Plus Magazine

| Written by Han Seong Hyun (Editor for the music webzine IZM)

SM Entertainment has signaled the end of their widely-noticed ‘Infinite Expansion’ system with the introduction of the final sub-unit of the boy group NCT. This new group, NCT WISH, was formed through the 2023 audition show ＜NCT UNIVERSE: LASTART＞, featuring six members: SION, RIKU, YUSHI, JAHEE, RYO, and SAKUYA. Notably, among its six members, four are Japanese while only two hold Korean nationality, indicating that NCT WISH is primarily aimed at the Japanese market. Despite plans for activities in Korea after their official debut on February 21, the Japanese lyrics in both tracks of their pre-debut single released in October 2023, ‘Hands Up’ and ‘We Go!,’ suggest that the group is envisioned as a ‘localized idol group’.

While the concept of ‘localization’ might initially seem unfamiliar, it is actually a well-known idea upon closer inspection. Those who watched the ＜2023 MAMA AWARDS＞ might recall a few standout names in the lineup of performers. These idol groups were specifically created to target the Japanese market, rather than the Korean market. During the first day of the awards, boy groups &TEAM, INI, and JO1 took the stage, and on the second day, there was also a performance by the girl group NiziU.

The prominent presence of localized idol groups at the ＜2023 MAMA AWARDS＞, held in Japan's Tokyo Dome, signifies K-POP's evolution beyond Korea into a firmly established global revenue model. Notably, among the localized idol groups that participated in the ＜2023 MAMA AWARDS＞, EJ, the leader of &TEAM, was the sole Korean national. This marks a departure from the traditional model of Korean idol groups expanding overseas. Instead, we are witnessing a new era where numerous domestic entertainment companies are establishing and cultivating their foundations in various parts of the world.

The significant shift towards K-POP localization began in earnest in the 2020s, although the foundational groundwork had been established earlier. Former Chief Producer of SM, Lee Sooman, spoke about a ‘Three-Stage Theory’ at a Paris conference in 2011. He described the first stage as exporting Korean cultural products, the second as expanding markets through partnerships with local entities, and the third stage as imparting Culture Technology to these joint ventures. Idol groups such as Baby V.O.X, who were popular in Chinese-speaking regions in the early 2000s, and KARA, a notable success story in Japan, greatly contributed to the widespread recognition of the ‘Korean Wave’ through their dynamic presence in Asia.
 

The second stage can be identified by the inclusion of members with foreign nationalities in idol groups. A notable example is SUPER JUNIOR-M, which garnered immense popularity in Chinese-speaking regions with its Chinese members. Another example is TWICE, which consistently releases Japanese albums and includes four foreign-origin members among its nine. Similarly, IZ*ONE was formed in collaboration with AKB48. SUPER JUNIOR-M was a unit of the parent group SUPER JUNIOR, and similarly, TWICE and IZ*ONE had established their foundation domestically before starting activities in Japan. However, the current third stage represents a significant evolution, going beyond these earlier efforts.

The beginning of the third stage of localization can be observed with WayV. Like their senior group SUPER JUNIOR-M, they are a subunit of the main group NCT, but a key difference is that none of the current six members are of Korean nationality. In June 2020, they released ‘Turn Back Time (Korean Ver.),’ translating the lyrics into Korean. However, the ‘Korean Ver.’ label emphasizes that WayV's primary focus is on the Chinese-speaking regions.

Similarly, the girl group NiziU's formation followed this trend. Their member selection occurred through the ＜Nizi Project＞, co-planned by JYP Entertainment and Sony Music Entertainment. After releasing their pre-debut mini-album [Make you happy] in June 2020 and officially debuting with [Step and a step], NiziU also ventured into English-translated songs in 2022. However, their move into the Korean market occurred much later, in October 2023. This pattern of activities clearly indicates where the group's main focus lies.

