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K-Pop’s Global Rise: The Key Factors Behind Its Success
At the 25th World Knowledge Forum (WEF), entertainment industry experts gathered to discuss the driving forces behind K-Pop’s remarkable global success.
In a session titled “The Power of K-Pop,” professionals analyzed the key factors that have propelled the genre beyond its domestic market and into the global mainstream.
The session was chaired by Lee Jang-woo, Chairman of the World Cultural Industry Forum (WCIF) and honorary professor of business administration at Kyungpook National University.
Panelists included Pascal Brassier, Associate Professor at IAE Clermont Auvergne, Oh In-kyu, Professor at Kansai Gaidai University, and Seo Hye-jin, CEO of Crea Studio and producer of MBN’s "Korea-Japan Singing Battle" and "Korea-Japan Top 10 Show."
The Role of Innovative Producers and Industry Pioneers
Lee Jang-woo defined K-Pop as the “music of idol groups that gains popularity and is consumed abroad.”
He emphasized that the sustained success of K-Pop is primarily driven by constant innovation.
According to Lee, the turning point for K-Pop came when South Korea’s music industry faced significant challenges due to rapid digitalization.
Rather than succumbing to these difficulties, innovative producers employed a first-mover strategy, transforming crisis into opportunity.
These pioneers not only developed the idol-producing system but also diversified revenue models while successfully implementing glocalization—a strategy that merges globalization with localization.
Lee credited several key figures for shaping the K-Pop industry, including Lee Soo-man (former executive producer of SM Entertainment), the late Lee Ho-yeon (founder of DSP Media), Park Jin-young (CEO of JYP Entertainment), Yang Hyun-suk (former head of YG Entertainment), and Bang Si-hyuk (chairman of HYBE).
Their ability to adapt to changing market conditions and continuously innovate played a pivotal role in K-Pop’s international expansion.
The Influence of Elitism and Digital Strategies
Seo Hye-jin highlighted two key elements that contributed to K-Pop’s success: elitism and digitalization.
She explained that highly educated industry elites managed entertainment agencies with strategic precision, carefully crafting approaches to cultivate and monetize fandom culture.
Additionally, K-Pop’s utilization of digital content—particularly intellectual property (IP) rights—was a crucial factor.
“K-Pop companies leveraged IP rights effectively, including image rights and copyrights, to expand their influence in international markets,” Seo stated.
She also pointed out that South Korea’s relatively small domestic market necessitated an outward expansion, leading to a strategic focus on international copyright management and distribution.
Fandom Culture: The Driving Force Behind K-Pop’s Global Expansion
Pascal Brassier emphasized that K-Pop’s success is deeply rooted in its strong fandom culture, which functions as a global community.
According to him, K-Pop fans are not just passive consumers; they actively engage with each other worldwide, forming a tightly connected network.
“The K-Pop fandom operates like a community where fans interact dynamically across different countries.
They share experiences and influence the future of the brand,” Brassier explained. He further suggested that this model of consumer engagement could be applied to other business sectors, including tourism, high-tech industries, and fashion.
In business-to-consumer (B2C) industries, fostering a culture where customers can express their opinions and shape brand direction is increasingly important.
Gender Dynamics in K-Pop Fandom
Professor Oh In-kyu provided an intriguing perspective on the gender dynamics within K-Pop’s fanbase.
He noted that an overwhelming 99% of K-Pop fans are women and argued that the genre resonates with female audiences by addressing gender inequality and societal oppression.
“K-Pop listeners, especially women, see the genre as a medium for overcoming gender discrimination and social oppression,” Oh observed.
His analysis suggests that K-Pop’s appeal extends beyond music, serving as a platform for social expression and empowerment.
The Role of Government Policy: Limited but Necessary Support
When discussing the role of government policy in K-Pop’s success, the panelists agreed that while there was some governmental involvement, its impact was relatively minimal.
Professor Oh noted that one of the most common misconceptions about K-Pop—particularly in the West—is that its rise was heavily orchestrated by the South Korean government.
“The belief that the government played a major role in K-Pop’s success is a widespread misunderstanding in the West,” he stated.
While government initiatives have provided some support, they were not the primary driver of the industry’s global ascent.
However, the panelists did express concerns about certain government regulations that may be hindering industry growth.
One specific issue raised was the Ministry of Culture, Sports and Tourism’s standard exclusive contract, which limits an idol’s management contract to a maximum of seven years, including overseas activities.
Seo Hye-jin pointed out that this regulation disproportionately benefits large entertainment companies while restricting the growth of smaller agencies.
“As a result of these standardized regulations, only large corporations that can afford long-term investments in idols survive, while smaller agencies producing unique idol groups struggle to remain competitive. It’s time to reconsider whether this is beneficial for the industry,” Seo argued.
K-Pop’s global success is the result of strategic innovation by pioneering producers, the effective use of digital platforms and intellectual property, and a strong and engaged fandom culture.
While government support has played a minor role, industry professionals suggest that current policies need to be reevaluated to ensure a more balanced and diverse entertainment ecosystem.
Moving forward, the sustainability of K-Pop will depend on its ability to continue evolving and adapting to the ever-changing global entertainment landscape.
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