The Linguist

20 The Linguist Vol/65 No/1 ciol.org.uk/thelinguist FEATURES From online posts of fans excitedly singing along phonetically to accusations of appropriation, K-pop has firmly implanted itself in mainstream conversations. As K-pop continues to span boundaries and borders, long-time fans find themselves wrestling with the question of whether (or when) K-pop is no longer Korean. The answer may lie not so much in language or national categories, but rather in the motivation that K-pop provides: a chance for fans to embrace language learning, expand their global awareness, and connect and contribute to this K-pop effect in their own meaningful ways. Notes 1 Yeung, J (2023) 'South Korea Brought K-pop and K-dramas to the World. The Korean language could be next', CNN, 17/1/23 2 Lusin, N et al (2023) 'Enrollments in Languages Other Than English in United States Institutions of Higher Education, Fall 2021', Modern Language Association 3 Shin, H-r (2025) 'Influence of K-Culture in Attracting International Students'. In The Korea Times, 5/11/25 4 Lee, I (2018) 'Effects of Contact with Korean Popular Culture on KFL Learners' Motivation'. In The Korean Language in America, 22,1, 25-48 5 Kwon, S and Lynch-Kimery, M (2025) 'Fans Between and Beyond Boundaries: Exploring the "unremarkable" translingual practices of Anglophone Korean pop music fans on social media'. In International Multilingual Research Journal, March 2025, 1-17 6 Reddit user (2024) 'I've been learning Korean since 2018…' Accessed 6/11/25; now deleted How Sandra Tamele shook up her country's publishing industry, which was lacking respect for translation I t was 3.15am in early September 2014 when I found myself wide awake with a restless thought. Another International Translation Day would soon pass in Maputo, marked only by speeches and vague promises about forming a translators' association. I was tired of the talk; I wanted action – something to celebrate translators and inspire young people to view translation as a creative and respected career path. That night, an idea began to take shape: to create an award celebrating translation itself. While it sounded simple, the task was anything but. Two weeks later, armed with a home printer and US$350, I posted flyers at the local School of Translation, inviting students to write an essay titled 'Why Become a Translator?' Only five people submitted entries, but that modest beginning planted the seed for what would evolve into the Maputo Literary Translation Award – the first initiative of its kind in the PALOP region (Portuguese-speaking African countries). From restlessness to a movement My own journey had been shaped by exclusion. In 2007, I published the first work of literature translated and published in Mozambique by a Mozambican. I had transitioned from architecture – a field where I felt unwanted – into literary translation, where I soon encountered a different form of invisibility. Publishers repeatedly told me "We don't do translations." Even after securing a grant and finding a willing editor, I had to design the cover, review proofs and handle my own marketing. By 2014, I had learnt two important truths: that translation could be a vehicle for empowerment, and that in Mozambique we had to build that vehicle ourselves. In July 2015, the first official edition of the Maputo Literary Translation Award took place. Operated under the social responsibility programme of my micro- business, SM Traduções, it aims to unite translators and interpreters, celebrate the profession, and raise awareness of our vital role in intercultural dialogue. Each year, from 1 May to 1 July, participants are invited to translate a short story from any language into Portuguese (the country's official language) or one of Mozambique's local languages. The award offers more than just prizes; it includes free workshops, mentoring sessions and the opportunity to learn directly from experienced translators. The final celebration, held on 30 September – International Translation Day – features live sign language interpretation and silent dramatic interpretations of the translated stories. This signature feature has made the event one of Maputo's most inclusive cultural gatherings. Over 11 years, the competition has received more than 1,000 entries, translated 52 short stories from 6 languages by 24 Writing our own story BLOCKBUSTER: KPop Demon Hunters display © SHUTTERSTOCK

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