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AGUAS, ANTIPORDA, BABADILLA, DORON, PAYAPAG
I LOVE YOU TO THE MOON AND BACK: AN ANALYSIS OF KPOP STANS’
CELEBRITY WORSHIP BEHAVIOR
Sophia Kyale Marie A. Aguas, Louie Shelei G. Antiporda, Ivy Kylene U. Babadilla,
Denise Anson S. Doron, Noreen S. Payapag
Rizal Technological University
Abstract: The global wave of Korean pop music (K-pop) has undoubtedly made its mark in the
Philippines, captivating audiences of all ages and backgrounds. Filipinos, known for their love of
music and dance, embraced K-Pop's energetic style. This study aimed to further identify, explore,
and examine the phenomenon that currently affects K-Pop fans and their behaviors. To reach their
objectives, researchers utilized qualitative research with a phenomenological research design. To
generate qualitative data, the researchers used a semi-structured interview. Researchers also
applied Clarke and Braun’s thematic analysis as a method. A total of 15 participants, 5 in each
level— regardless of gender and ages from 18 to 35—were recruited through various social media
platforms from different areas of Metro Manila. The Celebrity Attitude Scale was utilized as a pre-
qualifying tool to determine the extent of celebrity worship behavior among K-pop fans. To be
able to get precise responses from the participants, researchers used purposive sampling. Based on
the data gathered, participants became fans by appreciating K-pop groups’ music and content
creations through remote-social acculturation. This research served as a precaution amidst the
growing popularity of the Korean Wave in the Philippines. It indicated that K-pop fans have
undergone social acculturation despite not having direct exposure to South Korean culture.
Understanding these dynamics can help inform strategies for cultural integration and cross-cultural
communication within K-pop Stans.
Keywords: Celebrity worship behavior, KPop Stans, social acculturation, remote acculturation
K-pop culture has been dominating
the entertainment industry worldwide,
including in the Philippines. It penetrated the
country's mainstream media to the point that
even domestic radio stations have been
caught up in the K-pop wave. Korean music
of every genre can be heard everywhere, from
pop and upbeat tunes to ballads. According to
“GMA News” (2021), the Philippines
emerged as the third country with the most
number of K-pop fans in 2021. First on the
list is Indonesia, followed by Japan (Layug,
2022). Filipinos have caught up with the
increasing popularity of different K-groups.
Korean pop music (Kpop) became
popular worldwide in 2003 with the
emergence of BoA and TVXQ. Followed by
the birth of a new generation—such as
Bangtan Seonyondan (BTS), EXO,
Seventeen, NCT, and Super Junior;
Blackpink, Twice, Girl’s Generation, ITZY,
and IVE. With their beauty, talent, fame, and
personality that aimed for perfection, K-pop
groups gained more than millions of
AGUAS, ANTIPORDA, BABADILLA, DORON, PAYAPAG
followers and listeners. Fans all over the
world have enjoyed watching their idols with
their performances, listening to their music,
and following their lifestyle. Different
fandoms immersed themselves and made
their way into making their favorite groups
and biases widely known by showing their
differences and uniqueness from other groups
and idols.
In order to express their likes and love
for their idols, young people all over the
world have shown unprecedented support for
K-Pop celebrities during the past decade. In
showing support and love for their idols,
some of the fans around the world would
even follow Korean culture, including food,
language, and traditional events. For some
fans, buying merchandise released by their
idol handlers or merchandise related to their
biases shows their full love and support.
Due to the Korean Wave's ongoing
popularity, a recent episode of Kapuso Mo,
Jessica Soho, a famous primetime news and
public affairs show in the Philippines,
featured a girl named Bea, who allegedly
stole almost P2 million from her family to
buy K-pop merchandise. Bea the kpop stan
has an unbelievably envious collection of
kpop merchandise; some of these are called
"rare,” considering that those were limited
editions from the entertainment company or
handler of the boy/girl band (Pasajol, 2023).
K-pop stans often support their
favorite groups or artists by streaming their
music, attending concerts, engaging on social
media, and participating in various fan
activities. In the case of Bea, she exceedingly
devoted her financial and physical resources
to support her biases. This episode also
reveals that the wherewithal she used was
from her grandmother, who works 24/7 at
their store; that is basically hard-earned
money from their family business.
Out of all things, this case is not new
in the K-pop industry. K-pop stans have been
rampant for years. It was common for K-pop
stans to have a strong passion for their
favorite artists, but some of them struggled a
little bit too much with the reality. K-pop fans
have diverse views on celebrity worship.
