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Kusanagi Tsuyoshi x Chonangang

Transcending Japanese/Korean Ethnic Boundaries in Japanese Popular Culture

Bibliographic Data

ID12349592
AuthorsYuen Shu Min (National University of Singapore, corresponding author)
Year2011
Volume35
Issue1
Pages1-20
Publication date2011-02-25
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueAsian Studies Review (JOURNAL)
Journal identifiersISSN: 1035-7823 • E-ISSN: 1467-8403
PublisherRoutledge (PUBLISHER • GB)
DOI10.1080/10357823.2011.552708
OpenAlexW1996176238
LanguageEN
References cited26

In the last ten years or so, interest among the Japanese in their Korean neighbour has increased significantly. Yet, before the Korean Wave hit Japan in the early 2000s, Kusanagi Tsuyoshi, member of popular Japanese boy-band SMAP, had already débuted and gained popularity as Chonangang, his Korean alter-self. From releasing a Korean pop-music single to interviewing South Korean Presidents on Japanese national television, it is undeniable that Kusanagi (and Chonangang) has brought Korea closer to the hearts of the Japanese. In this paper, I argue that Kusanagi's performances of and as Chonangang create a polyglotic, hybrid identity that functions as a “third space” through which notions of an underlying, essential Japanese (and Korean) identity can be destabilised. Beyond mere entertainment, Kusanagi's adoption of an identity position that is neither Japanese nor Korean, yet also both Japanese and Korean, enables the articulation of difference and hybridity which, I contend, has direct relevance to Japan–Korea and Japanese–resident Korean relations

Advertising · Aesthetics · Anime · Business · Entertainment · Ethnic group · Hybridity · Identity (music · Japanese culture · Japanese studies · Korean Wave · Linguistics · Literature · Media studies · Political science · Popular culture · Popularity · Sociology · Anthropology · Asian Culture and Media Studies · Gender Studies · Japanese History and Culture · Law · Migration, Ethnicity, and Economy

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Citation velocityhistorical
Highly citedNo

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