DOES KOREAN DRAMA HAVE A REAL INFLUENCE? AN ANALYSIS OF MALAYSIA OUTBOUND TOURISTS TO SOUTH KOREA

Tourism, Culture & Communication, Vol. 16, pp. 147 160 1098-304X/16 $60.00 +.00 Printed in the USA. All rights reserved. DOI: http://dx.doi.org/10.3727/109830416x14750895902882 Copyright Ó 2016 Cognizant, LLC. E-ISSN 1943-4146 www.cognizantcommunication.com DOES KOREAN DRAMA HAVE A REAL INFLUENCE? AN ANALYSIS OF MALAYSIA OUTBOUND TOURISTS TO SOUTH KOREA PEK YEN TEH* AND HONG CHING GOH *Asia-Europe Institute, University of Malaya, Kuala Lumpur, Malaysia Centre for Tourism, Hospitality, and Culinary Management, Sunway University Business School, Bandar Sunway, Malaysia Faculty of Built Environment, University of Malaya, Kuala Lumpur, Malaysia Spatial Environmental Governance for Sustainability Research (UMSERGE), University of Malaya, Kuala Lumpur, Malaysia Korea has recently emerged as one of the top tourism destinations in the world, and a catalyst of its rapidly developing tourism industry is Korean drama. Studies on Korean tourism, which focus on sociocultural and gender-related issues, as well as audience behaviors, have been conducted in the Asian region. However, these studies have been geographically limited to monoethnic countries only. As one of the countries contributing to Korea s inbound tourism, Malaysia experienced a significant increase of tourists visiting Korea. Hence, this study aims to identify the motivation segmentation and overall satisfaction level among Malaysian tourists visiting Korea. Specifically, the study aims to identify the influence of Korean drama in their overall experience. A questionnaire-based survey of these tourists was conducted in Seoul City, and cluster analysis was applied to derive motivation segmentation from the collected data. Afterwards, a characteristic comparison was accomplished between drama- and non-drama-watching tourists. Finally, the overall satisfaction of tourists was determined. Results showed three types of motivation segmentation and revealed characteristic differences between the drama- and non-drama-watching tourists. Furthermore, these segmented motivations manifested significant differences in terms of overall satisfaction. In general, Malaysian tourists perceived Korea as a place for family and social bonding, as well as for relaxation and cultural exploration. Interestingly, Korean drama did not influence the overall tourist satisfaction, although it serves as a cultural platform through which tourists gained familiarity with the destination prior to the trip. Key words: Korean drama; Tourist motivation; Drama pilgrimage; Film tourism; Malaysian tourists segmentation Address correspondence to Hong Ching Goh, Ph.D., Faculty of Built Environment, University of Malaya, Kuala Lumpur, Malaysia. E-mail: gohhc@um.edu.my 147

148 TEH AND GOH Introduction The Republic of Korea, commonly known as South Korea, has increasingly gained popularity as an outbound destination in recent years. The tourism industry in South Korea (hereafter called Korea) used to be unappealing because of the Korean War (1950 1953). To rebuild the image of the country, the Korean government began to institutionalize its domestic and international tourism in 1962 under the Five Year Interval Economy Development Plan (Y. S. Lee, 2006). This plan resulted in the gradual increase in the number of tourist arrivals from 103,000 tourists in 1968 to 3.69 million in 1996 (Korea Tourism Organization, 2014). Tourist growth continued to significantly improve, particularly in the new millennium, when the number of international visitor arrivals increased from 5 million in 2001 to 11 million in 2012. Tourists from East Asia and the Pacific specifically contributed to an increase of 194% in just a decade (2003 2013) (Korea Tourism Organization, 2014). One of the main reasons for the rapid development of the tourism industry in Korea was the emergence of Hallyu, also known as the Korean Wave, in the late 1990s. According to a 2004 survey from the Korea TradeI Investment Promotion Agency, the emergence of Hallyu has notably enhanced Korea s image, as proven by a growth rate of 78.9% in favorable impressions of South Korea (Ko, 2010). Korean Wave is the phenomenon referring to the increased popularity of Korean pop culture in society (Korean Culture and Information Service, 2011). Initially, the phenomenon began with the export of Korean dramas to Vietnam and then later to China and Japan in the late 1990s (J.H. Park, personal communication, 2012). Since then, the wave rapidly overwhelmed the entire Asian region; in recent years, dramas are now being exported to the American continent and Europe (Jeong, 2010). Apart from generating revenue through exporting TV programs, Korean drama has also been proven to be a successful media for marketing the country as a tourism destination (Lin & Huang, 2008). The role of Korean drama s popularity in encouraging its audiences to travel to destinations associated with films or TV productions is categorized as a form of film tourism (Rittichainuwat & Rattanaphinanchai, 2015). Considering the significance of film tourism in promoting inbound tourism to Korea, numerous studies have been carried out on this phenomenon. These studies have focused on various tourism aspects, including sociocultural impacts, with reference to the tourists demographic characteristics (e.g., gender), tourist behaviors (e.g., the general tourists or the audiences), and the destination image. Geographically, studies on Korean tourism cover East Asian countries, such as, Japan, Taiwan, and Korea, as well as Singapore and Thailand in Southeast Asia (Fu & Liew, 2005; Hirata, 2008; H. M. Kim, 2005; S. S. Kim, Agrusa, Lee, & Chon, 2007; S. Kim & Wang, 2012; Ko, 2010; Rittichainuwat & Rattanaphinanchai, 2015). Although studies on Korean tourism and the role of drama have significantly increased, gaps that require further research remain. Rittichainuwat and Rattanaphinanchai (2015) emphasized that films