Some see it as a natural and joyful part of
being a fan, allowing them to connect
emotionally with their idols. Others could
avert excessive worship, emphasizing the
need to recognize that idols are real people
with their own lives and boundaries.
Excessive admiration by a fan toward
a celebrity can be described as celebrity
worship. This can come to a point where the
individuals that they idolize have resulted in
obsessional involvement and are likely to
attain the point of worship (Brooks, 2018).
Thus, three basic stages of celebrity worship
are identified. First on the list is low worship
level (entertainment-social); this behavior is
focused on individuality, wherein a person
watches, reads, listens, and keeps up with
their favorite celebrities for leisure.
On the other hand, the second stage is
a slightly higher level of celebrity worship
(intense-personal), which is related to
fantasizing. They were indicated by
socializing, where conversing, hearing, and
watching with other people who were also
fans of their idols were involved. Also, the
fans were described as being impulsive and
compulsive about anything that was involved
with their idol. Lastly, the highest worship
level (borderline-pathological) is associated
with the irrational and uncontrolled thoughts
of the individual towards their idols. They
were willing to do anything, including
AGUAS, ANTIPORDA, BABADILLA, DORON, PAYAPAG
unlawful acts for their favorite celebrity, as
well as fantasizing that they have a special
affinity with them (Cahyani & Purnamasari
2019, as cited in Parawangsah et al. 2023).
There are three factors that influence idol
worship, namely: (a) age: idol worship
reaches its peak in adolescence and will
decline slowly with age; (b) social skills:
individuals with poor social skills consider
idol worship as compensation for not
occurring in real social relations; (c) gender:
men are more likely to idolize female
celebrities, while women tend to choose male
celebrities as their idols (McCutcheon,
Lange, & Houran, 2002, as cited in
Widiastuti et al. 2019).
Moreover, keeping and collecting
merchandise or souvenirs related to their idol
as well as obsessing with the personal details
of their favorite celebrities are included. This
can be developed from positive admiration to
obsession, and due to the behavior of some
fans, idolizing is perceived as crazy and
irrational in the eyes of the public. This
behavior is described as an excessive love for
the idol that causes them to fantasize; they
even give up their time every day just to
message their idols, even though they never
receive a response. They felt betrayed when
their idols were involved in a dating rumor
because they believed there was a chance that
this idol would like them back the way they
liked them. And these idols should devote
their attention and time to them, just as they
do for them.
Thus, the researchers conducted the
study with the title I Love You to the Moon
and Back: An Analysis of Kpop Stans'
Celebrity Worship Behavior, which analyzed
and examined the phenomenon that currently
affects K-Pop fans and their behaviors. The
researchers used a qualitative approach and a
phenomenological research design in
conducting the study. Thematic analysis and
thematic mapping were applied with an
interview method, particularly a semi-
structured interview questionnaire, in
gathering and interpreting the data. The
researchers also used purposive sampling in
choosing the participants ages 18 and above
within Metro Manila through online
platforms.
Methodology
Participants
The study investigates Filipino K-Pop
fans who exhibit celebrity worship behavior.
Fifteen participants aged 18-35 were
gathered and they have completed the pre-
qualifying assessment called Celebrity
Attitude Scale. These participants were then
categorized into three groups of five each
based on their celebrity worship levels: (1)
Entertainment-Social, (2) Intense-Personal,
and (3) Borderline Pathological. Prior to
completing the scale, participants met the
following criteria: (1) being Filipino K-Pop
fans, (2) Aged 18-35, (3) Never been to South
Korea, (4) Using Korean words or phrases,
and (5) Residing in Metro Manila.
In addition, the study was conducted
in various locations within Metro Manila,
allowing participants to choose where they
felt most comfortable and at ease during their
interviews. Informed consent was obtained
from each participant before the interviews
began, providing them with information and
procedures related to the study.
The five ES Participants are all
female from 18-22 years old. They came
from the cities of Mandaluyong, Pasig and
Taguig. Most of the participants are fan of the
AGUAS, ANTIPORDA, BABADILLA, DORON, PAYAPAG
groups EXO, BTS, Girls Generation, and Red
Velvet. On the other hand, two of them
mentioned that they are not being actively
involved in the Kpop fandom currently.
