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Edunity
Volume 2 Number 11, November, 2023
p- ISSN 2963-3648- e-ISSN 2964-8653
Doi:
https://edunity.publikasikupublisher.com/index.php/Edunity/index
PARASOCIAL INTIMACY AND FAN CULTURE WITH K-POP
ARTISTS IN INDONESIAN DIGITAL MEDIA: A STUDY OF
FAN-IDOL RELATIONSHIPS ON SOCIAL MEDIA
PLATFORMS
Marsaa Salsabila Syawal
University of Indonesia, Jakarta, Indonesia
E-mail: [email protected]
ABSTRACT
This research explores parasocial intimacy within Indonesian K-pop fandom, examining how
digital media shapes fan-idol relationships. Using a qualitative approach and literature study
method, this research investigates the mechanisms that underlie parasocial phenomena, fan
culture and digital media. This research finds that the significant role of social media in
providing fans with glimpses into their idols' personal and professional lives, enhancing socio-
emotional connections. While existing recognizes the impact of cultural context on fan
dynamics, emphasizing the need for future research to explore factors like gender, age, and
social background. This study contributes to the global conversation on parasocial intimacy and
fan-idol relationships in the digital age.
Keywords: Parasocial Intimacy; Fan-Idol Relationship; Fan Culture; K-pop; Fandom; Digital
Media
Introduction
K-pop, or Korean pop music, is becoming very popular worldwide, captivating
audiences in global countries, including Indonesia. According to Twitter's internal data
in 2021, Indonesia had the most K-pop-related tweets from 2020 to 2021. In fact,
Indonesia was also the country with the most significant number of fans (analysed by
unique authors), with Japan and the Philippines following close behind (#KpopTwitter
Reaches New Heights with 7.8 Billion Global Tweets, 2022). This data emphasises the
extraordinary resonance of K-pop in Indonesia.
While K-pop artists have big fanbases worldwide and often interact with their fans
through social media like Twitter, Instagram, TikTok and YouTube, these interactions
are often one-way, where fans feel close to the artist, but the artist doesn't know their
fans personally. This interaction leaves fans feeling intimately connected while the artist
remains distant. Moreover, the development of technology and social media has had a
significant impact, where fans can easily interact with their favourite K-pop artists
through social media platforms.
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Joseph Walther, a researcher of social dynamics and interpersonal computer-mediated
communication, also mentioned the fluidity and looseness of social interaction through
digital media (Walther, 1996). Walther also found that what is called hyper-personal
interaction can also be developed online. This notion may explain why some forms of
interaction by digital media are sometimes characterised by higher levels of emotional
intensity and self-disclosure than face-to-face interactions. Walther explained that
people who communicate digitally – with fewer gestures than face-to-face
communication – may succumb to relying too heavily on the information they have. In
other words, computer-mediated communication seems able to make interaction
impersonally or more (hyper-)personal, and maybe something in between (Lindgren,
2017).
The influence of digital media on the fans-idol relationship is a relatively new area of
research. The concept of parasocial intimacy has been researched in the context of
Western fans-idol relationships. However, it has yet to be researched widely in
Indonesia, particularly in the context of K-pop fans-idol relationships in social media. It
is worth noting that this research's references, while not specific to Indonesia, provide a
valuable base for understanding the broader dynamics of fan-idol relationships in this
digital era.
The development of social media popularity, like Instagram, Twitter, YouTube, and
TikTok, is an essential factor in forming a parasocial relationship between fans and K-
pop idols. With that, this research must consider the impact of digital media on the
parasocial intimacy phenomenon.
This research will discuss how Indonesian K-pop fans formed parasocial relationships
with K-pop idols through social media and also what fan culture's role is in shaping
parasocial intimacy between fans and K-pop idols. It is essential to note the
interconnectedness of both parasocial intimacy and fan culture, as these influence each
other in shaping the fan-idol dynamic. Parasocial intimacy and fan culture are closely
related because they influence each other in forming a relationship between fans and
idols. Fans often feel a strong emotional attachment to their idols through the
consumption of digital content that was provided by the idols on social media or other
platforms. This then formed a fan community that was known as fan culture. In fan
culture, fans often engage in activities like making fan art, writing fan fiction, making
fan-made videos, and others as a form of respect and support for their idols. These
activities then strengthen the emotional bond between the fans and idols, forming a
culture and strengthening the fans' identity.
