{"id":285914,"date":"2026-02-15T23:34:13","date_gmt":"2026-02-15T23:34:13","guid":{"rendered":"https:\/\/www.newsbeep.com\/nz\/285914\/"},"modified":"2026-02-15T23:34:13","modified_gmt":"2026-02-15T23:34:13","slug":"hallyu-from-seoul-how-south-koreas-k-wave-swept-india-and-its-darker-side","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/nz\/285914\/","title":{"rendered":"‘Hallyu’ from Seoul: How South Korea’s K-wave swept India – and its darker side"},"content":{"rendered":"

\"'Hallyu' It began, for many Indians, with a song.When Gangnam Style by Psy released in 2012, it seemed ubiquitous \u2014 at weddings, college fests, street performances and on television. The horse-riding dance became shorthand for global virality. What was initially dismissed as a novelty would later be recognised as a cultural inflection point.\"Psy'sOver a decade on, K-culture is surging back with a dark twist. The triple sisters’ suicide in Ghaziabad has gripped the nation, fueling nonstop headlines with grim revelations. Their shared obsession? Korean dramas, films, and pop culture. For millions in India, this tragedy marks their stark first brush with South Korea’s magnetic soft power.South Korea is no longer a distant East Asian economy known primarily for electronics and automobiles. It is in Indian kitchens in the form of instant ramen and kimchi, in beauty aisles through multi-step skincare routines, in streaming histories dominated by Korean dramas, and in playlists headlined by K-pop groups. Cafes in Delhi, Mumbai and Bengaluru serve tteokbokki and kimchi pancakes alongside pizza and pasta. Bookstores stock Korean fiction in translation. For a growing segment of India\u2019s urban youth, South Korea is not simply a country; it is an aesthetic, an aspiration and a daily consumption choice. The Korean Wave \u2014 or Hallyu \u2014 has moved from subculture to mainstream. Its expansion is not accidental. It sits at the intersection of culture, commerce and state policy. For India, the rise of South Korean soft power presents both an example of successful cultural diplomacy and a case study in how global influence now travels \u2014 through screens, social media and aspiration.<\/p>\n

What is soft power \u2014 and why does it matter?<\/p>\n

The term \u201csoft power\u201d was coined in the 1980s by American political scientist Joseph Nye Jr. It refers to a country\u2019s ability to shape the preferences of others through attraction rather than coercion. Unlike hard power \u2014 military strength or economic sanctions \u2014 soft power works through culture, political values and foreign policy credibility.Much of this influence starts far from government offices. Schools, charities, religious institutions, and community programs all help shape how a country is seen abroad. Music, sports, films, and big industries, like Silicon Valley or Hollywood, amplify the effect. They don\u2019t just entertain or innovate; they send a message about a way of life, about what a country stands for and what it celebrates.That doesn\u2019t mean governments aren\u2019t involved. Many actively cultivate soft power as part of their international diplomatic strategy. The Cold War is a vivid example. The United States and the Soviet Union both leaned heavily on soft power, using cultural festivals, sports, films, and educational exchanges to showcase their societies as models to admire. It was a battle of attraction, a way to win hearts and minds without firing guns, and it left a lasting mark on global perceptions of each superpower involved. \"WhatIn the South Korean case, soft power evolved from economic strategy to diplomatic instrument. Emerging from the devastation of the Korean War, the country transformed itself within decades into a major economy and democracy. It joined the OECD in 1996 and is now among the world\u2019s largest economies. Global brands such as Samsung and Hyundai built its industrial reputation.But from the late 1990s onwards, successive governments recognised cultural industries as strategic assets. Laws were enacted to protect domestic film markets. Budgets for cultural exports were increased. Dedicated departments for Hallyu were created within the ministry of culture, sports and tourism. Screen quotas and startup subsidies strengthened local production ecosystems.Research published in the Journal of Indo-Pacific Affairs notes that this policy shift coincided with a move from export-led economic strategy to national branding. Under successive administrations, culture became part of public diplomacy.In 2021, members of BTS addressed the UN General Assembly on Sustainable Development Goals. Blackpink has participated in climate advocacy initiatives linked to global forums. Cultural icons have been positioned as global messengers. The results are measurable. According to Guinness World Records, BTS has set multiple global records in music and social media engagement. Spotify data has shown exponential growth in K-pop streaming globally since 2018. The global success of the film Parasite, which won four Academy Awards including Best Picture, and Netflix\u2019s Squid Game, which became one of the platform\u2019s most-watched series, further cemented South Korea\u2019s cultural footprint.Soft power, in this case, has translated into tourism, language learning, product exports and diplomatic visibility.<\/p>\n

Cultural hegemony: From Hollywood to Hallyu \u2014 and India\u2019s own soft power<\/p>\n

