Hyunjoon ShinOver the years, K-pop idols have evolved into something different from J-pop idols. Look-
ing back, BoA and Dongbangsingi/Tohoshinki were successful in Japan to the extent that
they were received as J-pop rather than K-pop artists. Rain and Se7en distanced themselves
from J-pop, but they instead faced the critique of “cloning” American pop (see Shin 2009,
509). Since the late 2000s, the polished audiovisual package of K-pop has been established as
a unique brand.
From the beginning, the member composition of K-pop idol groups has been international:
diasporic Koreans from the United States (Tony An of H.O.T. and Joon Park of god), from
Japan (Sue of S.E.S. and Ayumi of Sugar), and from the Philippines (e.g. Sandara Park of 2NE1).
A noticeable change after the mid-2000s is the rise of ethnic Chinese, especially in the products
of SM and JYP: Han Kyŏng in Super Junior, Fei and Jia in Miss A, Nichkun in 2PM, Victoria and
Amber in F(x). EXO, the latest boy group from SM, consists of two units, EXO-K and EXO-M
(K stands for Korea, and M for Mandarin), each targeting the Korean and the Chinese markets,
respectively. It is difficult to tell the Korean from non-Korean members by their appearances.
Regardless of their actual ethnicity or nationality, bright-skinned, sharp-faced, and slim-bodied
Asian boys and girls can earn the transnational citizenship of K-pop. Thus, the “K” in K-pop is
not just an abbreviation of “Korean,” but a brand image embedded in the system and practices
of the Korean music industry.
Making music: K-pop as (non-)genre
It would not be wrong to call idol pop a genre, as long as there is a formula supported by genre
rules (Fabbri 1982). However, the genre in this sense does not explain much about the music
style. In terms of music style, Korean idol pop may be defined as dance pop and, to a lesser
degree, R&B ballad, along with some elements of hip-hop and electronica.
How have hip-hop and electronica become important stylistic music components of idol
pop? First of all, hip-hop and electronica are among the most popular genres in the global
popular music scene. Hip-hop is no longer seen as exclusively African-American music; it has
become a globally relevant entertainment code enjoyed by artists and fans across the world.
Electronica is also one of the dominant codes of pop culture in the digital age. The music of the
most popular artists in the twenty-first century global music industry combines hip-hop and
electronica. Given this context, it is not surprising that K-pop, with its global aspirations, uses
the two styles that are currently dominating the global music industry. Even such clever naming
and Romanization tricks, such as 2NE1, SNSD (a.k.a. Sonyŏsidae), 2PM, SHINee, and B2ST
(a.k.a. BEAST), show the influence of the hip-hop culture.
Second, the technique and sensibilities of idol pop are close to those of African-American
music, although this tendency is not limited to idol pop. In Asia, Korean popular music is argu-
ably demonstrated as having the strongest affinities to African-American music. As Lee Sooman
put it more than ten years ago, “if Japan has forged J-pop by digesting Anglo-American rock,
Korea has forged K-pop by digesting African-American music” (Shin-Yoon 2004). There are
many popular theories on the affinities between K-pop and hip-hop: the cultural basis of Korean
hip-hop is perhaps the firmest among Asian countries; Korean language has a linguistic structure
suitable for hip-hop’s rapping and rhythms; the strong presence of Korean-Americans in the
Korean hip-hop scene has facilitated the articulation of local indigenous hip-hop. True or not,
these theories have had an impact on industry practices. While hip-hop as a music genre is not
considered mainstream in Korea, K-pop songs appropriate many elements of hip-hop. B-boying,
another important component of hip-hop culture, also figures prominently in the spectacular,
powerful dance moves of idol pop.