On the other hand, parasocial intimacy also influenced fan culture in forming fans'
expectations and hopes for their idols. Fans often have perceptions or expectations about
their idols' traits and behaviours through the digital content that they consume. This can
also influence how fans interact with their idols in the real world and also online. On
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this note, parasocial intimacy and fan culture are two symbolic forces that significantly
impact the fan-idol relationship within the digital media landscape.
Through research about parasocial intimacy and fan culture with K-pop artists in
Indonesian digital media, it is expected to contribute to the development of
communication science, especially in understanding the relationship between social
media and psychological phenomena and human social behaviour.
Conceptual Literature Framework of the Study
Parasocial Interaction, Parasocial Relationship and Parasocial Intimacy
The parasocial phenomenon is now an area that is widely researched in the
communication research field (Giles, 2002). For a long time, the alteration of the use of
the terms Parasocial Interaction (PSI) and Parasocial Relationship (PSR) made it
challenging to theorize and empirically test these concepts (Hartmann & Goldhoorn,
2011). Because of the recent effort to classify the conceptual and operational definition,
it is now accepted that PSI refers to audiences' illusion of direct interaction with media
figures during media exposures. In contrast, PSR refers to affection and behaviour that
may develop during media exposure and persist beyond media exposure (Dibble et al.,
2016).
The term parasocial interaction refers to fake conversational behaviour from audiences
to media actors (Giles, 2002; Horton & Wohl, 1956). This interaction can happen in
reactions to shows, gestures, or voices from media actors (Horton & Wohl, 1956).
Parasocial interaction can be considered as media audiences’ reaction to media actors so
that the audience has an intimate relationship with that actor (Xu et al., 2022).
Parasocial relationship (PSR) (Horton & Wohl, 1956) refers to fantasies or intimate
relationships that fans form with celebrities (Dibble et al., 2016; Giles, 2002; Horton &
Wohl, 1956). The parasocial relationship is a socio-emotional bond that people develop
with media figures like celebrities and fictional characters. PSR mirrors the social
relationships offline in many ways, even though the intimacy that individuals feel with
media figures is not reciprocated (Tukachinsky & Stever, 2019).
Initially, Horton and Wohl (1956) stated that a parasocial relationship emerges when
there is an illusory relationship which looks close, like a friendly or intimate relationship,
between media users and media actors. PSR arises from one-way intimate interaction
made by fans. This relationship is limited to media user who follows their favourite
media actor by seeing their content. In other words, this relationship is considered
parasocial because fans tend to know about the activities, anecdotes, and even the
attitude of their favourite celebrities. In contrast, celebrities almost do not know anything
about their fans (Xu et al., 2022). Because of that, the parasocial relationship is considered
a fake, one-way relationship that was built by audiences (media users) to media actors
but not mutually developed ((Giles, 2002; Horton & Wohl, 1956).
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There are some theoretical aspects of PSR, and some of them help reveal how “fiction
takes precedence over actual” (Horton & Wohl, 1956). The first and most crucial
characteristic is the unrequited commitment from fans to celebrities (Rubin & Step,
2000). The second characteristic of PSR is intertextuality (Wohlfeil et al., 2019). The third
one is perceived as homophile. Fans are more likely to be interested in celebrities that
they feel are alike and similar and with the one they can identify with, often as a result
of projecting their own characteristics with celebrities (Eyal & Rubin, 2003). Fourth, the
initial conceptualization of PSR stated that they function as a substitute for “autonomous
social participation” among individuals who are unable to maintain “real” relationships
or feel unpopular or rejected by others (Horton & Wohl, 1956). For Horton and Wohl
(1956), in the original formulation of PSR theory, celebrities’ figures were made
“available as love objects” for the lonely. Lastly, the concept of love – no matter how one-
sided – can function as an integral part of PSR (Jones et al., 2022).
