Korean idol

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The members of BTS are the world's most popular idols .
Blackpink at the Golden Disk Awards 2018. It's the most successful girl group on YouTube .
No other girl group sold more albums in South Korea than Twice .

Idol ( kor. 아이돌 ) describes South Korean pop stars whodebutas teenagers or in their early twenties andwho areunder contractwith an entertainment agency (e.g. JYP , SM , YG ). Most of the idols are members of a K-pop group. Some of these groups achieved worldwide fame and belong to the Korean wave , also known as Hallyu, a term for the global success of South Korean cultural exports. Even if the Korean version has its peculiarities, there are similarities to the western teen idols and the Japanese pop idols .

properties

Idols, or rather the boy and girl groups , are created by South Korean entertainment agencies. The members are trained beforehand in various areas such as singing, dancing, acting and behavior and are often already popular as trainees. Concepts are determined by the producers and managers, and songs are written by songwriters . Usually the members of the groups have no influence on concepts, songs, planning of the performances or concerts. However, there are exceptions like BTS and Big Bang , where the members act as songwriters. Idols often appear on South Korean variety shows as guests or permanent members of a show, appear on the radio, and are popular advertising media. Most idols are members of pop groups, but there are also solo idols like Chungha .

The definition of the term is diffuse. It's not a well-defined term, but it's widely used in the media and the K-pop scene. The singer IU is assigned to K-Pop, but is usually not considered an idol. Her background is different from typical idols. She rarely goes to variety shows and enjoys a lot of freedom about her schedule. She writes her songs herself and her albums are self-produced. This also illustrates the peculiarity of the Korean interpretation of the term "idol". Although IU is a role model for many and enjoys a very positive image , she is not considered a K-Pop idol. The same applies to the singer Psy , who became known worldwide for his hit song Gangnam Style (2012). He has always had extensive authority over his performances and songs, and rarely appears in variety shows. Furthermore, his songs are often not counted as pop music at all. In 2019, Psy founded his own entertainment agency called P Nation and is looking for trainees. These would be counted as idols after their debut.

This lack of influence, as well as the strict contracts of some entertainment agencies, are cause for controversy. In particular, smaller, unknown agencies see their prospect of success only in the sex sells strategy . So Gayoung and Jeonyul left the girl group Stellar because their agency (The Entertainment Pascal) literally forced them into a sexy concept. Their managers always reminded the group members of their contract if they objected. Gayoung was upset that the videos showed her different and more provocative than she really is.

As they age, idols often leave the entertainment agency, their group is broken up, or they are given more independence and write some songs. In this case, the stars are no longer considered idols, such as B. Rain , who started his own company in 2015. Kangta of the popular boy band HOT continued solo after the group broke up, but stayed with SM Entertainment . He produced for himself and other artists and wrote songs. He is no longer considered an idol. The media then speak of a "former idol". Even if they no longer appear in public or disappear into insignificance, they were once idols.

image

When the trainees are selected for a group, they are usually given specific roles to play. This is typical for girl and boy groups around the world. So that the members appear as different as possible, they should have a certain personality to a certain extent. Social media are often used to build this image .

Relationship with fans

According to Joanna Elfving-Hwang (2018), the relationship between Korean idols and their fans is characterized by “ parasocial kinship ”. That means, instead of admiring the stars, the fans often create a family connection with their idols. In some cases this connection also exists among fans. This relationship is favored either by the entertainment agency or by the fans themselves, either through social networks , fan pages, autograph sessions or fan meetings . This is made clear in the proactive participation of the fans in the production of the idol groups. Fans show their attitude and attitude towards the actions of the management and the entertainment agency and defend their idols against the agency as well as against criticism in the media.

Trainees

Somi successfully prevailed on the casting show Produce 101 and became a member of the temporary girl group IOI .

In western countries you became a pop star for a long time through casting shows , in which you, if successful, received a contract and could often become a member of a boy or girl group. In South Korea, however, the Idol system is more focused on the entertainment agencies. They do their own auditions, without television castings, and finally sign teenagers who the talent scouts see as potential trainees . Trainee ( 연습생 Yeonseupsaeng ) here means someone who is under contract and is being trained at an entertainment agency , but has not yet made his debut. Debut here means the release of a first album. It also happens that the sifters discover new talent on the streets. SM Entertainment has around 3 million applicants annually. The auditions not only take place in South Korea, but also in other countries.