The idea of cultural hegemony refers to the dominance of one culture\u2019s narratives and values over others, often subtly, through media and consumption patterns. For decades, Western \u2014 particularly American \u2014 culture occupied that space globally.India has experienced that influence. English-language music, Hollywood films and Western fashion have shaped urban consumption patterns. At the same time, India has exported its own culture. Bollywood cinema enjoys audiences across West Asia and Africa. Yoga has global institutional recognition. Indian cuisine and festivals travel with the diaspora.Professor Mayukh Lahiri of the University of Calcutta argues that while Korean culture has emerged as a significant soft power, it has not yet replaced Western dominance in India. \u201cKorean culture has arguably emerged as a soft power, but it hasn’t really escalated to the zone of ‘dominance’; the expression ‘dominance’ is particularly applicable in majoritarian aspects and Korean culture hasn’t yet overwhelmingly replaced the Western culture,\u201d he says.He points to a sociological distinction. Colonial history led many Indians to view Western culture as \u201chigh culture\u201d. Korean pop culture, by contrast, appears more accessible. Citing Gangnam Style, he notes the \u201cleniency and flexibility of grammar\u201d that made participation easier for Indian audiences.A Media, Culture and Fashion Professor at Delhi University cautions against labelling Korean expansion as cultural imperialism in India. \u201cFor any culture to become Imperial, it has to actively take initiative through formal measures to become dominant in new regions and override new cultures,\u201d she says. In India\u2019s diverse society, she argues, K-culture remains largely a matter of selective consumption.As long as it remains \u201cpeople\u2019s independent preference\u201d and not state-imposed, it is better understood as globalisation and exchange rather than domination.<\/p>\n

The Korean takeover: Music, media and lifestyle<\/p>\n

The Korean Wave is often categorised into three phases. The first (late 1990s\u2013mid-2000s) centred on television dramas popular in East Asia. The second saw the rise of K-pop groups leveraging social media and YouTube to expand into Europe and the United States. The third, from the mid-2010s onwards, has been driven by OTT platforms and global fandom ecosystems.\"DifferentIn India, this third phase coincided with affordable data and smartphone penetration. Streaming platforms reduced language barriers through subtitles and dubbing.Kshitij Mishra, a young journalist, says boredom led him to discover Korean shows. A turning point was Descendants of the Sun. \u201cIt completely drew me in and sparked an obsession with K-dramas and Korean culture,\u201d he says. He admires how Korean dramas \u201cnever forget their roots, yet they don\u2019t let tradition hold them back from embracing and exploring modernity.\u201d Whereas, Dreamy Nice, a Bangladesh student living in Delhi, traces her introduction to a YouTube video by Lilly Singh reacting to BTS. To her \u201cKorean culture instantly reminds of Ramen,\u201d she says, immediately associating it with Jimin. Her favourites include actress Han Hyo-joo and Buldak ramen. Asked whether fandom turns obsessive, her answer is direct: \u201cObsession BIGG TIME YES.\u201dBeyond entertainment, the spillover is visible in K-beauty and fashion. Multi-step skincare routines, glass-skin aesthetics and minimalist fashion are marketed aggressively in Indian metros. Domestic brands increasingly use Korean terminology to signal trend alignment.Food is another vector. Korean restaurants have multiplied in metropolitan cities. Ramen brands are available across e-commerce platforms. What distinguishes Hallyu is its ecosystem effect: Music drives interest in dramas; dramas influence food and fashion; fandom communities sustain engagement. <\/p>\n

K-Pop and K-Drama: The cultural engine<\/p>\n

At the centre of the Korean Wave are two powerful industries: K-pop and K-drama.K-pop\u2019s rise from regional genre to global phenomenon has been defined by meticulous training systems, synchronized choreography, and sophisticated fan engagement strategies. Groups like Blackpink and BTS have topped international charts, broken streaming records and cultivated vast digital fandoms that mobilise across platforms. Social media has allowed fans in India to participate in global comeback events, streaming campaigns and virtual concerts in real time.The increasing popularity of the K-Pop industry is reflected in these artists becoming a regular appearance at the late night shows in America, performing and winning at the biggest stages of industry from Oscars to Grammys. \"EJAEAs Kshitij puts it, \u201cKorean cultural influence has already become a global phenomenon. Even top English musicians and singers collaborate with Korean artists because they recognize their massive impact worldwide.\u201d K-dramas, meanwhile, offer tightly written narratives often limited to 16\u201320 episodes \u2014 a format that contrasts with the long-running serial structure of Indian television. Series such as \u2018Crash Landing on You\u2019 and \u2018Goblin\u2019 have drawn Indian viewers with their blend of romance, melodrama and social commentary. <\/p>\n