can increase destination awareness. However, this finding does not necessarily mean that tourists visiting filming locations are comprised solely of drama-watching audiences. In a similar direction, Zeng, Chiu, Lee, Kang, and Park (2015) highlighted the minimal research on the behavior differences between Korean drama watching and non-drama-watching tourists in Korea. Moreover, existing studies on Korea tourism mainly focused on the motivation of Korean drama-watching tourists; however, very little research compared this group to non-drama-watching tourists. Furthermore, nearly all existing studies cover geographical regions that portray monoethnic societies, namely Japan, Taiwan, and Thailand (Hirata, 2008; H. M. Kim, 2005; S. S. Kim et al., 2007; Rajaguru, 2014; Rittichainuwat & Rattanaphinanchai, 2015). Countries with multiethnic groups and diverse social cultural characteristics, such as Malaysia (Henderson, 2003), remain unstudied. The population of Malaysia is composed of bumiputera (Malay and indigenous, 67.4%), Chinese (24.6%), Indian (7.3%), and others (0.7%) (Department of Statistics Malaysia, 2011). Among the three major ethnicities, Malay is predominant; these people practice Islam, which mandates dietary restrictions with an emphasis on the inclusion of Halal food, and they observe Malay traditions (Henderson, 2003). Owing to the complicated composition of the Malaysian

DOES KOREAN DRAMA HAVE A REAL INFLUENCE? 149 population, the motivation of certain ethnicities in visiting Korea has yet to be fully examined. Importantly, Malaysia ranked fifth in the countries with most tourist arrivals in Korea after Japan, Taiwan, Hong Kong, and Thailand. In 2003, 78,805 Malaysians traveled to Korea, and this number increased to 212,496 in 2014, showing an increase of 181% (Korea Tourism Organization, 2014). Therefore, this study aims to fill the above-mentioned gaps in research. First, the study identifies and clusters the motivations of Malaysian tourists to Korea. Second, the demographic differences between dramaand non-drama-watching tourists are compared, and finally their satisfaction levels are discussed. Literature Review Film Tourism and Destination Awareness Film tourism refers to tourists visiting destinations associated with films or TV productions, and visiting film locations is an incidental tourist experience (Rittichainuwat & Rattanaphinanchai, 2015). The term film tourism has been used interchangeably with media-related, movie-induced, film-induced, film-motivated, cinematographic, and screen tourisms, as well as media pilgrimages (Busby & Klung, 2001; Hudson & Ritchie, 2006; Karpovich, 2010; S. Kim & Wang, 2012; Tzanelli, 2004; Vagionis & Loumioti, 2011). Film and TV productions have been widely perceived as strong marketing tools in tourism destination (Beeton, 2006). Three unique elements of film generally attract destination marketers. First, film presents six advantages compared with conventional advertisements, which include the following: a) requires longer time frames, which translate to increased impact; b) involves and identifies locations through a storyline; c) enhances the image of the destination with special effects and celebrities; d) increases destination awareness through a popular medium without differentiating market segment; e) (unlike hard selling,) depicts a nonsale communication form, which introduces and advertises filming locations; and f) provides in-home access to movie locations (Riley, Baker, & Van Doren, 1998). Second, scholars suggest that TV as a medium transmits information about a destination, and serves as a tool to project the image of a destination (Hitara, 2008; Hudson & Ritchie, 2006; S. S. Kim, Lee, & Chon, 2010; Riley et al., 1998; Vagionis & Loumioti, 2011). This marketing vantage is important because the projection of destination image serves as a push factor that triggers audience motivation to visit filming locations (Hudson, Wang, & Gil, 2011). Nevertheless, inserting a destination as a tourism product into media may aid in influencing the beliefs and behaviors of audiences about that destination (Echtner & Ritchie, 1993; Hudson & Ritchie, 2006). Furthermore, Hunter (2012) emphasizes that destination image should be designed as close as possible to actual tourist interest. Third, the influence of film in motivating tourism among its audience is not solely built upon the attractiveness of the filming location (Riley & Van Doren, 1992); such an influence includes a set of pull factors that combines the storyline and the sequence, as well as human relationships (Riley et al., 1998). In addition, film language such as the sight, sound, and emotion of the movie, as well as linguistic elements, such as everyday words and slang, similarly encourage tourism (Chung, 2010; Hao & Ryan, 2013). Although film- and TV-related productions are recognized as effective marketing tools in promoting a destination, S. S. Kim et al. (2007) suggest that film tourism also negatively impacts the destination and the visiting tourists. These negative effects include location exploitation, overcommercialization, and traffic congestion, all of which can widen the gap between previsit perceptions and actual experiences (e.g., unauthentic destination image), which can lead to disappointment and low satisfaction. Two major groups of scholars are studying film tourism with distinctive research foci on geographical region and media genre. One group focuses on Western movies, such as Lord of the Rings in New Zealand (Tzanelli, 2004); King Kong and Star Wars in Universal Studios, Florida (Riley et al., 1998); Notting Hill in Notting Hill (Busby & Klug, 2001); and Harry Potter and the Philosopher s Stone in Yorkshire, UK (O Connor, Flanagan, & Gilbert, 2008). The other group focuses on Asian dramas, particularly Korean dramas, such as Deajanggeum, My Name is Kim Sam-soon and Winter Sonata, all produced in Korea (Chung, 2010; S. Kim & Wang, 2012; S. S. Kim et al., 2007; S. S. Kim et al., 2010).

