Plus Magazine

| Written by Park soojin (Editor for the music webzine IZM)

The combination of ‘woman’ and ‘dance’ holds a rather unique position in South Korea. Women and dance. In the past, dancing that actively utilized many parts of the body was often interpreted more as primary entertainment rather than as an expression of artistic value. The slang term ‘Ttan-ttara’ aptly represented this sentiment. Moreover, when women danced expressively, they faced harsher external judgments compared to men. The reluctance to even discuss it today is due to the deep-rooted confucianism.

Nevertheless, in the history of popular music, ‘female dance musicians’ carved out a significant meaning. In the realm of dance, female musicians have always had a more pronounced presence. Veteran musicians from the 1960s, when the dance music genre was conceived, such as Lee Geumhee, Kim Chooja, and, fast forwarding a bit, Insooni, Kim Wansun, Nami, and going further to Uhm Junghwa and Lee Hyori in the 1990s to 2000s, were emblematic artists who contributed to establishing dance as something that women could own. While male dance musicians like Sobangcha, Park Namjung, and Park Jinyoung existed, they didn't establish a consistent presence in the lineage of dance music to the same extent as their female counterparts. However, female dance has always been surrounded by criticisms, both significant and minor, often because it was perceived as vulgar. Still, in this domain, female musicians have stood firm and paved their own path.

When the focus shifted to ‘female dancers,’ the situation changed even more. In the past, dancers were often relegated to the role of ‘back dancers’ behind musicians rather than being recognized as main artists on stage. Consequently, female dancers rarely received the attention they deserved. Due to the various backgrounds mentioned earlier, their dance was often seen solely in a sexual context, and there were not many genuine opportunities for individual dancers to be highlighted. Choreographers like Hong Youngjoo and Bae Yoonjung did have a certain degree of public recognition, but that was about it. It wasn't until 2021 that the long-unnoticed stories of female dancers were truly, all at once, and definitively spotlighted. It was because of the unexpected success of .

"In the summer of 2021, women who battle with dance are coming!” A dance battle among women.

Just as the promotional slogan suggests, truly ‘fought’ with dance. Throughout various challenges like the target designation battle, rank mission, and mega crew mission, which determined the hierarchy of dance crews, dancers showcased their skills unreservedly. The raw and refreshing sight of them competing against other dancers captivated viewers. The intertwined frictions between dancers who were once colleagues or had personal histories added a unique narrative to the show. There was drama. They took off their rank badges and gave their best performances in a dance showdown. Once the results were decided, they exchanged sincere signs of respect and brushed off the remnants of their emotions along with the dance.

Moreover, did not focus on ‘girl fights’ or ‘catfights’. What the show emphasized was the genuine competition among the dancers, and it was this aspect that conveyed the emotion beyond just a fight. The women's dance battles were intense, crisp, and above all, irresistibly captivating. From this point on, terms like waacking, isolation, choreography, and popping became associated with female dancers. To say that 2021 was dominated by ‘SWF’ with the sentiment of “Watch closely, it's the big sisters' battle” would not be an exaggeration.

Beyond highlighting the previously obscured charm of female dancers, a significant factor in 's immense popularity was the ‘challenge’ trend created by the show. ‘SWF’ made it easy to create challenges, a strategy already used as a marketing tool by numerous idols, actors, and various corporations. It's unsurprising, as viewers witnessed the entire process: from dancers crafting their routines, to competitions that determined the signature dance for a song, and even to the filming of music videos. Viewers felt as if they were personally involved in shaping the performance, watching the dance come alive in sync with the song. It was bound to enhance immersion. 
 

   
David Guetta's ‘Hey Mama (Feat. Nicki Minaj & Bebe Rexha & Afrojack)’ was the beginning. This song, which appeared in the rank mission, was a real-time testament to the ‘SWF’ craze. The song echoed through the streets, with many dancing to its rhythm. The song starts with a surprise kick drum sound and chants the lyrics ‘Be my woman, girl, I'mma Be your man’ as if casting a spell, intertwined with a powerful EDM sound overlaid with forceful vocals. This 2015 hit track by the renowned French EDM artist David Guetta gained explosive popularity in South Korea when featured in the 2021 broadcast. Although the song was already well-known, having reached 8th on the Billboard singles chart in its release year, its widespread popularity in Korea was undeniably due to the influence of ‘SWF’.

The following year, in , the trend was encapsulated by the song ‘New Thing (Prod. by ZICO) (Feat. Homies)’. From that point, music specifically crafted collaboratively by producers and musicians for the show began to be showcased. ZICO, who already achieved mainstream success with the ‘Any Song’ challenge, wrote this track, and the rapper group Homies, who had gained much love for showcasing their hustle life from poverty to success with ‘Siren,’ participated as featured artists. With playful and boastful lyrics like ‘I'm the new thing / Everything I got is a new thing / Even when I wear non-branded clothes / I get DMs asking me what brand it is’, the song captivated many, particularly with its unique dance moves that included gestures like touching a watch and fluttering clothing. 

In the currently airing , the song ‘smoke (Prod. by Dynamic Duo & Padi)’ is garnering significant popularity. The intro, with a sound resembling the lighting of a lighter, sets the mood as dancers make synchronized gestures. The lyrics, ‘I either run or fall, I'm like a bike without brakes,’ are paired with a dance performance that smoothly transitions between power and softness, making the song stand out. Released on September 5th, this track remains high on YouTube's trending music charts as we near the end of September. The battle video showcasing the main dancer for the song has already garnered over 3.13 million views. Moreover, the music video, featuring the selected dance led by the leader rank, achieved 6.09 million views just two weeks after its release. It's safe to say that all content associated with ‘smoke (Prod. by Dynamic Duo & Padi)’ is garnering widespread attention.

In 2021, the world of female dancers, which opened its doors with , subsequently continued its success with and . At the core of SWF’s ability to differentiate itself from the many previous survival programs and draw such significant attention lie the elements of ‘women,’ ‘dance,’ and ‘challenge’. The program properly highlighted the lives of female dancers, which had been overshadowed in some way or another. On the wide stage, these female dancers shined without faltering. Their passion for dance deeply moved the public. The public responded and reciprocated through challenges, by dancing themselves and enjoying music and dance together. In 2023, South Korea buzzes once again with the energy of dancing women. 
 

※ Manuscripts from outside writers may not reflect the editorial direction of this magazine.