The BTS Phenomenon and Global Attraction Network: A Conversation with Cultural Critic Kim Young-dae

YouTube Link: https://www.youtube.com/watch?v=8EsKU2Ld6zY

The East Asia Institute (EAI) has launched a research team on the 'BTS Attraction Theory' to analyze the BTS phenomenon from the perspectives of cultural sociology, media and information studies, political economy, and international politics. BTS and the global digital network they have created are presenting a new paradigm in the international community, which has been divided by existing national, racial, and linguistic boundaries. Furthermore, the BTS phenomenon demonstrates the potential for Korea to become the origin of a new civilization in the 21st century. In June 2020, the BTS Attraction Theory research team invited cultural critic Kim Young-dae to hold an online seminar. The following video series is an excerpt from the main content of the seminar.'BTS Charm Theory'A research team was launched to analyze the BTS phenomenon from the perspectives of cultural sociology, media and information studies, political economy, and international politics. BTS and the global digital network they have created are presenting a new paradigm to the international community, which has been divided by existing nations, races, and languages. Furthermore, the BTS phenomenon demonstrates the potential for Korea to become the origin of new civilization in the 21st century. In June 2020, the BTS Charm Theory research team invited cultural critic Kim Young-dae for an online seminar. The following video series is an excerpt of the main contents of the seminar.

Episode 1. BTS's 'Raw Aesthetics': An Attraction Beyond K-Idol?

BTS is creating a global phenomenon by expressing the 'raw aesthetics' that are not confined to a mold, that is, 'the simple yet sincere stories of youth,' through their music, dance, and performances. BTS's music and dance harmonize the authenticity unique to hip-hop, which directly reveals personal hardships and struggles, with the powerful synchronized choreography of K-pop, which excels in visually-oriented culture. Above all, BTS introduces themselves as 'artist-type idols' rather than 'factory-produced idols' and values their bond with ARMY, which resembles a 'grassroots fandom.'

Episode 2. Global Fandom Originating in the U.S. and Hybrid Nationality

K-pop, which had a strong fandom-centric character, began to shine even brighter through BTS with the advent of the era of taste norms and social media. The authenticity, originality, and individuality conveyed in BTS's music and dance have formed a strong U.S. fandom and spread worldwide. As BTS boldly reveals their stories, the group's nationality (Koreanness) is also naturally exposed, revealing a hybrid identity that differs from the strategy of the K-pop industry, which has implicitly considered non-nationality a virtue.

Episode 3. Before and After BTS: Is the BTS Phenomenon Sustainable?

The sustainability of K-Idols, including BTS, is intertwined with the sustainability of Hallyu, including K-pop, and furthermore, with Korea's cultural policy strategy. Certainly, the vitality of K-Idols has become much longer than before. As artist-type idols, BTS has consistently delivered the message, 'I am an idol, but I will make my own music,' and is experimenting with various musical content to ensure they have more to show their audience. They possess individual member characteristics and are firmly integrated into the trend of 'an era that wants to tell its own story' based on narrative elements that evoke empathy.

■ In Charge and Edited by: Jeon Ju-hyun, EAI Researcher

Inquiries: 02 2277 1683 (ext. 204) jhjun@eai.or.kr

Video Script

Hello, I am Son Jeol, Director of the East Asia Institute. Our East Asia Institute is planning to host a special program on the 'BTS Attraction Theory.' Our institute focuses on policy research in international affairs, diplomacy, and governance. You might be wondering why a think tank like ours is conducting research related to BTS. From our institute's perspective, the BTS phenomenon is too significant to be dismissed as merely a popular culture phenomenon; it is a matter of great depth and breadth, especially in its external impact. Therefore, we felt it necessary to delve into the BTS issue in earnest. On the other hand, from an international political perspective, we often discuss a nation's power or external influence in terms of economic or military strength. However, since the 21st century, not only such physical capabilities but also cultural aspects of a nation's attractiveness have become increasingly important. Observing the BTS phenomenon in this context, we began to wonder if there are opportunities to draw out Korea's attractiveness and national influence from BTS. This led us to embark on our BTS research.