150 TEH AND GOH Although both are performed on screen, S. Kim and Wang (2012) highlight the advantage of dramas over films because dramas can provide detailed contents throughout longer time frames. In comparison, the longer running time allows for a richer storyline with multifarious content. Moreover, a drama storyline usually centers on daily routine, highlights family issues, friendship and relationship entanglements, and intensifies emotional expressions of love, jealousy, and ambition, among others. Moreover, the serialized nature of dramas generates a sense of involvement between the drama characters and the audience over time. The cliff-hanger at the end of each episode also pushes the audience to continue watching as it fosters imaginative speculations about the upcoming episodes. Korean Drama and Tourist Motivations Korea has been relatively successful in the development of drama tourism among other Asian countries. Unlike versions of the Anglophone TV series, which target global audiences, Korean drama productions initially aim for domestic audiences. Nevertheless, their rising popularity over time resulted in their overseas distribution in the late 1990s (S. S. Kim et al., 2010). Since the export of dramas in bulk to countries including Japan, China, Taiwan, Vietnam, Malaysia, Singapore, Indonesia, and Thailand, Korean dramas have become a catalyst of tourism development in the country. Among them, Winter Sonata broadcasted in 2002 became the iconic production, which pushed the drama tourism to its peak (Hirata, 2008; S. S. Kim et al., 2007) and attracted numerous tourists to visit Korea, specifically the filming locations (S. Kim & Wang, 2012). Taking trips to filming destinations are intended to help viewers live out the fantasy and gain new experiences, as well as to foster direct interactions with the host, including its people, scenery, cuisine, and fashion. By watching drama, audiences become alert about the attributes of a destination, and these attributes become a pull motivation factor to encourage audiences to visit Korea. However, visitors to filming locations might not be comprised solely of audiences but also nonaudiences (Rittichainuwat & Rattanaphinanchai, 2015). Indeed, visiting a destination is not only determined by the pull factor of the destination, but also the push factor of an individual (Crompton, 1979). A push factor is perceived as an internal force (psychological aspect) of an individual; Dann (1977) suggested two initial push motives, namely, ego enhancement and anomie. Individuals use ego enhancement to enhance their socioeconomic status by utilizing travel opportunity for self-recognition and anomie to seek external social interaction and communication beyond their society. Crompton (1979) widened the push motives into escape, exploration, relaxation, prestige (similar to ego-enhancement), kinship enhancement, and sociointeraction. Escape refers to temporarily getting away from the daily working routine or residential locale, while exploration relates to discovering more about oneself. Furthermore, relaxation refers to a mental state rather than a physical relaxation because most tourists indicate physical fatigue upon their returning from vacation. Meanwhile, travel also provide a chance to enhance the familial relations and social interaction, such as a chance for family to gather together and strengthen the bonds with each other, or get to know new people from different places. On top of psychological application, a push factor also consists of cultural motives education and novelty (Crompton, 1979; Goodall, 1990). As such, in this context, destination attributes that are projected from drama are perceived as pull factors to trigger an individual to travel. Apart from that, internal push factors are also taken into account as part of the traveling motivation. Proposition 1: To identify the motivations among Malaysian tourists to Korea. Proposition 2: To cluster Malaysian tourists based on their motivation. Korean drama has been generally perceived as an intercultural and interpersonal platform that connects the audience and host (S. Kim & Long, 2012). Through stories, audiences become emotionally connected to the kindness and beauty of characters who portray local culture, including strong family bonds (Hirata, 2008). Subsequently, feelings of pleasure and empathy are developed among the audiences whenever fictional drama reflects their life experiences or expectations (Chung, 2010). According to S. S. Kim et al. (2010), drama is popular among

DOES KOREAN DRAMA HAVE A REAL INFLUENCE? 151 female audiences. Therefore, the feelings that develop as a result of watching a drama are even more significant among female audiences. Moreover, given that tourist classification is somewhat based on curiosity and familiarity, not all tourists can adapt to completely strange environments as they travel, particularly in international tourism. A majority of people are more willing to experience the novelty of the macroenvironment, but at the same time they want to feel secured by experiencing a certain degree of home country familiarity in a microenvironment, such as traveling under a package tour (Cohen, 1972). Drama is perceived as an intercultural platform (S. Kim & Long, 2012) that usually reflects the actual daily social practices, including cuisine, customs, and day-today living (S. Kim & Wang, 2012). Thus, adapting Malaysian tourists in this study provides a potential research context that consists of different ethnicities with diverse religious and cultural backgrounds. Proposition 3: To explore the demographic differences