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Home is Where You Serve: Globalization and Nationalism in Korean Popular Music
Unformatted Document Text:  5 The crisis of identity is speed up in the process of globalization, which integrate and connect communities and nations in new space-time compression. However, this does not mean that identity is always floating. As Castelles (1997) puts, “our world, and our lives are being shaped by the conflicting trends of globalization and identity” but “when the world becomes too large to be controlled, social actors aim at shrinking it back to their size and reach.” Robinson (1991: 41) also argues that wherever globalizing forces lead people to seek ‘protective strategies’ involving the attempt to ‘salvage centered, bounded identities for placeless times’ we are likely to find the revival of ‘patriotism and jingoism.’ Not only national and individual identities face a condition of acute anxiety and crisis, but also there is a growing desire to re-establish traditional identities as a bulwark against the forces of globalization. For instance, Hall (1991) argued that the identity of Englishness has been constructed through the globalization process, the process of defining Otherness as marginality. In other words, the process of constructing Englishness contains both “exclusion” (of others from us) and “absorbing” (of others into us). Global and local, according to Hall, are the "two faces of the same movement from one epoch of globalization, the one that has been dominated by the nation-state, the national economies, the national-cultural identities, to something new" (Hall, 1991, p.178). The problem is that the huge power of nation-states is often overshadowed by those visible cross-border movements of people, goods, and commodities. Globalization in a word is about growing mobility across borderlines—mobility of goods and commodities, mobility of information and communications, and mobility of people. Two fundamental conditions are crucial in globalization of popular music; popular music should be commodified and it should have mobility. Because of its

Authors: Lee, Hee-Eun.
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5
The crisis of identity is speed up in the process of globalization, which integrate
and connect communities and nations in new space-time compression. However, this
does not mean that identity is always floating. As Castelles (1997) puts, “our world, and
our lives are being shaped by the conflicting trends of globalization and identity” but
“when the world becomes too large to be controlled, social actors aim at shrinking it back
to their size and reach.” Robinson (1991: 41) also argues that wherever globalizing forces
lead people to seek ‘protective strategies’ involving the attempt to ‘salvage centered,
bounded identities for placeless times’ we are likely to find the revival of ‘patriotism and
jingoism.’ Not only national and individual identities face a condition of acute anxiety
and crisis, but also there is a growing desire to re-establish traditional identities as a
bulwark against the forces of globalization. For instance, Hall (1991) argued that the
identity of Englishness has been constructed through the globalization process, the
process of defining Otherness as marginality. In other words, the process of constructing
Englishness contains both “exclusion” (of others from us) and “absorbing” (of others into
us). Global and local, according to Hall, are the "two faces of the same movement from
one epoch of globalization, the one that has been dominated by the nation-state, the
national economies, the national-cultural identities, to something new" (Hall, 1991,
p.178). The problem is that the huge power of nation-states is often overshadowed by
those visible cross-border movements of people, goods, and commodities.
Globalization in a word is about growing mobility across borderlines—mobility
of goods and commodities, mobility of information and communications, and mobility of
people. Two fundamental conditions are crucial in globalization of popular music;
popular music should be commodified and it should have mobility. Because of its


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