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Home is Where You Serve: Globalization and Nationalism in Korean Popular Music
Unformatted Document Text:  13 While Yoo’s action was criticizes as unpatriotic, there was another growing group of voices who argue that the government had no right to deny entry to a foreign civilian with legitimate documentation. Some even look at the issue from the perspective of basic human rights, because by denying Yoo’s entry into Korea the Korean government was also denying Yoo the opportunity to a fair trial. The government decision in this sense was criticized as emotional and unprecedented, and yet supported by emotional Korean public in general. What lies behind this complex politics of identity is an equally complex understanding of ‘mobility’ in globalization. Some celebrate and others lament; but most people are perplexed and confused by different dimensions of mobility in specific contexts. What is in mobile and what is not, and why and how? And how does the mobility matter in identity politics in popular music? HOW MOBILITY MATTERS IN IDENTITY POLITICS? Appadurai states that media and immigration are two central analytical points in the discussion of globalization. The totally contradictory images of Yoo, as a cosmopolitan entertainer and a national criminal, represent the complex mechanisms of mobility in which identities are negotiated with the media and immigration under the condition of globalization. ‘Mobility’ means having the agency to move across different spatial registers of power. Mobility is not only physical but also symbolic (Morley, 2001; Shome and Hegde, 2002). Mobility is the staple of modernity, as Bauman puts it, which the impossibility of staying put and the possibility of always on the move. The question though is who moves and why. Garcia Canclini (1995) claims that people from the West are moving to the rest of the world to develop new markets, the rest are moving legally

Authors: Lee, Hee-Eun.
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13
While Yoo’s action was criticizes as unpatriotic, there was another growing group
of voices who argue that the government had no right to deny entry to a foreign civilian
with legitimate documentation. Some even look at the issue from the perspective of basic
human rights, because by denying Yoo’s entry into Korea the Korean government was
also denying Yoo the opportunity to a fair trial. The government decision in this sense
was criticized as emotional and unprecedented, and yet supported by emotional Korean
public in general. What lies behind this complex politics of identity is an equally complex
understanding of ‘mobility’ in globalization. Some celebrate and others lament; but most
people are perplexed and confused by different dimensions of mobility in specific
contexts. What is in mobile and what is not, and why and how? And how does the
mobility matter in identity politics in popular music?
HOW MOBILITY MATTERS IN IDENTITY POLITICS?
Appadurai states that media and immigration are two central analytical points in
the discussion of globalization. The totally contradictory images of Yoo, as a
cosmopolitan entertainer and a national criminal, represent the complex mechanisms of
mobility in which identities are negotiated with the media and immigration under the
condition of globalization. ‘Mobility’ means having the agency to move across different
spatial registers of power. Mobility is not only physical but also symbolic (Morley, 2001;
Shome and Hegde, 2002). Mobility is the staple of modernity, as Bauman puts it, which
the impossibility of staying put and the possibility of always on the move. The question
though is who moves and why. Garcia Canclini (1995) claims that people from the West
are moving to the rest of the world to develop new markets, the rest are moving legally


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