Anidol(Korean:아이돌;RR:aidol) is a type of entertainer who works in the field ofKorean popular music(K-pop), either as a member of a group or as a solo act. They typically work for anentertainment agencythat operates a highly managedstar systemthat idols are produced by and debut under. Idols undergo extensive training in dance, vocal performance, and foreign language, and tend to represent a hybridized convergence of visuals, music, and fashion.[1]Idols maintain a carefully curated public image and social media presence, and dedicate significant time and resources to building relationships with fans through concerts and meetups.[2][3][4]
History
editTrainee system
edit
Inspired by the heyday ofMTVin the United States,Lee Soo-man,the founder ofSM Entertainmentset his sights on laying the foundation for the modern Korean pop music industry. He witnessedNew Kids on the Blockbecome very popular in Korea in the 1990s.[5]In addition, he popularized the trainee business model from theJapanese idolindustry that was founded byJohnny Kitagawa;[6][7]Hundreds of candidates each day attend the global auditions held by Korean entertainment agencies to perform for the chance of becoming a trainee. This was part of a concept labeled cultural technology.[8][9][10]
The trainee process lasts for an indefinite period of time, ranging from months to years, and usually involves vocal, dance, and language[11][12]classes taken while living together with other trainees, who sometimes attend school at the same time. However, some trainees drop out of school to focus on their careers.[13][14]
Once a trainee enters the system, they are regulated in multiple aspects, including personal life, physical condition, and visual appearance. The survival, training, and regulation take precedence over natural talent in the production of Korean idols.[1]The system requires trainees to maintain a "wholesome image" while remaining "private about their lives and thoughts".[15]
Former trainees have reported that they were required to go through plastic surgeries, such as ablepharoplastyor arhinoplasty,in order to adhere to the acceptableKorean beauty standards.Further criticism towards the trainee system arose regarding the companies' harsh weight restrictions, which often caused trainees to pass out from exhaustion ordehydrationin an attempt to reach the required weight for their desired program.[16][17]
The investment in a potential trainee could be expensive. In 2012,The Wall Street Journalreported that the cost of training one member ofGirls' Generationunder SM Entertainment was US$3 million.[18]
Personal image
edit
When trainees are finally chosen to debut in new groups, they will face a new set of personalities created by the company to cater to the entertainment market. Each member of an idol group has their own character to play, and therefore an important part of their job duties is to maintain that temperament in any kind of exposure they may get. One way to build the personal image of idol groups is through social media services with content managed by the company to ensure the consistency of these personal characteristics.[19]
Relationship with fans
editThe relationship between Korean idols and their fans can be characterized as "parasocialkin, "which means for fans to create a familial connection with their idols rather than just being a" look-from-afar "fan. In some cases, within and outside of fandoms, fans also create familial connections with other fans through similar interests or just to make friends. These interactions can be initiated by the fans, the company, or the idols themselves, where they would most likely still have to go through their company to be approved. Some projects or activities created by fans for the idols must also be approved by the venue or the idols’ company to minimize any harm to the idols and fan participants. Interactions and fan connections can be seen through events like fan meetings, also known as artist engagements, concerts or fan-sites, and artist cafés. An annual event known as KCon is also a place for fans and artists to interact. The nature of this" parasocial kin "relationship can also be seen in the proactive participation of Korean idol fans in the production of idol groups. Even before debut, some trainees would already have their own fans. This leads to the" kinship "starting out early, and building that up is very important for the idol as an artist and the fan as a supporter. Once debuted, fans grow alongside their idols and idol-fan relationships become deeper. If anything happens, fans have their own unique ways to show their attitude and opinion on issues concerning" unfair "actions of management companies. Under this situation, fans often appear to be protecting idols from company mistreatment due to the familial connection built between both sides.[19]