The term parasocial intimacy refers to outcome construct rather than PSI or PSR.
Parasocial intimacy is an audience feeling to be understood, validated, and noticed by
media personae. Seeing the similarity between parasocial intimacy and interpersonal
intimacy, this definition can also considered as the one-sided, imaginative nature of
parasocial relationships, distinguishing parasocial intimacy from interpersonal intimacy
(Dai & Walther, 2018).
Recent research on the interaction between audiences and public figures through new
media identifies messages and channel-related factors contributing to audiences’
intimate projection towards public figures. For example, Lee and Jang (2013) found that
people with low affiliative tendencies felt greater intimacy towards public figures when
viewing their Twitter page compared to reading news articles about their tweets (Lee &
Jang, 2013).
In a parasocial relationship with mainstream celebrities, intimacy can develop when
audiences feel an intimate emotion with celebrities when viewing their shows (Horton
& Wohl, 1956). The experience of intimate emotion can be compared with when the
audience feels they are having an intimate reaction with their close friends (Perse &
Rubin, 1989). Horton and Wohl (1956) said that audiences form emotionally close
relationships with media actors that they like, and perceptions of intimacy are essential
for maintaining parasocial relationships. Social media platforms provide many
opportunities for such intimate acts (Xu et al., 2022). Because the perceived intimacy is
inherently intertwined with parasocial interaction, the perceived intimacy with media
actors is the essence of parasocial relationships (Rojek, 2015).
Fan-Idol Relationship
Cited from Jones et al. (2022), celebrities, or what has been approached as people-brands
(Fournier & Eckhardt, 2019), human brands (Thomson, 2006), or celebrity brands
(Kerrigan et al., 2011), can provide consumers with a source of entertainment, a catalyst
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for inspiration, and the illusion of friendships (Wohlfeil et al., 2019). There is a general
academic consensus that being a “fan” is more than buying or consuming a product
associated with certain celebrities and describing people who show loyalty level,
emotional bond, and a fantastic enthusiasm for those celebrities (Wohlfeil, 2018). Fans
oftentimes can do many personal and financial matters to chase their fandom, using their
loyalty to the celebrities as a resource to construct their identity and even celebrate and
show their passion in a social context. In this matter, a celebrity functions as a brand for
fans and, like other brands, develops their meaning through social construct and
interaction between their fans (Fournier, 1998; Muniz & O’Guinn, 2001). A celebrity thus
can be seen as a celebrity brand whose fans seek out transmedia products, performances,
and endorsements associated with the celebrities, but also engaging in making meaning
through social construct and interactions in a logic that resembles the cult appeal of
branded content (Kerrigan et al., 2011).
Becoming a fan is not just a free-time activity but also to make a new form of culture that
is called participatory culture. Participatory culture means fans are not only consuming
media by listening and watching but also using selected media content to recreate their
content (Jenol & Pazil, 2020).
Kozinets (2001) described fans as loyal consumers who invest much of themselves in
their consumption. They are engaged in a form of deviant consumption from other
consumers. For music fans, music is ingrained in their daily lives in a much more
powerful way than the occasional music consumers (Derbaix & Korchia, 2019).
K-pop Fan Culture
The definition of fandom can be understood as casual but serious activities that are
characterised by persistence, long-term personal effort, self-benefit, and unique ethos
inherent in activities, and participants identify strongly with their chosen activities
(Abercrombie & Longhurst, 1998; S. Lee & Yoo, 2015). In particular, celebrity fandom is
a stage of intense worship towards celebrities that are expressed in feelings, attitudes
and behaviours. Since the development of the internet, online media platforms have
created a much broader spectrum from fandom practices, and fans now are an essential
part of celebrities’ promotion activities. Researcher Galzuka (2015) concluded that fans
could play a new role in the online media era and globalisation: sponsors, co-creators of
value, stakeholders, investors and filters (Jenol & Pazil, 2020).
