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Home is Where You Serve: Globalization and Nationalism in Korean Popular Music
Unformatted Document Text:  14 and illegally to the west in pursuit of an (imagined) good living, thereby imploding and hybridizing cultural patterns along their paths. Ma (2001) identifies ‘satellite modernities,’ which functions as magnetic sites between centers of high-modernity and developing modernities in the rest of the world. Newly modernizied cities in developing countries, such as Hong Kong and Seoul, can be categorized as ‘satellite modernities’. Ma argues that as people migrate to these satellite cities, they are consuming western modernity within the boundaries of their own nation or sister nations. A recent flow of Korean Americans from the U.S. to their mother country can be explained from Ma’s understanding of satellite modernities. Once moved to the center of the Western country, overseas Koreans flow to Seoul (city of satellite modernity) to consume and produce western modernity in secure without being marginalized. Therefore this ‘boundary- crossing’ represents a mixture of the nomadic freedom and stressful discipline of modernity. Throughout the symbolic and material production and consumption of popular music, cultural identities are articulated by bodily senses of sight, sound and touch. The construction of identity becomes powerful when ‘bodies’ (immigrants) actually come to the sites and take part in cultural rituals, which is often a mixture of translation and assimilation (Ma, 2001). If the cultural discourse of Yoo in his earlier years is based on the mobility of media representation in globalization, the one in his later years is based on the mobility of people and power of politics. In the beginning Yoo was welcomed as a salmon returned home after a long-term absence; he was welcomed culturally, economically, and politically. During the period, his song and image were believed to represent globally competitive cultural economic products and yet carry some local flavor. Considering

Authors: Lee, Hee-Eun.
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and illegally to the west in pursuit of an (imagined) good living, thereby imploding and
hybridizing cultural patterns along their paths. Ma (2001) identifies ‘satellite
modernities,’ which functions as magnetic sites between centers of high-modernity and
developing modernities in the rest of the world. Newly modernizied cities in developing
countries, such as Hong Kong and Seoul, can be categorized as ‘satellite modernities’.
Ma argues that as people migrate to these satellite cities, they are consuming western
modernity within the boundaries of their own nation or sister nations. A recent flow of
Korean Americans from the U.S. to their mother country can be explained from Ma’s
understanding of satellite modernities. Once moved to the center of the Western country,
overseas Koreans flow to Seoul (city of satellite modernity) to consume and produce
western modernity in secure without being marginalized. Therefore this ‘boundary-
crossing’ represents a mixture of the nomadic freedom and stressful discipline of
modernity. Throughout the symbolic and material production and consumption of
popular music, cultural identities are articulated by bodily senses of sight, sound and
touch. The construction of identity becomes powerful when ‘bodies’ (immigrants)
actually come to the sites and take part in cultural rituals, which is often a mixture of
translation and assimilation (Ma, 2001).
If the cultural discourse of Yoo in his earlier years is based on the mobility of
media representation in globalization, the one in his later years is based on the mobility of
people and power of politics. In the beginning Yoo was welcomed as a salmon returned
home after a long-term absence; he was welcomed culturally, economically, and
politically. During the period, his song and image were believed to represent globally
competitive cultural economic products and yet carry some local flavor. Considering


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