Kuwentong Bangtan: The Gift Economy, Reciprocity and Kim Seokjin of BTS

In a gift economy*, goods and services are freely given without any explicit agreement for immediate or future rewards, unlike in a market economy where exchanges are transactional. This form of economy values social bonds, generosity, and mutual support over profit, often strengthening relationships within communities. In fandoms, the gift economy fosters a unique reciprocity between fans and artists, where each side continually gives and receives, enhancing their connection.

An example of this reciprocity is seen with Jin of BTS. Following his military discharge, Jin immediately returned to releasing content, including a new single, TV appearances, interviews, the Olympics, fashion events and a variety show. Although he could have taken a well-deserved break, his decision to actively create and share with ARMYs can be viewed as a generous gift, demonstrating his appreciation and commitment. This choice to work hard, even without obligation, highlights the value he places on his relationship with fans.

In return, ARMYs show their gratitude by promoting his work, streaming his music, purchasing his merchandise, and organizing fan support events. These fan-driven efforts reflect a desire to reciprocate Jin’s dedication, not out of obligation but out of appreciation. By investing their time, resources, and creativity, ARMYs boost Jin’s visibility and success, enriching the bond between him and his fans.

In this ongoing cycle of giving, the lines between giver and receiver blur. Jin’s offerings are gifts that resonate on a personal level, while ARMYs’ reciprocal support embodies gratitude and loyalty. Through this shared exchange in the gift economy, both artist and fans continuously deepen their mutual connection, reinforcing a sense of community that values emotional depth over transactional interaction.

* The gift economy, as introduced by anthropologist Marcel Mauss in The Gift (1925), describes a system where goods and services are exchanged to foster social bonds rather than for profit. Unlike market transactions, gift exchanges create a sense of obligation and reciprocity that strengthens community relationships. In artistic and fan communities, this dynamic is especially pronounced; artists offer “gifts” like content, while fans reciprocate with support, creating a cycle of mutual appreciation. Authors like Lewis Hyde in The Gift (1983) expand on this, exploring how creativity and art function as gifts that inspire connection rather than mere commodities.