Those who succeed and become a trainee receive lessons in singing, dance, musical instruments, behavior, comedy and languages. This can take an indefinite period of time until those responsible at the entertainment agency rate the trainees as ready for their debut. For some this process takes months, for others many years. The trainees at an agency often live together in dormitories and attend the same schools. This process of viewing, auditioning, training, producing, marketing and management was first established for the boy group HOT, founded by SM Entertainment . They are often listed as the first South Korean idol group. SM Entertainment took care of the distribution of this system. The founder, Lee Soo-man , later called the concept Cultural Technology .

The strengths of the concept became evident in the casting show Produce 48 , a successor to Produce 101 . The show featured trainees from South Korean entertainment agencies and members of the Japanese group AKB48 and its sister groups. Ultimately, the temporary twelve-person group IZ * ONE was founded from the candidates . However, the program showed that the South Korean trainees performed noticeably better. One reason is that Japanese idols are only expected to be cute and to be entertainers rather than artists. In contrast, South Korean trainees receive a more rigorous training program.

There is fierce competition among the trainees. Those who cannot show their talents or cannot improve themselves sufficiently may have to leave the company and will not be considered for an idol group. As soon as someone is part of the trainee system, the company largely regulates their life. This also includes nutrition and love relationships . Some entertainment agencies in the past have banned trainees from dating and had them sign gag contracts . However, at least the contracts of the big agencies that are in the public eye are checked for immoral and unfair content by the Korean Fair Trade Commission (KFTC). The situation has continued to improve over the past few years.

The groups are created in such a way that they address as many people as possible. Therefore, the members should have many skills and look good. This is how young talents are turned into stars. The investment of companies in training is considered high. 2012 reported the Wall Street Journal that the cost of training a member of Girls' Generation at 3 million US dollars were. The training usually lasts three to five years.

Entertainment agencies

The South Korean entertainment agencies ( 연예 기획사 Yeonye Gihoeksa ) are essential for the idol system . In particular, SM Entertainment , YG Entertainment and JYP Entertainment , which were founded by South Korean music stars between 1995 and 1997, shaped the creation of Korean idols and are considered to be instrumental in their success. When the idol groups were founded in the 1990s, the term "K-Pop" was coined. There was no K-pop before. The hour of birth of these idols changed production, marketing, fans, and the way music culture was played. The South Korean entertainment agencies based themselves on the idol system of Japan , which was established there in the 1970s and 1980s, but also took up elements of American pop music . This form developed rapidly into a large industry, the core of the South Korean music industry. The "new" entertainment agencies have created a whole new market.

However, the South Korean entertainment agencies developed a more efficient and systematic system in which trainees are specially trained over the years. Shin and Kim (2013) argue that entertainment agencies are the mediators between artist and consumer. They take up strategies of the South Korean conglomerates ( chaebol ) and are vertically integrated. Something Hollywood studios have given up. The K-Pop agencies became more than just a recording studio or a record label .

One reason that this happened in the 1990s is the democratization of South Korea from 1987 onwards. Before that, media such as television and music were censored, and companies and artists had little freedom. The process brought about social , economic and cultural changes.

