Roundtable: K-pops Talent to Incite Social ExchangeWritten through Seoulbeats On July 14, 2016Fairly recently, BTS has been enshrouded in controversy because of the apparently misogynistic messages they've expressed in their song lyrics and tweets. Since idols are public figures, we regularlyrecall to mind them as people whowill have to take further deal in their behaviorin order that their habit does no longer negatively affect the impressionable early life that usually brand up their fanbase.
With the complaint nosotrosusually come acrosswhen it comes to idols’ mistakes, there is an implication that the messages idols put out are indeed influential. Thus, it more or less feels that one can safely suppose that idols’ certain messages definitely influence the remainder of society, whilst the communicate is criticized and stated every bitproblems that have to be addressed. With the BTS issue, it appears the voices of the disappointed lovers were adequately addressed by BTS’s firm Big Hit Entertainment, and suggests that either BTS and large make volition now be certainnow notto shop for into problematic societal perspectives. This makes us wonder: Do you observed K-pop can also be an road for societal switch in Korea?
Another appealing thing to imagine is that BTS is apparentlya collection alongsidesubstantialcreative freedom because they write their own track and lyrics. However, other teamshaven't got this luxury. How then do we trustsubject matter from the groups whose ideas and music are created for them by their companies? Are we in a position to separate the looming figure of the controlling corporate from the fabric they put out?
Sydney: I think BTS’s scenario is undoubtedlyevidence of K-pop’s doable to create adjustments in Korean society — despite the truth that not on a wide scale. Problems were brought up, acknowledged, and addressed. What I in findingmaximum interesting is that massive Hit Entertainment turns outto recognize the presence of social influences on BTS themselves, and also that the messages BTS sends out items to patronsin their music what is suitable and what is not. Also, with BTS (mostly) helming their own music, the messages they put out thru information technologyappearthe entire more potent.
On the opposite hand, I don’t know what to consider the messages corporationsspecificby way of their idols. An example that comes to brain is Sistar, a team whose tremendous expression of feminine sexuality is both refreshing yet confusing to me. I’m not ableto split what they stand for through their music knowing that the complete thingused to bemade up our minds by a corporation that’s wanting —and succeeding — to make cash at the finish of the day.
Madi: In some ways, I believe like here is a double-edged sword. In one way, you've got freedom of expression and that appeals to the artistic view of things. For most, I suspect thats the charm of BTS. Theyre capable of make songs hitting on concerns and the sector hears it. But whilst you tell any personthey've got artistic freedom to create, but then give too many laws about what they could also be able to and cant do, its not quite freedom is it? Theres this feeling of a too much political correctness where now everything and the rest will offend or cause someone.This outlook isnt limited to K-pop.
It can certainly serve as a metamorphosis because I feel the music around theinternational influence each and every other. Its making Korea have religion in concepts they couldhad beenk in their culture, but in the truth of things, it would in all probability not accept been ok at all.
Interestingly enough, I feelother peopleoverlook that not all concepts are recommended by the artist themselves. For example, BTSs Boy in Luv, which is a a phase of this factorof the wayone of theparticipants treated the feminine in the video, Jins element where he pushes the womanopposed to the locker. It'll never be known if one doesnt watch the in the back of the scenes, but Jin again and again apologized to the ladyonce theyfinished that scene.
I think to keep away fromconsiderations like what BTS appears to repeatedlydevelop into entangled in, thats why corporationsmake a decision what songs artist put out. Certainit could not feel too authenticas it makes an idol a robot and just outputting orders thus the customized touch is gone, but in doing so, they are able toregulate more so whats being said to be surenobody is brought about or might be up in arms. But someone, somewhere will be angry anyway.
But its excellent to voice concerns and its greater when theyre heard, but section of being a fair fan is working outfrom time to timeyou are going to disagree and won't like what your idol puts out. Friendships, relationships they all paintingsthis manner If no one ever had a complaint and everybodywere given along, the realm would be a in point of facthorrifying place.
Gaya: Like other varieties of media, K-pop is a device to be wielded in whichever way by the user. The SK executive knows this very well, and is the usage of K-pop as a cultural export in its quest for cushy power. Thats one way to exploit K-pop, and pushing for social change is another. But its up to the folks in K-pop if they wish to enact that or not. There are definitely examples we will be able to betoken to in K-pop, like Sunny Hills The Grasshopper Song and the MV for K.Wills Please Dont, and there'll be more of the ones in the future, as well.