Korean Pop-culture has made a significant impact on the world, creating numerous opportunities for fans to unite and celebrate diversity. Fans have demonstrated their commitment to K-pop idols by taking the initiative to learn the Korean language, often with the help ofromanization,to comprehend the meaning behind K-pop songs and establish a connection with the artists on a personal level.[20]
Working conditions
editSeveral Korean idol groups and solo artists have resented the contracts issued to them by their management companies, claiming that the decade-long contracts are "too long, too restrictive, and gave them almost none of the profits from their success." A director of South Korean entertainment agencyDSP Mediastated that the company does share profit with the performers, but often little is left over after paying costs.[21]Korean entertainment companies such as S.M Entertainment have been called "factories"[22]for their unique method of mass-producing stars. Members of groups are frequently retired and replaced with fresh trainees when their age or musical inclinations begin to pose a problem.[23]TVXQcharged S.M. Entertainment for unreasonable terms in their contracts with the company in 2009.[24]
Expectation
editIn the Korean entertainment industry, there is a prevailing notion that idols are loyal to their fans. Due to this, many companies have implemented policies that prohibit any sort of dating. The reason for this is that reputation is crucial for idols, and any type of scandal could tarnish and ruin their image and negatively impact their careers. Fans also believe dating may be a hindrance to an idol's success.[25]
By the constitution, military service is mandatory for all males aged between 18 and 35, requiring them to enlist for 18 months. Despite the significant contributions of Korean idols to the country's economy, there are no exceptions made for them. In the past, a former K-pop star,Yoo Seung-jun,attempted to evade military service by obtaining American citizenship. As a result, he was subsequently banned from entering South Korea.[26]
South Korea is still a very conservative country and thus, artists who are members of theLGBTcommunity still face significant discrimination and prejudice. Go Tae-Seob, also known as the artistHolland,debuted with his first song in 2018, “Neverland,” as a gay man. However, many citizens were not happy that he was openly expressing his sexuality. Holland brought attention to and advocated for issues surrounding LGBTQ+ rights.[27]
Commercialism
editEntertainment companies in Korea use a boot-camp system in training their idols. In the case ofS.M. Entertainment,the company receives 300,000 applicants in nine countries every year.[28]They possess training facilities in theGangnam districtof Seoul, where recruits then train for years in anticipation of their debut. SM was called the first company to market "bands as brands" and commodify not just the artists' product, but the artists themselves. Such techniques have resulted in mass recognition abroad and helped to spark theKorean Wave,which benefits entertainment companies by broadening their audience.[28]As domestic fandom is not generally enough to produce the profits that these corporations and their players require, branding and marketing of the artist/group has become central to industry profits and, thus, a defining feature of the genre today.[21]
Reported earnings
editAccording to the South Korean National Tax Service, the average annual earnings for a Korean idol in 2013 were KR₩46.74 million (US$42,000). This was significantly more than the 2010 figure of KR₩26.97 million (US$25,275), a rise attributable to the global spread ofHallyuin recent years. Between 2013 and 2014, not much has changed for all but the most successful handful of artists.[29]
Recognition
editTheKorean Wavehas led to a global rise in interest in Korean idols, along with other aspects of Korean culture includingKorean filmsandK-dramasincreasing being introduced and exported to other parts of the globe.[30]Korean idols have also influenced the rise of Korean beauty products, commonly referred to asK-beauty,due to their seemingly perfect skin. [31]
Accomplishments
editOver the years, Korean idols have gained fans from all over the world, and many entertainment companies have started to promote their artists and groups internationally. Celebrities likePSYhit the top music video viewed on YouTube within 24 hours,[32]and groups likeBTSbecame the first foreign group to perform at the annual Grammys Award show.[33]In 2018,Red Velvetperformed inPyongyang,North Korea, and was the first group to do so in 16 years.[34]
Sexualization
editThere have been criticisms of thesexual objectificationof female and male idols across the industry. The problem is exacerbated due to the higher rigidity of gender norms in contemporary Korean society.[35]Korean censorship practices regardingnudity and obscenitymay have further reinforced this objectification.