Individual evidence

  1. ↑ Gunjoo Jang, Won K. Paik: Korean Wave as Tool for Korea's New Cultural Diplomacy . In: Advances in Applied Sociology . tape 2 , no. 3 , 2012, doi : 10.4236 / aasoci.2012.23026 .
  2. ↑ a b c d Seung-Ah Lee: Of the Fans, by the Fans, for the Fans: The JYJ Republic . In: Sangjoon Lee, Abé Markus Nornes (Ed.): Hallyu 2.0: The Korean Wave in the Age of Social Media . 1st edition. University of Michigan Press, 2015, ISBN 978-0-472-05252-3 ( limited preview in Google Book Search).
  3. ^ Mamamoo to meet their idol IU for the first time. In: KBS World . July 2, 2014, accessed April 29, 2019 .
  4. ↑ Jeff Benjamin: PSY Shares the Vision for His New P NATION Label & Next Chapter as an Artist: Exclusive. In: Billboard . April 10, 2019, accessed April 29, 2019 .
  5. ↑ Stellar honestly open up about why they had no choice but to go the sexy route. In: Allkpop . July 25, 2015, accessed April 30, 2019 .
  6. ↑ STELLAR's Gayoung And Jeonyul To Leave Group After Contract Expires This Month. In: Soompi . August 23, 2017, accessed April 30, 2019 .
  7. ↑ STELLAR's Gayoung Says Agency Pressured Them Into Sexy Concept. In: Soompi . December 20, 2018, accessed April 30, 2019 .
  8. ↑ Former Stellar member Gayoung Reveals how the group which forced into sexual concepts. In: Allkpop . December 19, 2018, accessed April 30, 2019 .
  9. ↑ a b c d e Joanna Elfving-Hwang: K-pop Idols, Artificial Beauty and Affective Fan Relationships in South Korea . In: Anthony Elliott (Ed.): Routledge Handbook of Celebrity Studies . tape 1 . Routledge, London 2018.
  10. ↑ a b c d e f g Sun Jung, Yukie Hirata: Conflicting Desires. K-pop Idol Girl Group Flows in Japan in the Era of Web 2.0. In: Electronic Journal of Contemporary Japanese Studies. October 26, 2012, accessed April 29, 2019 .
  11. ↑ a b c d e f g h i Solee I. Shin, Lanu Kim: Organizing K-Pop: Emergence and Market Making of Large Korean Entertainment Houses, 1980-2010 . In: East Asia . tape 30 , no. 4 , December 6, 2013, ISSN  1874-6284 , doi : 10.1007 / s12140-013-9200-0 .
  12. ↑ In any language, JYP spells success on the global stage. In: Korea JoongAng Daily . September 13, 2012, accessed April 30, 2019 .
  13. ^ Sarah Leung: Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music . Ed .: Senior Capstone Projects. No. 149 , 2012 ( online [PDF; accessed April 30, 2019]).
  14. ^ A b Michael Fuhr: Globalization and Popular Music in South Korea: Sounding Out K-Pop . Routledge, 2015, ISBN 978-1-317-55691-6 ( limited preview in Google Book Search).
  15. ↑ Jaeyeon Woo: Journey to K-Pop Star, 'I Am.' In: The Wall Street Journal . May 3, 2012, accessed April 30, 2019 .
  16. ↑ a b Dong-Yeun Lee: Who's Afraid of Korean Idols? In: Hyunjoon Shin, Seung-Ah Lee (Eds.): Made in Korea: Studies in Popular Music . Routledge, 2016, ISBN 978-1-317-64573-3 ( limited preview in Google Book Search).
  17. ^ John Seabrook: Factory Girls. In: The New Yorker . October 1, 2012, accessed April 30, 2019 .
  18. ↑ a b c Park Jin-hai: Why Japanese pop idol trainees are no match for South Korean rivals. In: South China Morning Post . The Korea Times , July 6, 2018, accessed May 1, 2019 .
  19. ↑ Yim Hyun-su: Are K-pop singers allowed to date? In: The Korea Herald . November 2, 2018, accessed April 30, 2019 .
  20. ↑ Kim Hyo-jin: K-pop stars punished by unfair contracts. In: The Korea Times . December 3, 2014, accessed April 30, 2019 .
  21. ^ Major K-pop agencies to reform unfair contract clauses. In: SBS PopAsia . March 8, 2017, accessed April 30, 2019 .
  22. ^ Sonia Kil: Korean Talent Agencies Ordered to End Slave Contracts. In: Variety . March 9, 2017, accessed April 30, 2019 .
  23. ↑ Jeff Yang: Can Girls' Generation Break Through in America? In: The Wall Street Journal . February 6, 2012, accessed April 30, 2019 .
  24. ^ Eun-Young Jung: K-Pop Idols, Social Media, and the Remaking of the Korean Wave . In: Sangjoon Lee, Abé Markus Nornes (Ed.): Hallyu 2.0: The Korean Wave in the Age of Social Media . 1st edition. University of Michigan Press, 2015, ISBN 978-0-472-05252-3 ( limited preview in Google Book Search).