Skincare<\/p>\n

K-beauty brands now occupy entire sections in major beauty retailers, from Sephora to Nykaa. In the first half of 2025, South Korea even overtook France, the country long seen as the birthplace of modern cosmetics, to become the world\u2019s second-largest exporter of beauty products, after the United States, as cited by the BBC.A cursory search for \u201cKorean skincare\u201d on Instagram, or YouTube will lead to the discovery of a plethora of content. Influencers with millions of followers dissect ingredient lists, unbox new launches, and film \u201cGet Ready With Me\u201d videos centered on concepts like \u201cglass skin,\u201d sheet masks, and the infamous snail mucin. At the core of K-beauty\u2019s global rise is its relentless pace of innovation: new products appear every few months, often designed to spark the next viral hyper-fixation. But this global enthusiasm comes with a cost. Experts have raised concerns about the social impact of the standard it imposes, especially on young people. An incessant exposure to skincare content online can contribute to anxiety, reinforce narrow standards of beauty, and encourage excessive spending. As K-beauty continues to expand, its cultural influence is clear, but so too are the questions it raises about the pressures of a hyper-curated, image-focused world.<\/p>\n

K-fashion<\/p>\n

K-fashion, or Korean fashion, has gained global attention largely due to the rising popularity of K-pop and K-dramas, a trend that is particularly visible in India today. It blends contemporary, urban styles with subtle elements of traditional or conservative fashion, creating a look that is both modern and approachable. Central to K-fashion is a \u201cless is more\u201d philosophy, favoring clean lines, understated silhouettes, and carefully curated accessories.Virochini Shandil, a MBA student, says her singular biggest traction has been the Korean fashion industry, \u201cThe dress sense is so fascinating and also the cultural blend in it, it\u2019s just so intriguing.\u201d\".\"The trend encompasses a wide range of styles, from baggy pants and oversized tops to tailored trench coats and minimalist tote bags, offering versatility while maintaining a distinct aesthetic. What sets K-fashion apart is its balance: the pieces are understated yet deliberate, simple yet immediately recognizable. This approach to clothing reflects a broader cultural emphasis on aesthetics and personal expression. <\/p>\n

Films<\/p>\n

Over the past two decades, Korean cinema has steadily moved from festival circuits to mainstream global screens. Films such as Oldboy, The Handmaiden, Train to Busan, Minari, and the Oscar-winning Parasite have shown an industry unafraid of genre-bending, moral ambiguity, and political commentary. These films are deeply rooted stories that travel because their emotions and conflicts are recognisable everywhere.Virochini says, \u201cthe Korean entertainment industry in itself is attractive, they make very few movies, but the ones they come up with are literally awesome.\u201d \"PrasiteWith directors who experiment fearlessly and writers who resist set resolutions, Korean films have carved out a space that feels both distinctly local and global at the same time. The result is a cinema that does not just entertain but provokes, and lingers, one that has firmly placed South Korea among the world\u2019s most influential film cultures today. <\/p>\n

Mukbangs and Dalgona coffee<\/p>\n

A decade ago, Korean food was still a curiosity outside East Asia. Today, it is a familiar sight in Indian supermarkets and social media feeds. The rise of K-pop, K-dramas and films pulled global audiences into Korean culture, and food became one of the easiest ways to participate in it. The pandemic years pushed this further. With people stuck at home, dalgona coffee and ramyeon recipes went viral, turning casual viewers into home cooks. Brands like Samyang\u2019s Buldak Ramyeon rode this wave with bold flavours and savvy social media marketing, becoming staples in dorm rooms and kitchens worldwide.Mukbang videos and Korean dramas helped popularise snacks like Pepero and Turtle Chips, while companies quickly adapted flavours to global trends, from matcha to fusion variants. Korean food\u2019s global success is not just hype\u2014it is a carefully marketed, fast-adapting industry that has found a loyal audience far beyond Seoul.<\/p>\n

Adaptation or displacement?<\/p>\n

Does this popularity threaten local industries?The DU Professor believes Indian industries adapt rather than retreat. \u201cIndians are very adaptable and would hardly lose out to Korean culture because Indians have time and again jumped into the mainstream and reshaped itself with time,\u201d she says. Many Indian brands, she notes, sell domestic products under Korean-sounding labels.Professor Lahiri observes that mediated global cultures have long overshadowed folk traditions. Korean influence may intensify that infusion, but it is part of a larger globalisation process rather than a singular takeover.For policymakers, the key is balance \u2014 encouraging domestic creative ecosystems while remaining open to global exchange.<\/p>\n

The geopolitical layer: Can culture offset constraints?<\/p>\n

South Korea\u2019s soft power has enhanced its global image, but it cannot replace hard power realities. Surrounded by China, Japan, Russia and allied with the United States, Seoul operates in a complex geopolitical environment. North Korea\u2019s nuclear programme remains a central security concern.Analysts such as Chung Min Lee have argued that soft power cannot resolve geopolitical tensions but can expand diplomatic space. South Korea\u2019s leadership in digital technology, development cooperation and human rights advocacy could complement its cultural influence. \"The<\/p>\n