Cited from Kang et al. (2022), fans usually identify themselves as a member of a fandom,
and they usually join a fan community to get information or to communicate with other
fans. Fandom like that usually tends to (i) consist of passionate fans, (ii) reveal strong
cohesion (Blake, 2018), and (iii) share their own culture (Duffett, 2013).
Kang et al. (2022) also stated that for the success of K-pop bands, their fans usually made
a collective attempt, usually called fan labour work, in some ways like massive
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streaming or downloading their band songs to improve their ranking on online charts,
continuous tweets with a relevant hashtag to make their band showed up on Twitter
trending, and extensive voting in music awards.
Kim et al. (2014) found that international K-pop fan networks are abundant on Twitter,
and they communicate with each other by sharing URLs about K-pop. The distribution
of K-pop contents through social media contributes to K-pop popularity amongst
Indonesian adolescents who are familiar with IT technology (Jung & Shim, 2013).
J. Kim (2017) uses the term “K-popping” to show Korean women fans’ active
participation in music production as listeners, singers, producers, and promotors. K-pop
fans even produce, distribute, and consume their own product to resolve their
dissatisfaction with official productions and to show their investment in their fandoms
(Sun, 2020).
K-pop fans not only learn Korean but also understand some exclusive and specific terms
that are only understood within the K-pop fans’ community (Touhami & Al-Abed Al-
Haq, 2017). Ryff (1989) also stated that being a part of the fans community helps one
strive for personal growth and development (Jenol & Pazil, 2020).
Digital Media
Social Network Sites (SNS) can be defined as online platform that allows users to
organize and maintain their social contacts (Boyd & Ellison, 2007). Even though there
are many functions for using social networking sites, the main feature to maintain
(Grieve et al., 2013) and expanding social networks (Ellison et al., 2007) is still the basic
for users. This online platform allows public figures (Abroms & Craig Lefebvre, 2009)
and celebrities (Marshall, 2010) to expand their popularities and their influences (Ke Yen
& Soon Li, 2021).
A relevant literature development discloses that parasocial interaction can happen in
digital media, like online blogs (Thorson & Rodgers, 2013) and YouTube (Rasmussen,
2018). In this note, research shows that parasocial interaction and social network sites
are intertwined because some specific user groups use this online platform to interact
with a large group of followers (Frederick et al., 2012; Rasmussen, 2018; W. H. S. Tsai &
Men, 2017). W.-H. S. Tsai et al. (2013) argue that social media facilitates a higher level of
parasocial interaction between users and media actors (Xu et al., 2022).
Social media become the most popular platform for celebrities to interact with their
audiences and fans. Based on Stever and Lawson (2013), “for passionate fans, Twitter
can signify a direct connection to a favourite celebrity giving access to the information
daily and also a way to contact and connect with that artist directly” (Reyes et al., 2021).
Cited from Utami (2019), often, online interaction and social media postings in
celebrities’ accounts or channels are geared towards image-making to cultivate the love,
attention, and loyalty of their social media followers or fans (J. Kim & Song, 2016). As
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such, the illusion of intimacy that arises from the constant forging of PSRs between
celebrities and fans has become a common practice on online platforms, a necessary key
to online marketing that contributes to celebrity success (Kehrberg, 2015). Although
most PSR is one-way, media users often interact actively rather than passively in order
to engage with media figures (Labrecque, 2014)
Research Method
This research uses a qualitative approach. The method that will be used in this research
is the literature study method, where the research subjects will observe, collect materials,
and understand how the phenomenon or object of research occurs (Alima &
Ramadhanty, 2022).