In December 2022, HYBE Entertainment launched the debut of &TEAM. Aligning with its company structure, which includes various labels such as Big Hit, Source Music, and Ador, &TEAM is under the wing of HYBE LABELS JAPAN, a division dedicated to the Japanese market. The group is composed of nine members: four were participants of the audition show ＜I-LAND＞, which was originally set up for selecting members for ENHYPEN, and five were selected through the ＜&AUDITION-The Howling＞ program. Comprising six Japanese nationals, EJ from Korea, NICHOLAS from Taiwan, and MAKI with dual Japanese/German nationality, the group embodies a multinational boy group identity. However, their primary activity market is strictly Japan. The first time Korean lyrics were introduced was about a year after their debut, in their first full album [First Howling: NOW]. This album also featured adaptations of original songs, akin to bonus tracks.

The prominence of K-POP in the global market significantly influenced the broadcasting world. Post the triumph of ＜Produce 101＞ in 2016, numerous idol audition programs sprang up rapidly, captivating international interest as well. In 2018, the official acquisition of the format led to the creation of the Chinese version ＜PRODUCE(创造) 101＞, followed by a wave of popularity in Japan through a joint Korean-Japanese production. Formed from the inaugural season of ＜PRODUCE 101 JAPAN＞ in 2019 and predominantly active in Japan, the boy group JO1 is affiliated with the joint Korean-Japanese company LAPONE Entertainment.

＜PRODUCE 101 JAPAN SEASON 2＞, the sequel series, was broadcast exclusively in Japan, retaining its K-POP framework while also solidifying its status as local Japanese content. The boy group INI, formed at the conclusion of this season's two-month run in 2021, is composed predominantly of Japanese members, with one member hailing from China. The third season in 2023 introduced a new twist, focusing on creating a girl group, leading to the formation of ME:I, which is set to debut in April 2024.

Up until now, localized idol groups have predominantly been based in Asia, regions that are not only geographically proximate to South Korea, the cradle of K-POP, but also share cultural and ethnic similarities. This dynamic, however, is evolving due to the increasing participation of Western countries. JYP Entertainment, which swiftly captured the market with NiziU, collaborated with Republic Records to create the audition show ＜A2K＞. The outcome of this venture was the formation of the six-member girl group VCHA, who launched their career on January 26th with the debut track ‘Girls of the Year,’ focusing their efforts in the United States.

HYBE has also entered this arena. They co-produced the survival show ＜The Debut: Dream Academy＞ with America's prominent Geffen Records, which aired from September to November 2023. The resulting six-member girl group KATSEYE exhibits both national and ethnic diversity, and the initial ‘K’ in their name signifies their endeavor to retain a link with the essence of K-POP.

Throughout its history, K-POP has seamlessly penetrated the global market with its rapid adoption of trends and dazzling performances. This approach was a distinct advantage for the industry, especially during the mid-2010s when the South Korean domestic market was a major focus. However, in the 2020s, with a significant expansion into the global market, this characteristic is now blurring the distinct identity of K-POP. This raises a question: Can K-POP still be distinctly classified as a ‘genre’ if it is no longer centered in Korea, features members of varied nationalities and ethnic backgrounds, and adopts music with a higher proportion of English lyrics to align with Western trends?
 

The key to understanding this can be seen in the trend where, in contrast to K-POP's global outreach, there's a movement of external influences seeping into K-POP itself. Take for example BLACKSWAN, a girl group that evolved from Rania under DR Music. Although the team lacks East Asian ethnicity among its members and includes those of Korean nationality, they actively operate under the banner of K-POP, focusing primarily on activities in Korea. On the flip side, there's XG, a seven-member girl group entirely of Japanese origin. They are consistently active in the Korean market and were produced by someone previously involved in the K-POP industry. However, they distinctively brand themselves with ‘X-pop,’ deliberately maintaining a distance from K-POP. These scenarios, while not precisely defining the essence of K-POP, underscore its evolution into a robust brand identity on its own.

Unlike traditional genres such as Afro Pop or Latin Pop, which are named for their distinctive sounds, K-POP is fundamentally a label derived from an industry model. This necessitates a reevaluation and a fresh perspective in how we view and discuss K-POP. Key questions emerge: How long will K-POP be able to sustain its current level of success? Beyond its visual appeal, can K-POP's music alone set it apart from other musical genres? What are the core elements that constitute K-POP? These are complex questions, indicative of an identity conundrum that lacks clear answers, making them even more significant for forecasting the future trajectory of K-POP.

 

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