IP Participants are all aged from 19-
22 years old with a majority of females
except from IP Participant 2. Most of them
reside in Pasig City while two of them are
from Marikina City and San Juan City. Girl
groups are primarily favored, with TWICE
mentioned the most from 4 of the
participants. Other popular groups include
EXO, Seventeen, TXT, Red Velvet, Le
Sserafim and IVE.
Lastly, the BP Participants includes 4
females and 1 male. Ages ranging from 21-
22 years old, settled in the cities of Manila,
Quezon, Makati, and Mandaluyong. All of
them listen to boy groups and girl groups but
TWICE is the most mentioned group overall,
followed by Red Velvet and EXO.
Data Collection
The study explored Kpop Stans’
Celebrity Worship Behavior. The researchers
gathered information from fans on various
social media platforms like Twitter,
Facebook, Instagram, and Discord to
understand their perspectives and
experiences. This suggests the study aimed to
gain a deep understanding of this
phenomenon through the diverse voices of
Kpop fans themselves.
A pre-qualifying tool was used by the
researchers to assign scores to participants
based on their tendency towards celebrity
worship on social media platforms. Only
those who met predetermined criteria were
invited for in-depth interviews. With this
approach, data from specific subjects who
were displaying the behavior under
investigation was to be collected.
Researchers created interview
questionnaires to gather information in face-
to-face interviews. They prioritized security
and privacy during the interviews. Informed
consent was emphasized, with participants
briefed on the research's purpose and
procedures through a consent form.
Participants had the right to discontinue if
discomfort arose. Warm-up questions were
used to establish rapport before delving into
the main interview questions.
By carefully collecting gathered data,
researchers preserved authenticity for further
study and ensured accuracy. In order to
explore the thematic map and perform
thematic analysis, they created themes and
codes. Patterns and connections within the
experiences of the participants were found by
rigorous analysis, and the results were
compared to show the differences and
similarities. Recommendations for further
research to explore the complex phenomenon
under investigation were made at the end of
the study.
Results
To understand the lived experiences
of the Kpop Stans, the method used was
phenomenological and Clarke and Braun's
thematic analysis for data analysis.
For the first objective, "Participants
becoming a K-Pop fan," the researchers
identified a theme of "Evolving Fan
Experience" with seven emerging sub-
themes: Out of boredom, Attraction to visual
appearance, Watching Kpop content,
Fondness for humor style, Captivated by
AGUAS, ANTIPORDA, BABADILLA, DORON, PAYAPAG
music quality, Memorizing song lyrics, and
Imitating their idols.
The second set of objectives, titled
"Participant Engagement Expressions,"
covers four (4) main themes: Social
Interaction, Emotional Connection,
Psychological Engagement, and Financial
Investment. Social Interaction includes three
(3) emerging sub-themes: Sense of
belongingness, Camaraderie, and Meeting
with co-fandom. Emotional Connection
breaks down into four (4) sub-themes:
Sympathy, Happiness, Admiration, and
lastly, Sense of pride. Psychological
Engagement includes four (4) sub-themes:
Devotion, Loyalty, and lastly, Deep level of
attachment. Financial Investment
encompasses three (3) sub-themes:
Subscribing to paid content, Attending
concerts, and lastly, Excessive buying of
merch.
The third objective, “Different
Behavior of Kpop Stans”, came up with only
one (1) theme: “Kpop Stans’ Behavior”. The
theme consists of six (6) emerging sub-
themes namely: Buying Behavior,
Appreciating Beauty Standards, Adaptability
to Korean Language and Phrases, Coping
Mechanism, Admiration Towards Idol’s
Lifestyle, and lastly, Planning to go to South
Korea.
In objective four, “The challenges
that Kpop Stans’ encountered” it consist of
one (1) theme which is the challenges that are
mostly impacted negatively. This theme
consists of three (3) emerging sub-themes:
Interpersonal Conflict, Intrapersonal Conflict
and Financial Conflict.
Lastly the fifth objective “Unique
features of Korean media appeal to Kpop
Stans” consist of two (2) emergent themes:
Korean Media Content and Philippine Media
Content. The theme Korean Media Content
consist of three (3) sub-themes which are:
Investing Huge Funds for Content, Good Fan
Service, and Entertaining. While the
Philippine Media Content contained three (3)
sub-themes which are: Lack of Resources,
Tacky Contents, and Lack of Originality.
Discussion
1. Participants have different factors
that initially ignited their evolving fan
experience in the K-pop realm.
