31-07-2025
- Entertainment
- New Straits Times
#SHOWBIZ: The K-pop status shuffle: producers, power and reinvention
K-POP, a genre of popular Korean music performed by dance groups such as BTS and BlackPink, is known for its highly competitive landscape, with groups often reinventing their identities with their new song releases to maintain their popularity and fan base.
New research has found that in South Korea, where entertainment agencies or producers play a dominant role in shaping the image of K-Pop groups, the agency's status affects the group's ability to change their style and music genre.
Meanwhile, gender norms hinder female K-Pop groups from similar shifts in identity as they are expected to follow set trajectories, leaving little room for experimentation.
Heeyon Kim, assistant professor at the Peter and Stephanie Nolan School of Hotel Administration in the Cornell SC Johnson College of Business, co-wrote 'Changing Tracks: How Status Affects Category Shifts in the Korean Popular Music Industry', published on July 11 in the 'Strategic Management Journal'.
Her co-authors include Yoonjeoung Heo, an assistant professor at Xi'an Jiatong-Liverpool University, and Chi-Nien Chung, a professor at Hong Kong Polytechnic University.
Unlike in the Western music industry, where artistes often have creative control, K-Pop agencies oversee everything from an artiste's training to their performance and public image.
The research team studied a sample of 122 K-Pop idol groups, including Super Junior, Girls' Generation, BlackPink, and 2PM, produced by 76 agencies from 2004 to 2016.
They found that the status of entertainment agencies, as determined by industry awards, significantly influences how often and how radically their idol groups change their style and music genres, based on data from new song releases.
For example, the group known as Big Bang, formerly managed by YG Entertainment, initially gained popularity with a rebellious identity.
However, after a two-year hiatus, the group underwent a significant transformation in their concept, adopting a more experimental approach with their song 'Fantastic Baby' and later with 'Bang Bang Bang'.
If a "youthful and rebellious" concept dominates the market, middle-status agencies are more likely to adjust their idol groups' style, music, and performance to match this trend.
Their goal is to attract a wider audience without taking the creative risks that high-status agencies could afford, according to the research.
In contrast, high-status entertainment agencies such as SM, JYP, and YG Entertainment tend to make more radical category shifts when they reposition their groups. This approach aligns with audience expectations for major agencies to act as trendsetters rather than followers.
The effect of a producer's status is notably weaker for female idol groups due to institutional constraints and societal gender norms, Kim said.
Female idols are often expected to adhere to predefined gender-normative stereotypical concepts, such as "cute and girlish" when they are young or "elegant and mature" as they grow older.
Consequently, entertainment agencies have less flexibility in shifting the concepts of female groups compared with those of male groups.
Male idol groups are more likely to undergo significant concept transformations, as their fan base tends to be more dedicated and accepting of shifts in artistic direction, the research found.
In contrast, female idol groups rely more on appealing to the general public, making agencies hesitant to deviate from conventional concepts.
For instance, a male group under a high-status agency might transition from a "bad boy" image to a "retro disco" theme, while a female group under the same agency is more likely to maintain a consistent aesthetic to avoid alienating mainstream audiences.
"As the K-Pop industry continues to evolve," Kim said, "understanding these dynamics will be crucial for entertainment agencies seeking to navigate the competitive landscape while balancing audience expectations and creative expression".
