The choreography for “It’s You” demonstrates several strategies that showcase the dance moves of the 11 members of Super Junior featured in this video. The video uses the large number of members, repeatedly breaking them up into smaller groups to perform choreography and punctuating the overall choreography with synchronized dancing and individualized performances. . . . Read more and see video at Hallyu Harmony.
Visuals are an important part of K-pop, and understanding them is crucial to understanding the meaning of K-pop and its spread globally.
In addition to music videos, images that accompany promotions for music releases, photo shoots featured in magazines and endorsements for an array of products are seen, collected and exchanged by fans. Not just important fan activity, such archiving in the lay sense is important to the preservation and memory-keeping of the visual narrative of K-pop.
In addition to the promotional function they perform, K-pop images also perform cultural work, constructing multifaceted representations of Korean identity. Anne Anlin Cheng, professor of English and African American studies at Princeton University, sees “celebrity as a politics of recognition and glamour as a politics of personhood” (1023). This has special resonance for raced bodies:
Glamour’s imperviousness thus draws on a crisis of personhood that is inherently political and maybe even strangely liberating for a woman and a minority–liberating not in the simple sense of acquiring a compensatory or impenetrable beauty. . . but in the sense of temporary relief from the burdens of personhood and visibility. It may seem counterintuitive or even dangerous to talk about the raced and sexualized body’s longing to be thinglike or to disappear into things, but it is the overcorporealized body that may find the most freedom in fantasies of corporeal dematerialization or, alternatively, of material self-extension (1032).
In other words, the highly stylized images that pepper K-pop represent a visual construction of Korean identities, visuals of how Koreans project themselves globally. For ethnic people who have been constructed by others, such images are important because they do cultural work, deconstructing or altering images of Koreans and the ideas that accompany them.
I have started a new section in my digital humanities project, Hallyu Harmony, to document and curate images of K-pop groups and artists. In doing so, I hope to be able to make meaningful statements about the kinds of representations of Korean men and women that permeate K-pop, detecting patterns that become apparent when such images are collected together.
In the Visuals section of Hallyu Harmony, image galleries are organized into three broad categories:
- Casual, images designed to appeal to everyone
- Chic, images designed to represent more sophisticated styling attainable by most
- Couture, images designed to capture more fantastic styling not designed for normal wear
Within these categories, images are further organized by concepts, magazine shoots and other promotional images. Concepts for music releases are placed in rough chronological order, allowing users to see how an artist or group’s image evolves over time.
The image gallery for Girls’ Generation, shows a greater variety of images than their reputation may suggest. A review of their concepts show that they are equally likely to promote a casual, chic or couture image. However, they are less likely to reflect a couture image in photo shoots for magazines. On the other hand, early observations of 2NE1’s image gallery (in progress) suggest that even though the group is known for its fierce reputation and image that many fans can relate to, the group reflect a chic image for many concepts.
Documenting such images presents challenges. Many images gathered from the Internet are divorced from their original context as they are shared by fans and K-pop media. As a result, tracing an image’s origins is not always possible. In some cases, the availability of images within their context is related to the commitment of Korean agencies to preserve the context of images. For example, the H.O.T image gallery (in progress) features many images, but few that can be placed in their original context. SM Entertainment‘s sites do not provide information for images on its H.O.T site. On the other hand, many of the concept images in S.E.S.’s image gallery can be associated with their original context due to the continued access to the group’s SM site. Other sites, like DSP Media (formerly DSP Entertainment) only includes current artists on its website, so locating images for Fin.K.L‘s image gallery (in progress) will be challenging. Images will have to be obtained from other sources. Moreover, it is easier to document 2nd and 3rd generation K-pop groups and artists like SNSD, while first generation groups like H.O.T and S.E.S prove more challenging because the groups are not active.
However, their fanbases are. Fan sites provide the bulk of the images documented, thus acting as valuable informal archives. As more image galleries are completed, I hope to write about the patterns that emerge from images from individuals and groups and compare them with other K-pop artists.
Cheng, Anne Anlin. “Shine: On Race, Glamour and the Modern.” PMLA 126.4 (2011): 1022-1041.
Shine On: Glamour, Image and K-pop by Crystal S. Anderson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Often believed to appeal only to teenagers, K-pop is experiencing a trend with old school groups making successful comebacks.
Some believe that K-pop has a short shelf life. Several point to the “five-year curse,” a trend where male K-pop groups break up or disband, often in the face of mandatory military service in Korea. Others believe that K-pop is a fad that will run its course. In 2011, Ree at seoulbeats declared: “One thing people must note when discussing the popularity of K-Pop, is that to many people, whether they realize it or not, K-Pop has almost simply become a fad. Meaning that despite the fact it is at its peak of popularity, it will once again start heading on a downhill slope.”
However, successful comebacks of groups who debuted prior to 2000 challenge these notions. Tickets for Shinhwa‘s Grand Tour 2012: The Return concert sold out in February, ahead of the release of the album The Return in March. Such success occurred after a four-year hiatus by group from the music scene. Other first-generation K-pop groups, such as g.o.d and Fly To the Sky, have also announced comeback plans.
Who are the people who support groups who have been inactive for years and why do they continue to like such groups? I want to find out! If you are a fan of a group who debut before 2000, take this survey! It will ask you questions about old school K-pop groups such as H.O.T, Shinhwa, S.E.S, Fin.K.L, Fly to the Sky, g.o.d, 1TYM, Deux and others.
Ree. “The K-pop Fad: When Will It End?” seoulbeats. 22 Nov 2011. Web. 25 May 2014.
JYJ (originally known as Junsu/Jaejoong/Yoochun in Japan) includes members Junsu (Kim Junsu; Xiah), Yoochun (Park Yoochun; Micky), and Jaejoong (Kim Jaejoong; Hero). After performing for several years as members of extremely popular male group TVXQ!, in 2009, the trio brought forward a lawsuit against their management company SM Entertainment, alleging significant problems with the contract’s length and associated distribution payments. . . . Click here to read more at KPOPIANA.
ZE:A (Children of Empire) is a nine member male group. Currently signed with the Star Empire Entertainment, group members include Kevin (Kim Ji Yeop), Kwanghee, (Hwang Kwang Hee), Siwan (Im Si Wan), Jun Young (Moon Jun Young), Tae Heon (Kim Tae Heon), Heechul (Jung Hee Chul), Minwoo (Ha Min Woo), Hyungsik (Park Hyung Sik), and Dongjun (Kim Dong Jun). . . . Click here to read more at KPOPIANA