Kiana Sarah Koh

BA(Hons) Arts Management
2015-2018
Kiana Sarah Koh
Both a performer and an arts manager, Kiana's connection with the arts started at a young age of 4 when she first started taking piano lessons. She was further exposed to the arts with ballet lessons at 7 and then street dance at 16, which she still pursues today. Knowing that her passion lay in the arts, she joined the Arts Management programme in LASALLE College of the Arts and found a different appreciation for managing the arts on top of her passion for performing. She believes that the arts will always be a part of her life - whether she is in or out of the spotlight.
Linkedin

Email

kianasarahkoh@gmail.com

Tel

91471121

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Experience

Esplanade - Theatres on the Bay, Singapore

2018
Casual Artist Liaison
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LIVESCAPE Singapore

2017
Hospitality Manager Artist Liaison Marketing & Sponsorship Programming Customer Service

Distinct Creative Arts

2016 - 2017
Update Instructor Profiles Excel Sheet Word Documents

Singapore International Film Festival

2015 - 2016
Crew Member Artist Red Carpet Crowd Control

In The Making 2015

2015
Stage Cues Props Making

Dissertation / Thesis

MAPPING OF THE KOREA POP MUSIC INDUSTRY LANDSCAPE: TAKING A CLOSER LOOK AT THE STAKEHOLDERS OF THE IDOL PRODUCTION SYSTEM

Entertainment companies in the Korean Pop (K-pop) music industry plays a huge role in the production of idol groups and have been the main stakeholder in the idol production with a created trainee system. However, the entry of a new stakeholder – broadcasting companies into the idol production system, alters the trainee system as well as the market power entertainment companies have always enjoyed. The objective of this study is to map out the reasons that triggered and allowed the entry of broadcasting companies into the idol production system and problematized this new phenomenal, guided by a list of research questions. Through research done on the American recording industry, parallels were drawn with the Korean entertainment companies, as well as the comparison between reality show American Idol and Idol Production Survival Show – Produce 101. This showed that the entry of the broadcasting company into the idol production system is not triggered by a lack in supply of idol groups, but the ability to respond to the demands of their audience. As such, this new phenomenal in Korea is not a new phenomenal, but a repeat of what has previously happened in the America music industry.
Hence, through this change in the idol production system, entertainment companies have faced opportunities and challenges which encouraged the progression of the entire K-pop music industry to go beyond just providing music. However, this also brings us to the bigger problem of both entertainment companies and broadcasting companies treating idols as money-making products.