In a world where entertainment knows no borders, South Korean cultural powerhouses are setting their sights on India a nation of over 1.4 billion people, rich in cultural diversity and known for its voracious appetite for stories, music, and digital content. But while the potential rewards are enormous, the path is anything but straightforward. Let’s explore how Korean entertainment companies like HYBE and Kakao Entertainment are strategizing to win Indian hearts, the challenges they face, and what this cultural cross-pollination means for both countries.
The Promise of India: A Market Too Big to Ignore
India’s media and entertainment (M&E) industry is experiencing remarkable growth. According to a report by the Korea International Trade Association released in April, the industry’s value is projected to grow from approximately 43 trillion won in 2023 to around 46 trillion won this year. Within this, the digital media sector alone is estimated at 15 trillion won, publications at 4.5 trillion won, and the music sector at 1 trillion won.
What makes the Indian market uniquely attractive is not just its size but also the youth-driven, mobile-first audience that consumes vast amounts of digital content daily. With smartphone penetration reaching rural areas and streaming platforms booming, Indian consumers are increasingly open to global cultural products from K-dramas on Netflix to K-pop on YouTube.
Yet, for Korean companies, success in India isn’t guaranteed. It requires not just exporting content but carefully localizing it both culturally and linguistically to resonate with India’s diverse audience.
HYBE’s Bold Vision: Taking K-pop Beyond Korea
At the forefront of this expansion is HYBE, the entertainment giant behind global sensations like BTS and NewJeans. On July 1, HYBE revealed it is actively conducting market research and setting up corporate structures for a planned entry into India by September or October.
This move is part of a larger strategy championed by HYBE Chairman Bang Si-hyuk, who envisions adapting the K-pop business model to other music genres and exporting it globally. As Bang put it, “We need to apply the K-pop business model to other music genres and export it to survive.”
HYBE’s K-pop strategy isn’t merely about music; it’s a sophisticated ecosystem combining talent development, immersive storytelling, social media engagement, merchandising, and live performances. This holistic model has transformed fans into global communities something HYBE hopes to replicate in India.
The timing seems right: India’s Gen Z and millennials are already enthusiastic about K-pop, evidenced by sold-out fan events, growing album sales, and millions of social media followers. The challenge is to go beyond fandom and build a sustainable business rooted in local culture.
Kakao Entertainment: A Head Start with Dramas and Webtoons
While HYBE prepares its entry, Kakao Entertainment has already established a footprint. In 2020, Kakao acquired Cross Pictures, a film and drama production company with an eye on Indian content. Cross Pictures had already made waves in India by adapting the popular Korean film “Ms. Granny” into the Telugu film “Oh! Baby” in 2019, which topped box office charts.
This success demonstrated that Indian audiences could embrace Korean narratives when thoughtfully localized. Cross Pictures, founded in 2003 and present in India since 2015, serves as Kakao’s strategic bridge to the market.
Beyond dramas, Kakao also ventured into the Indian digital comics space through Cross Comics, an Indian webtoon platform launched by Cross Pictures. Although the platform ceased operations in 2023, Kakao continues to engage Indian readers through Tapas, an English-language webtoon platform. Tapas reported daily transactions exceeding 200 million won last year, underlining the potential of webtoons a uniquely Korean cultural export as part of India’s growing digital content ecosystem.
The Hurdles: High Entry Barriers in a Fragmented Market
Despite these promising steps, the Indian market presents formidable challenges for any foreign player. First, there’s linguistic diversity: India officially recognizes more than 20 languages, and the cultural landscape is further divided by regional identities, traditions, and preferences.
An official from one entertainment company candidly noted, “Languages and preferences differ by region, and there is virtually no national distribution network to disseminate media content.” Indeed, India’s film and music industries themselves are regionally segmented, from Bollywood in the north to Tollywood, Kollywood, and other local industries in the south and east.
Moreover, content creators must navigate sensitivities around religion and politics. Content perceived as controversial can trigger backlash or even censorship. As the official emphasized, “We are looking to resolve these issues through local partnerships and censorship with the local corporation.”
These partnerships are essential not just for compliance but to genuinely understand and connect with audiences. Whether through local talent, co-productions, or localized marketing, Korean companies are learning that cultural nuance can be as critical as business strategy.
Why Webtoons and Dramas Fit: The Shift to Digital Storytelling
One reason Korean content like webtoons and dramas might resonate in India is the country’s shift to mobile-based digital storytelling. Webtoons serialized digital comics often read vertically on smartphones have already become popular in Southeast Asia and the West.
India’s young, mobile-native audience could be next, especially if stories blend universal themes with local relevance. Similarly, Korean dramas, known for high production values and emotionally rich storytelling, align well with the Indian appetite for serial narratives, which has traditionally fueled television soap operas and OTT binge-watching.
Moreover, the rise of streaming platforms like Netflix, Amazon Prime Video, and local players such as Hotstar and Zee5 offers new distribution channels that bypass traditional regional barriers.
Cultural Crossroads: What’s at Stake
At its core, this isn’t just about business. It’s about cultural exchange. Korean entertainment has become a soft power success story popularizing language, fashion, and lifestyle worldwide through K-pop, K-dramas, and webtoons.
India, too, is a cultural giant, with a storytelling tradition stretching from ancient epics to Bollywood blockbusters. The meeting of these two rich cultures could create something uniquely hybrid new genres, collaborations, and stories that blend Indian depth with Korean finesse.
The stakes are high for Korean companies. Get it right, and they could unlock a massive, loyal audience and diversify revenue beyond traditional markets like East Asia and the U.S. Get it wrong, and efforts could be stalled by cultural missteps or market complexities.
The Road Ahead
As HYBE gears up to launch its Indian operations later this year, all eyes will be on its strategy: Will it introduce new local idols? Invest in Indian artists? Or perhaps experiment with music genres that combine Korean production with Indian sensibilities?
Meanwhile, Kakao’s continued investment in dramas and digital comics shows that Korean companies aren’t betting solely on K-pop but on the broader storytelling appeal that has fueled the global “Hallyu” (Korean Wave).
One thing is clear: Korean entertainment firms aren’t coming to India to sell content they’re coming to build relationships. And in a country as complex and dynamic as India, that could make all the difference.
As cultural borders blur and digital platforms rise, the India-Korea entertainment story is just beginning. Its next chapters whether in webtoons, dramas, or music promise to be as fascinating as the stories both nations have long cherished.
