interpretive community

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Interpretive Community
Pop culture is believed to affect people, and that is why it has become of great interest to sociologists. Notably, it gives people a sense of shared identity and understanding. For instance, the Black Panthers were identified by their militant nature. They practiced martial arts lifestyle as a way of self-defense as they encountered police brutality, racism, and poverty. Thus, they can be considered interpretative communities since they shared a common understanding and view. Interpretive communities form in a variety of ways in today’s society. Various interpretive communities have been created from an item of pop culture just the same way the black oral traditions were formed.
Pop culture has become more globalized and influences everyday activities of members of society. These people tend to have similar thoughts, views, and ideas. There is usually a history that results in the formation of interpretive communities. For example, the Korean martial art incorporates various aspects of Korean history (Raya 5). A member of a society is likely to see an item of pop culture, for instance, a movie as significant if it has cultural merit. Notably, the k-pop fanbases around the globe stemmed from the k-pop culture which had a significant influence on contemporary music and film industry. K-pop offers a new social position for young people, and that is why it appeals to a big audience. This group of audience forms an example of an interpretive community.

The Korean pop culture has spread all over the world in the past decade. Besides, the Korean media industry has played a vital role in spreading k-pop culture. This can be related to the mainstream discussion that propagated the Black Panther as a violent group (Raya 1). The Korean pop culture has managed to attract a big audience outside Korea. This has contributed to the success of k-pop culture items, for instance, music.
Works CitedRaya, S. Richard. Might for Right: Martial Arts as a way to understand the Black Panthers. Tapestries: Interwoven voices of local and global identities, 4 (1), 1-13, 2015.