between drama- and non-drama-watching tourists. The enhancement of traveling facilities, such as the availability of travel books and package tours, as well as the emergence of visual digital media has changed tourist motivation (Boorstin, 1992; O Connor & Kim, 2014). For example, travel interest has become increasingly induced by curiosity about images from movies or other media forms; hence, photography has become part of tourism activities to capture the symbols or landmarks from the silver screen to their own experiences (Urry, 2002). Therefore, destination hosts extend efforts to meet the expectations of tourists and to maximize their experiences. However, previous studies argue that movies as a marketing tool can promote destination attributes, as well as induce other impacts, such as the disappointing visits and experiences at filming locations (Busby & Klug, 2001; Macionis & Sparks, 2009; Rittichainuwat & Rattanaphinanchai, 2015). Therefore, another equally important measurement of marketing tourism destination is tourist satisfaction. Two arguments on the relationships of tourist satisfaction with motivation and destination attribute persist. Yoon and Uysal (2005) stated that sociopsychological motives do not affect the satisfaction of tourists because satisfaction is reportedly negatively influenced by destination attributes. However, Crompton (1979) emphasized that satisfaction is not derived from a destination s attributes, but is related to the social or psychological factors of the individual or groups involved. Motivation and satisfaction are interrelated in a positive manner although not in an equal state. This relationship accounts for the difference between the two because motive comes before an experience, whereas satisfaction occurs after an experience (Dunn Ross & Iso-Ahola, 1991; Fang, Tepanon, & Uysal, 2008). Proposition 4: To examine any differences in motivation clusters and the influence of drama- and non-drama-watching tourists on overall travel satisfaction. Data Collection Methodology A survey questionnaire was employed to collect primary data on tourist motivation, satisfaction level, and background. Two sets of questionnaires were constructed; one set was written in English Mandarin and the second was written in English Malay. Prior to the actual survey, a pretest was conducted involving 20 respondents who had just returned from Korea (within 3 months). This was done to validate the readability and the comprehensibility of the questions. The actual survey was conducted from October 1, 2012 to November 31, 2012 in a self-administered manner; it involved Malaysian tourists aged 18 years and older. Convenience sampling was conducted at the Incheon International Airport by meeting the package tour tourists upon their departure back to Malaysia. Departure date and time were arranged with different travel agencies before the field trip. In order to widen the sampling population, permissions were obtained from 17 hostels/guest houses within Seoul City to meet the respondents who were under independent tours. The questionnaire consisted of three sections. The first section included 23 items that measured the motivations of Malaysian tourists to visit Korea. The items were based on tourist motivation

152 TEH AND GOH studies that focused on one s motivation to travel to Korea (Chon, 1991), the Korean drama-induced tourism (S. S. Kim et al., 2007), and the travel motivations (Baloglu & McCleary, 1999; Beerli & Martin, 2004). The second section was a single item that measured a tourist s overall satisfaction of the trip (Chi & Qu, 2008). The last section recorded the respondents sociodemographic and Korean drama-watching habits. All items in Sections 1 and 2 were measured using a 5-point Likert scale, from 1 = strongly disagree to 5 = strongly agree. Data Analysis A total of 300 valid questionnaires were analyzed. Exploratory factor analysis (EFA) was initially performed on motivation to reduce unnecessary items and to identify different motivation dimensions (Ho, 2006). Principal component analysis (PCA) extraction with varimax rotation was then employed to identify items with a factor loading over 0.4. Items with a score below 0.4 or a score of above 0.4, which were cross-loaded on two factors, were also removed (Chi & Qu, 2008; C. K. Lee, Lee, & Wicks, 2004; Qiu, 2012). A reliability coefficient (Cronbach s alpha) was computed to show the reliability of each variables (Hair, Black, Babin, & Anderson, 2010). Next, motivations were segmented using cluster analysis. Hierarchical and K-means cluster analyses were applied to determine the clusters (Hair et al., 2010). Subsequently, the Scheffé multiple range test was conducted to examine any statistical difference between these motivation clusters. Chi-square was used to distinguish the characteristics between drama-watching (DW) and non-dramawatching (non-dw) tourists. Two-way ANOVA was applied to identify any significant value that watching Korean dramas had relative to DW and non-dw tourists. The analysis was also performed to identify the motivation clusters that may have functioned as factors contributing to overall satisfaction. Results Analysis of the Motivation of Malaysian Tourists Table 1 presents the results of the factor analysis on tourist motivation. Two out of a total of 23 tems were eliminated because they were crossloaded. The remaining 21 items were analyzed and segmented into five dimensions, namely: cultural exploration, relaxation and adventure, enjoy novelty with family, Korean drama exploration, and social enhancement. In general, all factor loadings were greater than 