I take into account BTS to be a neighborhoodthat makes a speciality of social messages, in which case I see no hassle in fans critiquing that aspect. Ideally, there would be a fluid verbal exchange with room for nuance, like Jonghyuns conversation with Nine, and later, a fan on Twitter, but that isn'tat all times the reality. Hashtag campaigns can even feel blunt, but they will most likely bea fantastic way to magnify voices, so that businessesmightlisten them. And with some things, like the N word, a conversation may not be as wanted as an easy STOP.
Companies taking virtue of social movements is a cynical crossthat willinfrequently exist a reality JYPE needs Miss A to inform you lot that they dont desire aguyto shop them things, but its Adequate if theyre peeping toms. But in the long runit's far up to us, how we take care of that inconsistency. We can petition our faves to change, so that we can continue them guilt-free, remain fans of our problematic biases, just drop them till they get a clue, or anything else. I agree with Madi in that we cant make individualsto switch their perspectivessimply for the sake of it; but that doesnt mean we want to silently settle for the prestige quo, either.
Qing: Going off what Gaya said, I feel that its tricky for K-pop to truly enact social change or change this is enduring, and not simply because we cant make folks change their views. Social things and prejudices are incredibly pervasive and run so deep that its not easy to get to the root of the gadget and erase the hegemonic forces riding them. The most K-pop can do, and what I am hopingit is going to continue to, is to carry world awareness and spark discussions.
The case of Jonghyun, Nine, and his Twitter fan that Gaya discussed is an example of how enduring change is hard to enact or sustain. The conversation became nuanced and mature, and Jonghyun was receptive in opposition to what his fan explained about the pedestalisation of ladies as a kind of benevolent sexism, in his case, by treating them as muses. However, while I used to beoperating on the Mid Year Review on albums, I couldnt assist noticing that many songs off She Is continue to specific their female topics as muses. I favored the artistry of the album, but the lyrics make me wonder whether that conversation with his fan was actually able to modify Jonghyuns perspective.
Madi: Women dont frequently work into a massive number of controversy with lyrics or if we do, we rarely hear about them right? No less than personally, it gave the impressionmen go in trouble for lyrics, but not women.
Qing: I was just considering this disparity between the genders in terms of the facility to advertise social change. It seems that the voices of female artists occasionallydon't register, or when they do, they are delegitimised by the prejudiced view of women as too emotional. For instance, Lee Michelles debut MV, Without You, took the problem of race head-on with powerful, poignant pictures of a little girl powdering her face white, shooting her preference to mask her skin shade and are compatible in. But there wasnt really a feeling that her voice registered, and a couple of years down the road, we continue seeing circumstances of blackface and other racially insensitive behaviour and speech in the Korean entertainment industry.
I also think of a up to date example, Younhas Get It. As Chelsea stated in her review, the MV is a critique of the double usual that plagues women who display their frustration. The song and video takes a more potent tone and symbol than most of Younhas previous music. But she was flooded with malicious comments attacking her for departing from the former Younha and in some wayclose down her Twitter.
Gaya: I didnt know that came about to Younha, thats terrible! I bet thats the turnfacet of voicing our opinions, especially when we are in war of words with an idols work taking the criticism too far. I don't forget Ga-in copping identical flak after the shower teaser for her unmarried fxxk u. Up except then she had been showered with compliment for not being like other girls and employing sex to sell her music. But that has since passed, and I hope its the similar for this sentiment about former Younha.
There have definitely been times where a feminine acts lyrics have led to controversy (like Twices Cheer Up and IUs Zeze), but I think Qing has some extent about their voices being drowned out. More usally than not, girl groups get into controversies over more visual components like dance moves and outfits. But whatever it is, I think there's aother reaction when this is a female idol involved.
We accept that men perpetuate sexism because they have the ease of it; but if a woman, who doesn'tmake the most of sexism, is visible as perpetrating it, were once in a while not yes how to give an explanation for it. Perhaps its the men who wrote the lyrics, created the choreography, directed the MV, utilizingthosegirls and women for their own ends. Or, the female idols have complete agency and featureselectedto head down this path. Its this dichotomy that The Entertainment Pascal seems to capitalise on with Stellar, the girl organization that caters to the male gaze but is empowered by doing so.
Thats all from us. Any mind or comments you need to add? Sound out below!
(Images by the use of JYP Entertainment, Large Hit Entertainment, SM Entertainment, Starship Entertainment, Loen Entertainment, C9.)