In this study, the data taken is secondary data. Data is taken from the previous studies
discussing parasocial intimacy in fan-idol relationships in digital media. Journals are
taken from Scopus, Google Scholar, Sage Journals, and Taylor & Francis Online, with the
main keywords of Parasocial Intimacy, Fan-Idol Relationship, Fan Culture, and Digital
Media. Then, the data from the journals will be discussed, and the conclusions will be
drawn following the focus of the research
Result and Discussion
Result
Based on research results, parasocial phenomena are now a widely researched area
within the field of communication research (Giles, 2002). The term parasocial interaction
refers to the fake conversational behaviour of audiences towards media actors (Giles,
2002; Horton & Wohl, 1956). This interaction can occur in reaction to performances,
gestures, or sounds from media actors (Horton & Wohl, 1956). Parasocial relationship
(PSR) refers to the friendly imaginings or intimate relationships that fans form with
celebrities (Dibble et al., 2016; Giles, 2002; Horton & Wohl, 1956). PSRs arise from
intimate, one-way interactions by fans. Parasocial relationships are socio-emotional
bonds that people develop with media figures such as celebrities and fictional characters.
At the same time, parasocial intimacy is the audience's feeling of being understood,
validated, and cared for by media personas in hypothetical encounters with them (Dai
& Walther, 2018).
Discussion
Kozinets (2001) described fans as loyal consumers who invest much of themselves in
their consumption. They are engaged in a form of deviant consumption from other
consumers (Derbaix & Korchia, 2019). Cited from Jenol and Pazil (2020), becoming a fan
is not just a free-time activity but also to make a new form of culture that is called
participatory culture. Participatory culture means fans are not only consuming media by
listening and watching but also using selected media content to recreate their content.
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Since the development of the internet, online media platforms have created a broader
spectrum of fandom practices and fans are now an essential part of celebrity promotional
activities. Kang et al. (2022) stated that for the success of K-pop bands, their fans usually
make collective efforts, commonly called fan labour work, in several ways.
This participatory culture and fandom culture is one factor in forming parasocial
intimacy between fans and K-pop idols. Social media is also the most popular platform
for celebrities to interact with their audiences and admirers. Cited from Xu et al. (2022),
Tsai and Men (2013) argued that social media facilitates higher levels of parasocial
interactions between users and media actors. And cited from Utami (2019), online
interactions and social media posts on celebrities' social media accounts or channels are
often geared towards image-making to cultivate love, attention, and loyalty from their
social media followers or fans (J. Kim & Song, 2016). Therefore, the illusion of intimacy
that arises from the constant forging of PSRs between celebrities and fans has become a
common practice on online platforms, a necessary key to online marketing that
contributes to the success of celebrities (Kehrberg, 2015).
A factor that has led to the strong parasocial relationship between fans and K-pop idols
is social media. Social media platforms give fans a glimpse into the professional and
personal backstage of their favourite media figures that would otherwise be unknown.
The frequency and perceived authenticity of media figures' self-disclosure on social
media enhances people's socio-emotional connections (J. Kim & Song, 2016; Kurtin et al.,
2018). Parasocial relationships partly develop through observing media figures and
imagining interactions with them (Dai & Walther, 2018). Moreover, parasocial
relationships become stronger when fleeting episodes of computer-mediated
interpersonal engagement occur directly between media figures and their fans (e.g.,
media figures retweeting fans' posts on Twitter or liking fans' comments on Instagram)
(Bond, 2016).
Conclusion
Future research is expected to examine further the role of culture and social context in
shaping parasocial relationships with K-pop artists. Research could explore the
influence of factors such as gender, age and social background on this phenomenon,
both in Indonesia and in diverse global contexts. A practical recommendation that can
be drawn from this research is to develop social media apps and platforms that can
facilitate interactions between fans and K-pop artists in a more healthy and constructive
way, considering the global nature of K-pop fandom. For example, platforms that
promote collaboration and interaction between fans. Finally, it can try to improve the
understanding of the parasocial phenomenon in Indonesian society and the music
industry as a whole.
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As one of the largest music markets in the world, Indonesia can play an essential role in
developing healthy practices in the relationship between fans and K-pop artists.
Through this research, communication science can help open a space for discussion and
a better understanding of the relationship between fans and idols in the growing digital
era
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