Kpop, which is produced and distributed directly in each culture of the world and evolves into a transnational genre
Kpop (K-Pop), among other things, Idol Music has always made “border crossing” the essence, which is beyond the meaning that the product called Music is consumed across the border. The 21st century Idol industry contains the intention of globalization in the aspect of artist planning, music production, and publicity and activities, and has already evolved from its form and content to a transnational genre.
The 'horse dance' of Psy's 'Gangnam Style', which has driven the world into the 'cover dance' (dance-following) craze, which has been in full swing since the mid-2000s, is a decisive example of breaking down the old division of YouTube and social media era and establishing a new paradigm called 'Kpop'. And now, the global popularity of BTS and the newly transformed Idol industry, which can not find any other expression other than the word 'phenomenon', show that Kpop is moving beyond the border crossing stage once again to the stage of localization and individualization. This is also a sign that the new rule on Kpop is approaching at the same time.
'Nature' Haruno is the current status of post-Korean
Kpop's entry into the world beyond the boundaries inevitably means the birth of a new 'scene and domain' and a new relationship with the public to be formed in it. Now, Kpop's localization is no longer just introducing the same product as a 'foreign language'. It is clear that the success of GOT7 and Black Pink, which have achieved overwhelming success in Japan with the recognition and cultural intimacy of Japanese members, and the local members of Thailand and Southeast Asia, have secured higher reputation than any Idol group. The next step in Kpop's localization as a global industry is that it will use 'de-Korea' as a hot word.
Abe Haruno, who worked as a sports dancer in Japan and raised the dream of Kpop Idol, and eventually made his debut as a member of a Korean girl group called Nature in August, is not a sub-genre of Korean popular music, but rather a part of Kpop's current status, which is close to a 'format' expressing the modernity of pan-Asian countries.
Both SM's China Idol group NCT China and JYP's local Idol project in China, which are about to debut, will be a key example of explaining the ultimate evolutionary model of Kpop Idol, which is created by transnational methodology. The success or failure of these groups will eventually be measured in the full-scale future of Kpop, which is produced and distributed directly in each culture, not under the single God of Korea.
It redefined the relationship between music and listeners as well as the industry that crosses the boundaries of Kpop, which requires new insight into the nature and definition of Kpop. It is necessary to pay attention to the so-called BTS-pop discourse brought about by the unprecedented success of BTS in the United States recently. The success of BTS, and further attempts to distinguish their music from existing Kpop, has been consistently raised by their fandom in the Kpop Forum and social networking services in the United States for a year. The reason this flow feels unique is that it is at its opposite point, with the entire music called Kpop (Idol), not a specific artist.
For those who claim the 'different' of BTS, their original narrative or sound, or 'truthfulness', which represents Idol and artist, is an important basis. But it can be said that BTS-pop supporters in the United States have a kind of 'Kpop' intention in that they are not just claiming the relative superiority of BTS but are located outside Kpop fandom. Is this just an incidental happening due to the exceptional success of a specific group called BTS? I would rather pay attention to the differentiation and individualization of Kpop fandom as Kpop grows in the US market.
Kpop Evolved into 'Local' Pop
The expanded Kpop God, which crosses the boundary, inevitably creates a new fan base (sheart) that was not previously thought of. They began to take on areas that were increasingly difficult to explain by conventional classifications such as 'Korean Wave Fan' or 'Kpop Fan'.
Looking only at the US market, fans of the previous era, which Kpop began to globalize in earnest, until the early 2000s, were limited in the center of the Asian American community based on large cities. However, since the launch of the video site YouTube in 2005, Kpop's fandom has expanded beyond the Asian family, encompassing races such as white, black, and Latino (Latin Americans in the United States), both on and off. Among them, there are a few Kpop Idol groups called '2.5 Generation' or '3rd Generation', or Kpop as a non-Idol Music. There are also many who are not familiar with or interested in existing Kpop or Korean culture.
BTS has become an important litmus test site in the composition of Kpop fan base that has already expanded and differentiated. The Korean Wave fans and Kpop fans, which have been tied together in homogeneous groups during the past, are taking steps to rebalance their scope and essence through the emergence of artists that differentiate themselves from the grammar of existing Kpop Idol Music and new identity regulations, like BTS.
KCON, the largest Kpop festival in North America, which I cover every year, attracted nearly 100,000 participants in Los Angeles this year alone. However, compared to a few years ago when the nuance of 'Let's find out Kpop' was strong, the personality is now gradually changing to an event that reveals the taste and identity of the American public. The word 'Korean Wave' now sounds rustic, and the Kpop discourse centered on 'Korea' seems to be no longer their main interest.
Kpop Idol has become an 'optional place' equivalent to American pop stars, and it is felt that Kpop is changing into an individual support pattern for groups that suit their tastes, not following the Kpop itself. Kpop, which has become meaningful as 'local' pop through the industry that crosses the border with the nearest distance, is now in the stage where the meaning is redefined as a music planned or derived from Korea rather than 'Korean Music'.
Kim Yeong-dae Music Critics
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