Korean idols also frequently wear revealing clothes and dance provocatively in music videos as part of the companies' effort to market idols in multiple ways.[36]In some cases, these efforts have resulted in censorship; for example, "Miniskirt"byAOAwas deemed sexually inappropriate to public TV shows and programs and was unable to be aired until the group modified their outfits and choreography.[37]
This sexualization has also led to a notion of conformity in idol acceptance. Idols that do not perform in a sexually appealing way to their targeted demographic have been harassed; for example,Amber Liuhas received criticism for her androgynous appearance and disregard for gender norms.[38]
See also
edit
References
edit- ^abElfving-Hwang, Joanna (March 5, 2018), "K-pop idols, artificial beauty and affective fan relationships in South Korea",Routledge Handbook of Celebrity Studies,Routledge, pp.190–201,doi:10.4324/9781315776774-12,ISBN978-1-315-77677-4
- ^Caramanica, Jon (October 24, 2011)."Korean Pop Machine, Running on Innocence and Hair Gel".The New York Times.Archivedfrom the original on February 17, 2015.RetrievedSeptember 7,2012.
- ^Seabrook, John."Cultural technology and the making of K-pop".The New Yorker.Archivedfrom the original on October 25, 2012.RetrievedOctober 30,2012.
- ^Sun, Jung (2010).K-Pop Idol Boy Bands and Manufactured Versatile Masculinity: Making Chogukjeok Boys.Hong Kong University Press.doi:10.5790/hongkong/9789888028672.001.0001.ISBN9789888028672.
- ^"케이팝을 움직이는 손, '대형 기획사'"[The big player that moves K-pop, a Big entertainment company]. pressian Professor Lee Dong-yeon. February 1, 2012.Archivedfrom the original on August 16, 2021.RetrievedAugust 16,2021.
[Like the producer of "New Kids on the Block," Lee Soo-man auditioned for teenagers in Korea and the United States and then recruited members of the group. The group that was created in that way is H.O.T]
- ^Gingold, Naomi (January 8, 2019)."Why The Blueprint For K-Pop Actually Came From Japan".National Public Radio.RetrievedMarch 22,2020.
- ^St. Michel, Patrick (July 10, 2019)."Johnny Kitagawa: The mogul who defined and controlled Japan's entertainment industry".The Japan Times.RetrievedMay 10,2021.
- ^"K-Pop Boot Camp".ABC News.Archivedfrom the original on October 29, 2012.RetrievedOctober 30,2012.
- ^Seabrook, John (October 8, 2012)."Factory Girls".The New Yorker.ISSN0028-792X.Archivedfrom the original on July 24, 2019.RetrievedApril 17,2016.
- ^"한국 최초 연습생 출신 가수 김완선 보아가 벤치마킹.(in korean)".chosunilbo.April 5, 2016.Archivedfrom the original on November 26, 2021.RetrievedAugust 16,2021.
[Lee Soo-man training system benchmarked Korean trainee singer Kim Wan-sun in the 1980s, and then the trainee system was introduced.]
- ^"In any language, JYP spells success on the global stage".Joong Ang Daily. Archived from the original on September 17, 2012.RetrievedOctober 30,2012.
- ^Leung, Sarah."Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music".Vassar College.Archivedfrom the original on October 17, 2012.RetrievedOctober 30,2012.
- ^Woo, Jaeyeon."Journey to K-Pop Star, 'I Am.'".Wall Street Journal.Archivedfrom the original on June 23, 2012.RetrievedOctober 30,2012.
- ^"The Price of Fame in South Korea".Toonari Post.Archived fromthe originalon September 3, 2012.RetrievedAugust 31,2012.
- ^"The woman who defied the world of K-pop".BBC News.October 18, 2019.Archivedfrom the original on October 19, 2019.RetrievedMay 3,2020.
- ^"'I trained as a K-pop idol - here's why I quit'".BBC News.February 13, 2020.Archivedfrom the original on March 13, 2020.RetrievedMay 3,2020.