Young fans, captivated by the
seemingly flawless appearance of
idols, are often drawn to the world of
K-pop. For some, boredom served as
the spark, particularly during the
pandemic, when K-pop's upbeat
music and energetic performances
provided a welcome distraction from
anxieties and negativity. While
exposure sparks initial interest,
actively seeking out K-Pop content
like music videos, music content with
high quality melodies and lyrics, and
humor style takes fans beyond casual
interest. Further engagement comes
in the form of memorizing lyrics,
imitating idols, and participating in
role-playing activities, all of which
deepen the connection to the music
and community. This deeper level of
engagement fosters a desire to learn
more about the groups and their
individual members. In the end, the
dynamic K-pop fan experience is an
individual journey fueled by personal
motivations, proactive involvement,
and a yearning to connect with music,
artists, and the community.
AGUAS, ANTIPORDA, BABADILLA, DORON, PAYAPAG
2. In the vibrant world of fandoms, fans
connect with each other, form
friendships, and feel a sense of
belonging within the community.
This camaraderie enriches their
overall experience within the fandom.
Following this, emotional
connections emerge as fans develop
strong feelings of happiness,
admiration, and sympathy towards
their idols. These emotional bonds
deepen their connection to the subject
matter and contribute to a profound
sense of attachment. Moreover,
psychological engagement is evident
as fans exhibit unwavering loyalty
and deep devotion to their idols.
Lastly, the financial aspect is
significant, with fans investing in
attending concerts, purchasing
merchandise, and subscribing to
exclusive content to show their
support. This financial commitment
reflects their dedication to sustaining
the endeavors of their idols. Overall,
fan engagement is a multifaceted
phenomenon, encompassing social,
emotional, psychological, and
financial aspects, all of which
contribute to a vibrant and supportive
community.
3. This highlights the diverse behaviors
exhibited by K-pop fans, ranging
from collecting merchandise and
adopting Korean phrases to seeking
solace and even planning trips to
South Korea. It sparks an interesting
discussion about the multifaceted
nature of fandom, encompassing
personal expression, cultural
appreciation, and potential
challenges. While admiration for
beauty standards and idol lifestyles is
evident, questions arise about
potential drawbacks and maintaining
a healthy balance between fandom
and well-being. The desire to visit
Korea exemplifies the immersive
experience some fans seek, and
further discussion could explore
responsible engagement, cultural
sensitivity, and individual boundaries
within the passionate world of K-pop
fandom.
4. The K-pop community is
distinguished by enthusiastic support
for idols demonstrated through
activities such as voting, attending
events, and charitable activity.
Competition among 208 active K-pop
groups encourages participation, but
it can also generate to fan fights on
social media, with both positive and
negative outcomes. Fans are judged
using names like "Koreaboo," and
beauty standards and preconceptions
contribute to the stigmatisation of K-
pop fans. K-pop idols, particularly
guys, adhere to "soft masculinity,"
which may lead to notions of
femininity. The industry's beauty
standards, illustrated by an ideal
weight of 50 kg, lead to risky
behaviours such as severe dieting.
Body image is influenced by social
media and K-pop, which puts
pressure on people to meet unrealistic
standards and causes stress. Despite
the hurdles, it is critical to use these
platforms responsibly to promote
self-acceptance and diversity. The
pursuit of perfection in South Korea
challenges attempts to redefine
masculinity. K-pop fans participate in
a variety of activities, including co-
fandom exchanges and the "buy and
AGUAS, ANTIPORDA, BABADILLA, DORON, PAYAPAG
sell" trend, displaying their strong
emotional connection by attending
concerts and collecting merchandise.
This dedication is a form of self-
expression and identity, delivering
joy and fulfilment to K-pop fans.
5. Kpop Stans, perceived the success of
Korean media content as a result of
huge funds for media content. They
believe this approach not only ensures
high-quality content but also directly
appeals to global K-pop fans. The
emphasis on fan service in Korea,
where idols prioritize engaging with
their fans, was valued. In contrast,
participants view Philippine Media
Content as less likely to match the
quality of Korean content due to the
private sector-led media market and
insufficient state funding for research
and development. They find a
significant portion of Philippine
media content to be tacky content
(corny) or old-fashioned (baduy) and
lacking originality. Many suggested
that enhancing the talents and skills of
local artists is crucial for improving
the quality of the Philippine
entertainment industry.
AGUAS, ANTIPORDA, BABADILLA, DORON, PAYAPAG
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