, KTR, is
very keen on bilateral ties and we are working closely with him. As such there are no talks
with regards to the entertainment industry. Since Hyderabad is the current hub of
entertainment and the Honorary Consul General is well connected with the entertainment
industry, there is a scope for it.
56

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The Rise of Hallyu

A Study on the Consumption of Korean

Submitted by Mr./ Ms K.C.Neela

Jawaharlal Nehru Technological University

Submitted by Mr./ Ms K.C.Neela

Annapurna International School of

Signature of the Guide Head of the Department

Enroll No: 16XM1M2705

Chapter No. Content Page No.

III Data Analysis 10

IV Findings and Conclusions 40

Significance and Scope of the Research

● Points of contact might not be willing to give up complete information.

Below 13 13-18 19-24 25-30 30 Above

3G/4G Wi-Fi Both

Stumbled across it on Peer

Friends’ influence or recommendation contributed towards 41% of the respondents’ interest

Good Looks Music Storyline Other

No, it is here to Maybe/Unsur

Initiation into Korean

K-Drama K-Film K-Pop

Rank Frequency Cumulative Frequency Percent Frequency

8 178 290 19.2%

9 248 538 26.7%

10 390 928 42.0%

BTS Exo Blackpink Red Velvet Twice SNSD NCT

12.88% 12.46% 10.87% 10.14% 9.30% 8.06% 6.41%

5.73% 4.88% 3.83% 2.73% 1.64% 2.66% 1.98%

Seventeen Wanna One Infinite CN Blue VIXX Kard

1.87% 1.28% 1.01% 0.94% 0.76% 0.58%

Findings and Conclusion

The demographic for consumption of Korean entertainment in India is Urban/Semi Urban

2. Mohan, P. N. (2017). Hallyu in India: A Study of the Reception of Korean Culture in

4. Hania (2015) Hello Hallyu : Kpop in India. Seoul Beats.

7. Reimeingam, M. (2015). Korean Media: A Catalyst of Acculturation to Korean

8. Frater, P. (2017), Kross Pictures Finds Fertile Ground in India-Korea Remakes.

9. Gogoi, M. (2017), K-Drama to K-Pop: : Is India finally warming up to the Korean

Dhawan, R. (2015). Korean Wave in India. [online] koreatimes. Available at:

Shah, D. (Unknown) From Culture to Commerce, Blossoming of India-South Korea Ties.

Market Segment - ​According to Philip Kotler, “Market segmentation is the sub-dividing of

Entertainment companies - ​The definition of entertainment under in the Cambridge

Dramas, in Korean context​ - Dramas, in Korean context, refer to television shows.

Puthuyugam​ - Puthuyugam TV is a Tamil language general entertainment channel that's a

Random Sampling - ​A simple random sample is a subset of a statistical population in which

Correlation Analysis - ​Correlation analysis is a method of statistical evaluation used to study

c. Stumbled Across it on the Internet

17. What drew you to consuming Korean content? What is so interesting/different

G. Sree Ramya Krishna

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Dramas, in Korean context - Dramas, in Korean context, refer to television shows.

Puthuyugam - Puthuyugam TV is a Tamil language general entertainment channel that's a

Random Sampling - A simple random sample is a subset of a statistical population in which

Correlation Analysis - Correlation analysis is a method of statistical evaluation used to study