- ^Marx, Patricia."The World Capital of Plastic Surgery".The New Yorker.Archivedfrom the original on March 17, 2015.RetrievedMay 3,2020.
- ^Yang, Jeff (February 6, 2012)."Can Girls' Generation Break Through in America?".Wall Street Journal.Archivedfrom the original on March 4, 2016.RetrievedApril 17,2016.
- ^abElfving-Hwang, Joanna. "K-pop Idols, Artificial Beauty and Affective Fan Relationships in South Korea." inRoutledge Handbook of Celebrity Studies,edited by Anthony Elliott. London: Routledge, 2018.
- ^Lee, Ann (July 30, 2018)."K-Pop Is Causing a Surge in Korean Language Lessons Around the World".Culture Trip.RetrievedMarch 20,2023.
- ^abWilliamson, Lucy (June 15, 2011)."The dark side of South Korean pop".BBC News.Archivedfrom the original on May 30, 2018.RetrievedMay 12,2018.
- ^Seabrook, John (October 1, 2012)."Factory Girls".The New Yorker.ISSN0028-792X.Archivedfrom the original on May 9, 2018.RetrievedMay 12,2018.
- ^"Seoul Trained: Inside Korea's Pop Factory".Spin.March 26, 2012.Archivedfrom the original on May 13, 2018.RetrievedMay 12,2018.
- ^Lee, Dong-Yeun. "Who's Afraid of Korean Idols?" InMade in Korea: Studies in Popular Music,edited by Hyunjoon Shin, Seung-Ah Lee. London: Routledge, 2016.
- ^Hegde, Vibha (August 10, 2021)."5 reasons K-Pop idols are forbidden from dating".sportskeeda.RetrievedMarch 20,2023.
- ^"K-Pop Legend Who Dodged Military Service Still Banned From South Korea".NextShark.October 28, 2020.RetrievedMarch 20,2023.
- ^"Meet Holland, K-pop's first openly gay idol – 10 things to know".South China Morning Post.October 16, 2020.RetrievedMarch 20,2023.
- ^abForbes Staff."Korea's S.M. Entertainment: The Company That Created K-Pop".Forbes.Archivedfrom the original on April 21, 2016.RetrievedMay 12,2018.
- ^Jeff Benjamin (January 19, 2015)."K-Pop Star Earnings Swell in Recent Years".Billboard.Archivedfrom the original on June 30, 2015.RetrievedJune 27,2015.
- ^"South Korea's K-pop takes off in the west".Financial Times.Archivedfrom the original on June 4, 2017.RetrievedSeptember 7,2012.
- ^"Why Korean Skincare Has Taken the World by Storm".February 22, 2023.
- ^Afzal (February 9, 2023)."15 Most Viewed Youtube Videos In First 24 Hours".New Vision Theatres.RetrievedMarch 20,2023.
- ^Yonhap (January 27, 2020)."BTS becomes first K-pop act to perform at Grammys".The Korea Herald.RetrievedMarch 20,2023.
- ^"K-pop's Red Velvet celebrate 6 years in the music industry".South China Morning Post.August 1, 2020.RetrievedMarch 20,2023.
- ^Alvare, H. M. (2009). Communion or Suspicion: Which Way for Woman and Man? Ave Maria Law Review, 8(1), Fall 2009, George Mason Law & Economics Research Paper No. 10-47.
- ^Lie, John (2015).K-Pop: Popular Music, Cultural Amnesia, and Economic Innovation in South Korea.Oakland, CA: University of California Press. pp.10–12.ISBN978-0-520-28311-4.
- ^Lee, Azalea."Unfit for Broadcast: The Censorship of K-pop Girl Groups".The University of British Columbia.Asia Pacific Memo.Archivedfrom the original on April 20, 2020.RetrievedApril 1,2020.
- ^Whipple, Kelsey (November 7, 2013)."Amber Liu: An Androgynous K-pop Star".LA Weekly.Archivedfrom the original on August 8, 2020.RetrievedApril 1,2020.