0.4, indicating high correlations between delineated dimensions and their individual items. In addition, Cronbach s alpha values for all dimensions were relatively high, ranging from 0.60 to 0.79. The Cronbach s alpha values for all items were also relatively high at 0.86 with a total variance of 58.26%. The first dimension, cultural exploration, explained 14.56% of the total variance with a Cronbach s alpha reliability value of 0.79. The second dimension, relaxation and adventure, accounted for 14.3% of the total variance with a Cronbach s alpha of 0.78. The third dimension, enjoy novelty with family, explained 10.40% of the total variance with a Cronbach s alpha of 0.60. Korean drama exploration, the fourth dimension, explained 9.92% of the total variance with a Cronbach s alpha of 0.65. The fifth dimension, social enhancement, accounted for 9.07% of the total variance with a Cronbach s alpha of 0.68. Analysis of Motivation Clusters To further understand the motivation structure, cluster analysis was performed on the motivation dimensions. Hierarchical cluster analysis was first performed on the initially proposed two and four clusters. However, a three-cluster solution was proposed in light of the increased agglomeration coefficient percentage and interpretive meaning of the clusters. Afterwards, K-means cluster analysis was conducted to compute cluster centers. The first, second, and third clusters consisted of 101 (33.7%), 74 (24.7%), and 125 cases (41.7%), respectively. Subsequently, the significant differences within these three clusters were identified through ANOVA test. Results showed significant differences among the five dimensions across the three clusters (p < 0.05). Next, the Sheffé multiple range test was used to examine the differences among the clusters in each dimension (C. K. Lee et al., 2004). Results indicated significant differences among the clusters. Findings generally indicated appropriate support

DOES KOREAN DRAMA HAVE A REAL INFLUENCE? 153 Table 1 Factor Analysis on Motivations Dimension Mean SD Factor Loadings Eigenvalues Variance Explained Cronbach s Alpha Cultural exploration 6.50 14.56% 0.79 To visit historical places 3.76 0.97 0.75 To discover new cultures 3.95 0.88 0.72 To improve knowledge 4.11 0.76 0.68 To learn Korean traditional customs 3.52 0.99 0.63 To attend cultural events 3.18 1.03 0.60 Relaxation and adventure 1.91 14.30% 0.78 To escape from daily routine 3.50 1.33 0.73 To relax the mind 4.14 0.88 0.70 To seek for fun 4.03 0.95 0.68 To seek for adventure 3.55 1.17 0.60 To enjoy trip with friends 3.93 1.10 0.52 To discover new places 4.20 0.83 0.48 Enjoy novelty with family 1.50 10.40% 0.60 To visit fashionable places 3.76 1.09 0.70 To enjoy local cuisine 3.89 1.09 0.69 To feel the romance of the place 3.69 1.11 0.53 To enjoy trip with family 3.32 1.36 0.48 Korean drama exploration 1.23 9.92% 0.65 To fulfill the curiosity of the Korea that 3.45 1.29 0.71 exists from Korean dramas To visit filming locations 3.28 1.23 0.67 To enjoy foreign language 3.43 1.08 0.53 Social enhancement 1.09 9.07% 0.68 To be able to enjoy with friends about the 3.82 1.07 0.71 vacation To go to places that friends have not visited 3.36 1.29 0.66 To make new friends 3.23 1.15 0.42 Kaiser Meyer Olkin (KMO) 0.86 Barlett s test of sphericity p = 0.000 Total Cronbach s alpha 0.877 Total variance explained (%) 58.26 for each cluster as shown in Table 2, along with the following detailed descriptions. Cluster I: Korean Drama Pilgrims. This cluster consisted of 101 respondents, making it the second largest group among the three clusters. Korean drama exploration had the highest positive mean score, whereas other dimensions (i.e., cultural exploration, relaxation and adventure, enjoy novelty with family, and social enhancement ) had relatively low negative mean scores. Therefore, the name of this cluster was derived from Korean drama exploration dimension. Cluster II: Relaxation and Adventure Seekers. This cluster consisted of 74 respondents. The highest mean score was represented by relaxation and adventure. Other dimensions (namely, enjoy novelty with family, Korean drama exploration, and social enhancement ) leaned towards negative mean values or relatively low mean scores. Thus, this cluster was named based on the relaxation and adventure dimension. Cluster III: Experience Novelty With Friends and Family. This cluster consisted of 125 respondents, which represents the biggest group across the clusters. Under this cluster, the highest mean scores were presented in enjoy novelty with family followed by social enhancement. Both dimensions presented similar characteristics on the basis of family and social bonding. Negative mean

154 TEH AND GOH Table 2 Results for Cluster Analysis Cluster I: Korean Drama Pilgrim (n = 101) Cluster II: Relaxation & Adventure Seeker (n = 74) Cluster III: Experience Novelty With Family & Friends (n = 125) F-Value Scheffé Multiple Range Test I II I III II III Cultural exploration 0.17 a 0.28 0.03 4.38* ** n/s n/s Relaxation and adventure 1.04 0.74 0.40 195.31*** *** *** * Enjoy novelty with family 0.22 0.82 0.66 86.63*** *** *** *** Korean drama exploration 0.29 0.18 0.13 6.69** ** ** n/s Social enhancement 0.06 0.64 0.43 32.39*** *** *** *** a Values were computed on the basis of a 5-point Likert scale. *p < 0.05, **p < 0.01, ***p < 0.001; n/s: not significant. scores were found in cultural exploration and Korean drama exploration. Therefore, this cluster was named experience novelty with friends and family. Cluster analysis indicated that the three segments were equally distributed. Experience novelty with friends and family