K-Pop has stayed the same from the perspective of hybridity and transnationality. It has integrated elements from its trot-based melodies transformed from the Japanese enka, European electronic dance music, American contemporary R&B and hip pop (Lee 2013). Short and catchy English phrases, visual emphasis and trendy fashion styles are used in both eras. However, videos, performances and the systematic “idol-making” process are evolved due to advanced technology and the rapid-growing industry.
In the early 1990s, the “New Generation Dance Music”, which is influenced by the American rhythmic patterns such as rock, hip pop and dance music, had become mainstream (Lee 2013). Seo Taeji and Boys had greatly impacted the Korean music industry at that time with the release of their first song, “I Know”, which has rock elements, up beat rap verses and dance moves. In the late 1990s, the first generation of Hallyu idol groups such as H.O.T., Shinhwa, Sechs kies, G.O.D., S.E.S. and Fin.K.L. are all under agencies which hold auditions, provide training so as to perform well with kalgunmu (synchronized group dancing), set specific roles for each member and implement respective marketing plans (Lee, 2013).
In this time period, K-Pop idols promote their songs through TV broadcasting and the music videos often focus on close-ups on members’ faces while they are doing lip synchronization and featuring the group dancing scenes, drama scenes and sometimes the backstage scenes. There are a lot of hiteugok (hit songs) to illustrate this pattern, for example, Sechs kies’ “Couple”, H.O.T.’s “Candy”, S.E.S.’s “I’m Your Girl” and Shinhwa’s “Eusha Eusha” and G.O.D. ‘s “Gil” (Road). For the live performance, there were not many special settings but only lighting and for the idol groups, it is common that each member would step out and sing their own parts with freestyle moves while others would dance behind. Besides, ballads’ music videos are dramatized because melodramas and love ballads are connected with the same Korean sentiments, for example, Kim Gunmo’s “But I’m Sorry” and Jo Seongmo’s “To Heaven” (Jung 2011). We have seen many Original Soundtracks (OSTs) today to make audience attach emotions from the dramas and vice versa.
Over the years, the industry has become more mature and competitive. Building on singing and dancing, nowadays, idols are expected to be all-round artists which have skills on songwriting, playing musical instruments, and multimedia exposures. The upgraded technology makes the music videos and stages more refined, modern and attractive by using more editing effects, filters and computer-generated graphics. The agencies produce and package idols with more advertising through social media such as Facebook, Twitter, Instagram and most importantly, YouTube while fundamentally based on the conventional system (Jung 2015). It is not uncommon that multiple videos share a theme or a complete story is separated into multiple videos to arose fans’ interest to have more discussion about the plots, for example, EXO’s pre-debut teasers and BTS’s Hwayangyeonhwa series. Comparing to the 1990s, K-Pop groups today focus more on kalgunmu usually with a more complicated anmu dongseon and film in different backgrounds. For the live performance, rather than just singing in the front of the stage, they often sing while dancing with other member and the position does not have to be right at the centre. Therefore, they have less freestyle moves but more facial expressions such as giving wink and finger heart. Moreover, there are large screens behind showing specific animations to each song and the “comeback stage” features some fancy settings such as chandeliers.
Bibliography
Lee, Gyutag. De-Nationalization and Re-Nationalization of Culture: The Globalization of K-pop. Fairfax, VA: George Mason University, 2013.
Jung, Eunyoung. “The Place of Sentimental Song in Contemporary Korean Musical Life.” Korean Studies, Vol. 35 (2011): 71-92.
Jung, Eunyoung. “New Wave Formations: K-Pop Idols, Social Media and the Remarking of the Korean Wave.” In Hallyu 2.0: The Korean Wave in the Age of Social Medi, edited by Lee Sangjoon and Abé Markus Nornes. 73-89. Ann Arbor: University of Michigan Press. 2015.