Therefore, our research aims to understand the source of BTS's appeal and what we can learn from it, particularly at the national policy level. This is the core question driving our research team and the ongoing research. Our research team comprises experts from various social science fields, including sociology, communication, international politics, and political science. Today, we have invited cultural critic Kim Young-dae, who has been actively engaged with BTS, to have a discussion with our research team about BTS. Notably, Mr. Kim Young-dae published the book 'BTS: The Review' last year, which our research team has read thoroughly. We wanted to have a candid conversation with the author, and thus, we arranged this opportunity. Mr. Kim Young-dae is a music critic and cultural researcher.

He graduated from Yonsei University with a degree in Business Administration and received a Master's degree in Musicology from a graduate school. He contributes to domestic media and international publications such as New York Magazine's Vulture and MTV News. His representative work is 'BTS: The Review.' Our research team includes Dr. Kim Su-jeong from Kookmin University's Department of Sociology; Professor Ahn Mi-sang from Yonsei University's Institute for East Asian Studies; Professor Lee Se-jeong from Yonsei University's Department of Communication and Media; Professor Jeon Jae-seong from Seoul National University's Department of Political Science and International Relations; Professor Chae Seok-man from Ewha Womans University's Department of Sociology; Professor Ha Young-sun, Chairman of EAI; and Professor Han Joon, Director of EAI's Future Innovation Research Center and Professor of Sociology at Yonsei University.

Today, through our discussion with Mr. Kim Young-dae, we want to explore what differentiates BTS from previous Hallyu content, particularly in terms of authenticity, originality, and fandom. We also want to discuss the issues surrounding BTS's national identity and its Korean context. To begin, Mr. Kim, could you please speak for about 15 minutes, focusing primarily on BTS's music and artistry? Following your presentation, we will proceed with a Q&A session. Mr. Kim, please proceed. I have been continuously contemplating the extent to which the appeal of the group BTS can be considered their own, or to what degree it is a shared characteristic that can be categorized.

Today, through a dialogue with Mr. Kim Young-dae, we would like to discuss what distinguishes BTS from existing artists, in terms of authenticity, originality, or even their message. We also want to talk about the national context and implications of BTS's charm. I would like to ask Mr. Kim to speak for about 15 minutes, focusing primarily on BTS's music, and then we will proceed with the Q&A. Mr. Kim, please.

Another question is how directly this charm is related to success. When we look back at success as a basis, there will be some commonalities. Another question is how to view the correlation between the uniqueness of BTS's music, performances, or their global reception, and the overall growth of the K-pop industry.

Therefore, I personally believe that this charm is holistic. It is not simply a sum of individual elements. With that in mind, I would like to preface my remarks by asking the teachers and listeners to consider this point. In 2014, CJ organized KCON, North America's largest K-pop event. I have participated in this event every year since 2014. It was in 2014 that I first saw the group BTS and had a premonition that something game-changing was happening, that something was changing. While they received no attention in Korea, they began to cultivate a fandom centered on the United States and the world, and I witnessed this phenomenon expand from the grassroots level. It was clear from the beginning that this was different from what we typically imagine.

There is a clear difference from what we usually think. One of the important distinguishing features of the group BTS is that, within the K-pop idol genre, they embraced hip-hop as a crucial part of their identity from the outset. They did not merely use rap, hip-hop culture, or fashion as decoration; rather, they incorporated them as the core elements of their identity, music, attitude, and message. When considering idols and hip-hop, music critics often describe them as polar opposites. Hip-hop, like folk or punk, is directly linked to one's origins, background, and identity as a speaker. In this sense, it asks: Who are you? Where are you from? Whom do you represent? The concept of 'percent' is used in hip-hop.

In contrast, idols, in terms of message delivery and artist image construction, are positioned on the opposite end of the spectrum from pop or hip-hop. As many know, they are trained, and their images are constructed by experts. In this regard, Western critics often criticize K-pop as 'factory music.' Therefore, this attempt itself is quite paradoxical, and I find it very unique. When an artist or idol group claims to be hip-hop, the relationship between the listener and the fandom becomes complex. I believe that embracing such tension and paradox from the very beginning is one of BTS's charms and distinguishing factors.

What then is the significance of embracing hip-hop or rap in the context of K-pop idol groups? While the message aspect will likely be discussed separately, I believe it lends a certain 'roughness' or 'rawness' to idol music, which is rarely found. Hip-hop, by embracing this attitude from the start as their natural identity, conveys their thoughts as individuals, their considerations, and their narratives with a sense of naturalness, as if not meticulously crafted or provided by someone else, even though many participants were involved in the creation process. When delivered through their own voices, it feels very natural.