represented the biggest cluster with 41.7% of the total respondents. Findings indicated that Korea has successfully projected itself as a destination for family and social bonding. Korean drama pilgrims comprised the second largest population at 33.7% of the total population. This result reflects the current trend of film tourism in Korea, wherein people are eager to visit places related to films or TV productions. Finally, relaxation and adventure seekers demonstrated the smallest cluster, which consisted of 24.7% of the total respondents. Demographics of Drama-Watching and Non-Drama-Watching Segmented Clusters Chi-square analysis was employed to examine the differences in the demographics between the DW and non-dw tourists. As shown in Table 3, the DW group appeared to be dominant (n = 209) compared with the non-dw group (n = 91). From the findings, females appeared to be dominant in DW, whereas males were dominant in non-dw. However, no gender significant differences were found between the clusters. The DW segmented clusters were extremely similar to the non-dw segmented clusters with respect to age, ethnicity, education, and marital status. No statistically significant difference was found in the age group across the clusters. However, respondents 25 to 35 years old were dominant, followed by those 36 to 45 years old. Although Malaysia consists of multiple ethnicities, the results only cover the Chinese and Malay respondents who visited Korea, and the majority of them are under the DW group. Furthermore, degree holder respondents, as well as respondents who were single, were dominant in both the DW and non-dw groups. In terms of traveling mode, package tour respondents appeared to be prominent across the DW and non-dw categories. In terms of visit experience, firsttime visitors were dominant in both the DW and non-dw groups. Two-Way ANOVA Test on Overall Satisfaction by Motivation Clusters and Watching Korean Drama Two-way ANOVA was employed to examine the potential importance of Korean DW and non-dw tourists and the motivation clusters as factors that influence the overall satisfaction of tourists. Table 4 shows the significant effects of the three motivation clusters on overall satisfaction based on the ANOVA test results [(F(2, 294) = 12.23. p < 0.00]. Experience novelty with friends and family (mean = 4.22) appeared to be the most satisfied among the three clusters ( Korean drama pilgrim, mean = 3.74; relaxation and adventure seekers, mean = 3.87). Therefore, this study suggests that Korea is a potential destination for tourists who wish to strengthen family and social bonds.

DOES KOREAN DRAMA HAVE A REAL INFLUENCE? 155 Table 3 Demographics of Drama-Watching and Non-Drama-Watching Clusters Drama-Watching Non-Drama-Watching Characteristics Cluster I Cluster II Cluster III Total Cluster I Cluster II Cluster III Total Gender Female 63 42 66 171 13 12 16 41 Male 10 10 17 37 15 10 25 50 Missing value = 1 χ 2 (2) = 1.32; p = 0.52 208 χ 2 (2) = 1.42, p = 0.49 91 Age 18 24 10 8 15 33 3 2 9 14 25 35 42 33 50 125 21 13 21 55 36 45 12 5 13 30 2 4 6 12 46 55 5 4 5 14 2 2 0 4 56 and over 4 2 1 7 0 1 5 6 χ 2 (8) = 4.07, p = 0.851 209 χ 2 (8) = 12.26, p = 0.14 91 Ethnic Malay 15 33 35 83 5 6 4 15 Chinese 56 19 47 122 21 15 34 70 Others 2 0 2 4 2 1 3 6 χ 2 (4) = 24.106, p = 0.00 209 χ 2 (4) = 3.32, p = 0.506 91 Education Non-degree holder 14 1 8 23 4 2 8 14 Degree holder 59 51 76 186 24 20 32 76 Missing value = 1 χ 2 (2) = 9.55, p = 0.008 209 χ 2 (2) = 1.34, p = 0.513 90 Marital status Single 37 38 56 131 17 9 19 45 Married 36 14 28 78 11 13 22 46 χ 2 (2) = 7.46, p = 0.03 209 χ 2 (2) = 2.22, p = 0.329 91 Traveling mode Package tour 48 24 52 124 18 12 30 60 F.I.T 25 28 32 85 10 10 11 31 χ 2 (1) = 2.787, p = 0.095 209 χ 2 (2) = 2.26, p = 0.32 91 Visit experience First visit 61 40 72 173 26 17 37 80 Repeat visit 12 12 12 36 2 5 4 11 χ 2 (2) = 1.79, p = 0.409 χ 2 (2) = 3.20, p = 0.20 Total 73 (34.9%) 52 (24.9%) 84 (40.2%) 209 (69.7%) 28 (30.8%) 22 (24.2%) 41 (45%) 91 (30.3%) Table 4 Two-Way ANOVA Tests on Overall Satisfaction by Clusters and Drama-Watching Types df Mean Square F Sig. Main effects Three-clusters motivation (M) 2 6.07 12.23 0.00 Drama-watching/non-drama-watching (V) 1 0.04 0.08 0.78 Interaction effect (M V) 2 0.15 0.29 0.74 Error 294 0.49 Total 300 Corrected total 721

156 TEH AND GOH Moreover, the results indicated that the DW and non-dw groups had no significant effect on overall satisfaction [F(1, 294) = 0.08, p > 0.05]. This result also identified the absence of any significant interaction between motivation clusters as well as Korean drama watching and tourists overall satisfaction [F(2, 294) = 0.29, p > 0.05]. Therefore, Korean DW had no influence on tourists overall satisfaction, nor did it act as an interaction variable for the effect of motivation on overall satisfaction. As shown in Figure 1, findings indicated similar satisfaction levels for both DW and non-dw groups. Experience novelty with friends and family showed significantly high satisfaction levels (DW mean = 4.2; non-dw mean = 4.24) across the three clusters, whereas Korean drama pilgrims reported the lowest satisfaction levels (DW mean = 3.79; non-dw mean = 3.67). However, both the DW and non-dw groups showed no significant difference in satisfaction. Furthermore, no significant interaction was found between the clusters and DW relative to satisfaction. Although the test on satisfaction by clusters and DW remains unconfirmed, the study revealed an understanding of the relationship between tourist motivation and satisfaction. In this light, Korean DW should be considered in future