The dark side: Pressure behind perfection<\/p>\n

The global polish of K-pop and K-drama often conceals an industry built on intense competition, rigid hierarchies and relentless scrutiny. Entry barriers are high. Only a fraction of trainees debut successfully. Performance standards are exacting.Behind the synchronised choreography and cinematic storytelling lies a system that has drawn increasing criticism \u2014 both within South Korea and abroad.Observers have repeatedly raised concerns about mental health pressures within the entertainment industry. Strict contracts, public scrutiny and online harassment add strain. High-profile celebrity suicides in recent years have prompted debate within South Korea about industry reform and support systems. Virochini argues, \u201camid the all starry and glorious facade, one thing that immediately comes to mind thinking of Korea is \u2018no -free will\u2019. In the North there is dictatorship so you can\u2019t expect anything, but in the South the way they have made the system twisted, with contracts, obligations, fandom, stardom that an artist or media face just can\u2019t even have a private life. They can\u2019t do anything on their own.\u201dIndian fans are aware of this contradiction. Mishra acknowledges that \u201ccraze and love can sometimes turn into obsession\u2026 it can become a delusion, affecting their critical thinking and sense of reality.\u201d Saksham Baru, a young working professional, points out a more concerning trend, the rising racism in South Korea. He says, \u201cI have come across so many incidents where the Koreans haven\u2019t really been nice to us. So i wonder if they don\u2019t like it why are we obsessing over them, or so and about it. The only thing that leads me to is disgust.\u201d The aspirational lifestyle promoted through K-pop and K-dramas \u2014 flawless skin, coordinated fashion, disciplined bodies \u2014 can create pressure among young audiences. Professor Lahiri warns of \u201cpeer pressure\u201d and risks of \u201ccompulsive buying\/consumption.\u201dAt the same time, critics caution against moral panic. As Professor from DU notes, overconsumption is a risk with any global cultural stream. Fearmongering, she argues, could inadvertently elevate Korean culture into the very imperial force critics fear.The beauty, body image and social impact is also huge. The aesthetic standards projected through K-pop and K-drama \u2014 pale skin, slim figures, symmetrical features \u2014 have had ripple effects across Asia and beyond. South Korea has one of the world\u2019s highest rates of cosmetic procedures per capita, a statistic often linked to competitive beauty norms.As K-beauty and K-fashion spread globally, these standards travel with them. In India, where colourism already shapes beauty hierarchies, the promotion of \u201cglass skin\u201d and flawless complexions can reinforce narrow ideals. Young fans may internalise unattainable expectations, blurring the line between admiration and self-criticism.<\/p>\n

From trend to template<\/p>\n

South Korea\u2019s cultural ascent illustrates how middle powers can leverage creativity, technology and policy coordination to amplify influence. It demonstrates the convergence of economic growth, democratic consolidation and digital innovation.For Indian audiences, the Korean Wave is less about displacement and more about diversification. Bollywood and cricket continue to dominate domestic conversation. But Seoul now shares space in the cultural imagination for many. Soft power travels through bandwidth. A dance challenge can move from Seoul to Jaipur in hours. A drama released on an OTT platform can trend in Mumbai overnight. Influence no longer depends on geography.The Korean wave\u2019s future in India will likely depend on continued digital access, evolving tastes and the ability of both countries to engage beyond entertainment \u2014 in technology, education and policy collaboration. Soft power has limits. It cannot erase geopolitical fault lines. But it can build familiarity, open markets and create narratives of partnership.From Gangnam Style to Squid Game, from ramen shelves to UN podiums, South Korea\u2019s rise as a cultural power reflects a broader shift in global influence \u2014 one where attraction, not coercion, increasingly shapes the conversation.<\/p>\n","protected":false},"excerpt":{"rendered":"It began, for many Indians, with a song.When Gangnam Style by Psy released in 2012, it seemed ubiquitous…\n","protected":false},"author":2,"featured_media":285915,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[3640,156,159173,113390,159174,159171,3857,157,111,139,69,4790,159175,159172],"class_list":{"0":"post-285914","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-bts","9":"tag-entertainment","10":"tag-ghaziabad-sisters","11":"tag-hallyu","12":"tag-kdrama","13":"tag-korean-wave","14":"tag-kpop","15":"tag-music","16":"tag-new-zealand","17":"tag-newzealand","18":"tag-nz","19":"tag-south-korea","20":"tag-south-korea-india","21":"tag-south-korean-culture"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/posts\/285914","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/comments?post=285914"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/posts\/285914\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/media\/285915"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/media?parent=285914"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/categories?post=285914"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/tags?post=285914"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}