Can K-Pop concepts be seen as genuine?

Fans naturally attach to the groups they love. The basis for that attachment is something that the fans see in the idols that resonates with or appeals to them. In K Pop there exists the most engaged fandom of perhaps any industry. However, can fans even trust that what they see from their idols is genuine?

K Pop is generally very concept oriented. This means that each group has a ‘general’ concept which dictates their songs, style, promotional material, and performance aesthetics. Essentially, the whole image of the idols and the group must be in line with their ‘concept’. Each album put out by idol groups has its own concept which can be similar or different from the groups general concept. The success of the group or album can be greatly attributed to a successful concept. Historically, K Pop agencies have adapted—or even entirely upended—their group’s image in order to engage new audiences. These practices call into question whether the idol’s image is intrinsic to the members or whether their portrayal is merely a marketing tactic.

The Sexualization of Idols for Western Breakthrough

BoA, under SM Entertainment, was hugely popular in both Japan and Korea. Eventually, SM had their sights on expanding her audience to America. As a part of her American debut, SM released two versions of her music video “Eat You Up:” “Version A” and “Version B.” Fans quickly identified “Version A” as an attempt to target an Asian audience, while “Version B” seemed to target an American audience. The videos presented two distinct images of BoA. The western-oriented music video sexualized BoA. The video included more close-up shots of her face and posing in tight clothing. On the other hand, “Version A” followed the more typical narrative style music video with BoA in baggy clothing and a greater focus on dancing (1).

Wonder Girls, by JYP, had a similar story to BoA; Wonder Girls also reached great popularity in Asian markets. After this success, JYP, like SM, had its sights on the American market. Wonder Girls debuted in the US with an English version music video of their hit “Nobody.” The video featured the group singing in smaller and smaller dresses as they rose to fame performing their song (2). When discussing another one of Wonder Girls’ American facing music videos, Like Money, Jung says the production reflects “the Korean (at least JYP’s) desire to be accepted by the mainstream US pop market even if they have to greatly compromise themselves to be racially, sexually and musically acceptable” (2). This encapsulates another example of agencies willing to sexualize their idols to hook new viewers.

BoA and Wonder Girls are only two examples of agencies altering their artists’ images to capture greater audiences; however, it calls into question the agencies’ credibility. This lack of credibility impedes the integrity of the images of girl/boy groups as propagated by agencies. Since agencies are willing to go to such great lengths to gain new audiences, it is clear that their primary objective is to capture market share and viewers, even if at the cost of their idol’s character.

‘Girl Crush’ as a Marketing Ploy

In the 2010s, with 2NE1, 4Minute and Brown Eyed Girls, K Pop fans saw the rise of a concept dubbed “Girl Crush.” This concept allowed girl groups to target female audiences; this starkly deviated from the traditional split where girl groups would primarily cater to a male audience and boy groups to female. This concept consisted of a sexy, cool, badass image which allows female fans to admire girl groups without them being sexualized (3). SM’s Visual & Art Director elaborated on this strategy, saying “The male fanbase will follow no matter what happens. Overall our main target is women in their teens and twenties. In order to gain their interest we give [our girl groups] a confident and modern image” (4).

Blackpink, who debuted in 2016 from YG, embodied this “girl crush” concept. Their girl power anthems like “Ddu-ddu-ddu” and “Kill this Love” were hugely popular and allowed them to break into the US market. The reception by fans was strong, as seen in the Youtube comments which feature statements praising the song for “fight[ing] with the images that society wants” and calling BLACKPINK “brave to raise their voices to fight back the gender discrimination to support gender equality” (5). Clearly, fans resonate with the image that the label presents: an image of a girl group that stands for female empowerment. However, K Pop female idols have received major pushback from fans when they actually speak up about gender inequality. When Irene from Red Velvet, another SM group with “girl crush” concept, simply stated that she read Kim Ji Young, Born 1982, Cho Nam-joo’s feminist novel, there was a large backlash, especially from fans, some of whom even burned her picture (4). 

The girl crush concept has proven itself to be a successful method for girl groups to expand their appeal. Agencies cultivate and present a ‘girl boss’ image through music videos, songs, performances, and social media persona. This image particularly resonates with the female fan base. However, since many idols are not able to speak on or advocate for gender issues, agencies’ reputability is further degraded through the broadcasting of this false image.

Conclusion

A new, award winning girl group, HYBE’s New Jeans, has been taking the world by storm since debuting only 9 months ago. Their concept, consisting of a stripped back aesthetic, evokes nostalgia of old girl groups. At the same time, New Jeans’ members are portrayed as “normal girls;” an image that resonates with the fanbase (6). This is shown in comments on their Youtube videos. Fans comment that they enjoy New Jeans’ “refreshing” concept of being genuine high schoolers, typical girls. FeelKkari puts this well, commenting “NewJeans’s concept is very chill and natural, more girl next doors just hanging out with each other. They don’t fake high pitched voices or use the word oppa in every chorus. They’re just girls, actual high school girls.” Clearly, fans are drawn to the image presented of a girl group without fluff, presented as “normal girls” (7). Again, fans attach the group’s concept to the members themselves, and the agency successfully gains greater audiences and market share. Until there is acknowledgement of a history of manipulating artists and their images, as well as a change in future marketing strategies, how can viewers trust that what they see is anywhere close to the truth?

Resources

1. Michael Fuhr, “Spatial Asymmetries: Imaginary Places in the Transnational Production of K-Pop” in Globalization and Popular Music in South Korea: Sounding Out K-Pop (New York, NY: Routledge, 2016), 162-191. 
2. Eun Young Jung. “K-pop Female Idols in the West: Racial Imaginations and Erotic Fantasies” in The Korean Wave: Koreans Media Go Global, 106-119.
3. https://www.allkpop.com/article/2023/02/k-pop-songs-exploring-girl-crush-in-korean-pop-music
4. https://www.billboard.com/music/music-news/girl-crush-k-pop-feminism-2018-8491604/
5. https://www.youtube.com/watch?v=IHNzOHi8sJs
6. https://www.pinkvilla.com/entertainment/newjeans-a-girl-group-that-broke-the-mold-of-a-typical-4th-gen-k-pop-group-and-took-over-the-scene-1196482
7. https://www.youtube.com/watch?v=pSUydWEqKwE