studies. Conclusions and Implications Five motivation dimensions concerning the respondents traveling to Korea have been identified in this study. These dimensions include cultural exploration, relaxation and adventure, enjoy novelty with family, Korean drama exploration, and social enhancement. To further understand the differences between DW and non-dw relative to Korea tourism, cluster analysis was performed, and each cluster was classified based on demographic and travel variables. Three clusters are suggested, namely, the Korean drama pilgrims (Cluster I), relaxation and adventure seekers (Cluster II), and experience novelty with friends and family (Cluster III). ANOVA test was conducted to identify factors that influenced overall satisfaction in order to further enhance the knowledge on motivation clusters. This study reveals that most of the respondents watch Korean dramas. This finding is related to the finding that cultural exploration has the largest proportion of the total variance, which includes discovering new culture, learning Korean traditional customs, and visiting historical places. However, experience novelty with friends and family, the largest motivation cluster, consists of respondents who seek to enhance family and social bonding by spending on cuisine and travelling activities. Korean drama pilgrims comprise the second largest cluster. Tourists of this cluster focus on Korean drama pilgrimages by exploring Korean dramarelated activities, such as visiting filming locations, exploring the Korean language, and learning more about Korea s culture. Findings also indicate that the Korean drama pilgrim cluster is dominated by young female respondents. This result is consistent with previous research findings reporting that women who develop an interest in Korean drama exhibit Figure 1. Overall satisfaction by drama watching types.

DOES KOREAN DRAMA HAVE A REAL INFLUENCE? 157 eagerness in visiting and experiencing Korea in person (Chung, 2010; Hirata, 2008; S. S. Kim et al., 2007). Results also indicate that majority of the respondents are between the ages of 25 and 35 years. In addition, these tourists are mainly categorized in the Korean drama pilgrim cluster under the DW group. This result is partly consistent with the previous study wherein the young generation of Malaysians are found to be more intent in engaging in Korean pop culture, especially the urban young Malaysians with diverse ethnicities (Lim, 2015). Furthermore, this study discovers that different ethnicities result in distinctive traveling interests. Unlike Malaysia, previous case studies related to film tourism and Korean drama were conducted on monoethnic countries, such as Japan, Taiwan, China, and Korea (Fu & Liew, 2005; Hirata, 2008; H. M. Kim, 2005; S. Kim & Wang, 2012). Findings show that Malaysian Chinese respondents were dominant among respondents to Korea, followed by Malaysian Malay respondents. Findings also reveal that the majority of Malay respondents includes Korean DW audience, and extremely few of them fall within in the non-dw group. Even with different religious practices and cultural backgrounds, such as the consumption of Halal food, Malay respondents show great interest in visiting Korea. This result differs from that of a previous study by S. S. Kim, Im, and King (2015), who reported that Muslims generally prefer to travel to destinations with facilities that provide Halal food and incorporate Islamic practices. The current study suggests that respondents have absorbed the destination s culture through dramas prior to the trip. According to S. Kim and Wang (2012), the storyline of a drama usually reflects the actual daily, social practices in a specific culture. Therefore, audiences enjoy a basic knowledge of the destination, including familiarity with daily practices, cuisine, and customs even prior to their visit. In addition, results also show that packaged tours comprise the significant traveling mode among respondents. This finding is reflected by the novelty of international tourism as highlighted by Cohen (1972), who stated that tourists still want to visit places that exist virtually in dramas, although these places are also physically new and unknown to them. Therefore, they necessitate a certain level of security by ascertaining that the entire trip is protected under an environment bubble provided by the travel agency. Finally, the findings reveal that out of the three motivation clusters, those who experience novelty with friends and family show the highest satisfaction level about their trip. This result suggests that Korea has a high potential as a family vacation destination, as well as a relaxation place for social enhancement. Surprisingly, Korean drama pilgrims have the lowest satisfaction level among the three clusters, and no significant difference is reported between DW and non-dw tourists. These results reflect findings of previous studies, which state that movies can promote destinations, although the induced impact may not be great (Busby & Klug, 2001; Macionis & Sparks, 2009; Rittichainuwat & Rattanaphinanchai, 2015). Furthermore, Korean drama can encourage potential tourists to visit Korea; however, this motivation does not affect the satisfaction level of tourists. Instead, tourist satisfaction level is affected by travel motivation. Therefore, this study conforms to findings in the literature, which state that motivation and satisfaction are positively related, and that satisfaction does not come from destination attributes but from motivation (Crompton, 1979; Dunn Ross & Iso-Ahola, 1991; Fang et al., 2008). This study specifically