This natural and raw charm, I believe, comes from their skillful use of hip-hop. They are perhaps the only idol group that expresses their regional identity. Listening to songs like 'Ma City' or 'Path to the Grand East Road,' where they rap using dialect, goes beyond simply being a novel or interesting attempt. I find it quite adventurous. K-pop is fundamentally a genre rooted in modernity, urbanity, and cosmopolitan appeal. However, they conversely emphasize their regional identity, not hiding their 'country bumpkin' origins. By stating, 'I represent this region,' or 'I am from Daegu,' or 'I am from Gwangju,' they convey this message. Despite the potential damage to their polished idol image, I believe that revealing these aspects...

satisfies the conditions of authenticity in hip-hop. A common omission in idol music is the direct expression of their struggles or anguish, often referred to as 'pain points.' However, this can risk losing universality. Therefore, most large entertainment companies and music producers tend to focus on more universal themes that everyone can relate to, and this has become a virtue, strategically employed. But when you listen to BTS's music, especially the rappers' verses, a first-time listener might wonder, 'What are they talking about?' or 'Why are they saying this?' or 'Why are they so angry?' or 'What is this resentment?' These questions constantly arise. However, these feelings are very different from the typical relationship we have with idol music.

As I mentioned earlier, the primary appeal of idol music lies in the audience comfortably receiving the beautiful, sweet, and pretty content they offer. However, this music can make listeners uncomfortable. Knowing their past, we might feel sad or angry along with them, or sometimes disagree with them. Commercially speaking, although this can be exploited commercially, it is a dimension that is often avoided. Perhaps this is why many idol groups still avoid such narratives or try to conceal them as much as possible. But the very act of revealing these aspects and consistently emphasizing them as their identity, as I mentioned earlier, shows that they have grasped the essence of hip-hop as authentic music and are effectively utilizing it.

In the 2010s, and especially recently, vocal styles that are very natural, perhaps even unpolished and seemingly less trained, have become quite popular. I believe BTS's vocal style aligns perfectly with this trend. As a group, BTS's vocal characteristics are not about individual vocalists showcasing their skills, but rather about complementing each other's weaknesses. As Professor Im Hyo-joo aptly put it, it's 'musical consideration for the perfect performance.' From an industry perspective, I would say that the necessary vocal elements—low tones, high tones, mid-tones, rap verses, ballad-style singing, etc.—are well-distributed among the vocal members, and they create a synergistic effect through mutual complementarity.

Given that we live in a visually-oriented culture, K-pop, for many, involves 'falling into' the fandom, perhaps solely based on watching the dance. Dance and performance are crucial aspects. While acknowledging the talent of choreographers, individual stage presence is arguably the most significant factor determining their appeal. This is similar to rap and singing. Although they have undergone training, their performances lack the typical robotic or mechanical feel associated with training. This naturalness is evident in their music videos, on stage, and during broadcasts. I believe this naturalness is strongly reflected in their dance performances.

Furthermore, typical idol group dances often emphasize synchronized group choreography. However, when I watch BTS's group dances, I feel that the dances themselves, and their underlying intentions, differ. This is another area where BTS shows its distinctiveness. For example, in contemporary popular music, there are broadly categorized dance styles: Urban, which refers to Black music, including hip-hop and b-boying; Street dance, learned informally; Choreography created by agencies and idols in a synchronized manner; and Contemporary dance, which is a form of art. BTS, I believe, possesses all of these strengths.

I believe that the most crucial identity for a contemporary K-pop idol is that of a dancer. While we often refer to them as singers, I don't think the term 'singer' is appropriate for idols. A singer fundamentally prioritizes vocal performance. I see K-pop idols more as dancers who can sing. In this regard, BTS's dance skills are not only technically excellent but also encompass the diverse dance techniques and characteristics required for contemporary idols and pop music, as I have already mentioned.

Each member proficiently executes these styles, creating harmony. I believe this is where their unique charm lies. Yes.

Yes, I believe the uniqueness of their charm can be found in the fact that all members possess these qualities and harmonize them.