provides three practical implications on how to improve and increase Malaysian tourists to visit Korea by integrated Korean drama as an influential tool. In the competitive tourism market, tourist awareness towards a destination is a critical point for the success of the tourism industry of a country. In addition, tourism is not a uniform industry; it involves a series of complex processes. Different tourist backgrounds and needs are also decisive keys to make sure a trip will be purchased. Therefore, a successful application in a particular region may not be suitable for others. For that reason, this study specifically provides three practical implications on how to improve and increase the frequency of how often Malaysian tourists visit Korea by integrating Korean drama as an influential tool. Korean drama could be perceived as a new cultural platform for potential tourists to understand the culture and daily practices of the host country in order to reduce cultural conflicts during the trip. As discussed before, storyline in the dramas

158 TEH AND GOH very often project the daily lifestyle of the destination. Therefore, via the projected images from Korean dramas a certain level of information is able to be delivered about the destination to the audience. From there, audiences or potential tourists are at least able to absorb the culture, lifestyle, or language via Korean drama, Hence, upon their arrival, the culture shock of a tourist in relation to the host could be reduced. One of the interesting findings that supports this cultural platform are the Muslim tourists who have a distinctive religious background from the host and yet are willing to travel to Korea for other reasons, such as visiting filming locations. Muslim tourists are a relatively important market in the tourism industry. In order to strengthen the destination attributes, convenience of obtaining Halal foods and Muslim facilities such as prayer rooms is critically essential. Not only that, further research on what other attributes are actually requested by Muslim tourists or what attracts them to visit a non-muslim country should be studied. On top of that, Korean drama should be perceived as a promotional tool for three marketing purposes: a) to target younger tourists, b) to promote new and lesser known destinations, and c) to develop new manmade attractions. As mentioned earlier, Korean drama is very popular among the younger generation who can easily absorb a new culture. The trend of increasing the number of younger tourists to travel nowadays may also be supported by cheaper air fare, such as AirAsia, as well as trendy and convenient vacation rental concepts, such as airbnb. Importantly, the youth today are heavily influenced by the media and web-based channels. Most of them watch dramas through websites like YouTube. Additionally, Korean drama could be applied to promote new and lesser known destinations to reduce the overcrowding of certain locations. The impact of a drama on the filming destination can be significant destination marketers, and drama producers could collaborate to promote new or lesser known destinations in order to disperse the overcrowded tourist population at certain touristic points to newly introduced places. In summary, the study finds that Korea is a preferred tourist destination among Malaysian tourists, especially among the young Chinese and Malay women, the majority of whom are Korean drama audiences. Although pilgrimage to filming locations is not the primary motivation among Malaysian tourists, Korea as a tourism destination remains an extremely suitable choice for them to spend time with their families. More importantly, Korea is able to attract a significant number of Malay Muslim tourists, even though the Muslim facilities are not well accommodated. Hence, this study suggests that Korean drama serves as a marketing tool for destination image, as well as a cultural platform to reduce the cultural gap between the tourist and the host. Subsequently, cultural conflict and unfamiliarity towards the host environment can be reduced. However, this study has several limitations. The respondents for the survey were selected using convenience sampling. Thus, the results may not be representative of Malaysian tourists as a population. Therefore, further studies on the motivation of Malaysian tourists should be carried out before generalizations can be made. Furthermore, as findings suggest that Korean dramas serve as a cultural platform in reducing conflict between the host and the tourist, the lack of constructive discussion with solid evidence still necessitates future exploration and confirmation. Acknowledgment This work was supported by the Institute of Research Management and Monitoring from University of Malaya under Grant PS171/2009C and PS416/2010B. References Baloglu, S., & McCleary, K. W. (1999). A model of destination image formation. Annals of Tourism Research, 26(4), 868 897. Beerli, A., & Martin, J. D. (2004). Factors influencing destination image. Annals of Tourism Research, 31(3), 657 681. Beeton, S. (2006). Understanding film-induced tourism. Tourism Analysis, 11(3), 181 188. Boorstin, D. J. (1992). From traveller to tourist: The lost art of travel. In The image: A guide to pseudo-events in America (Chap. 3). New York: Vintage Books. Busby, G., & Klug, J. (2001). Movie-induced tourism. The challenge of the measurement and other issues. Journal of Vacation Marketing, 7(4), 316 332. Chi, C. G-Q., & Qu, H. (2008). Examining the structural relationships of destination image, tourist satisfaction

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