K-pop, known for its catchy tunes, synchronized choreography, and unique fashion, has long captivated global audiences. However, a new wave of K-pop groups is emerging, pushing the boundaries of what defines this genre. These groups, featuring no Korean members, lead a bold experiment in what some call ‘K-less K-pop.’
A New Kind of K-pop Group: ‘Dear Alice’
On August 1st, in London’s West End, the rookie boy group Dear Alice made their official debut. They held a press conference in the vibrant Soho district. The group, made up entirely of British members, greeted the audience in true style—synchronized and in unison, saying, “We are Dear Alice!” The members, including 19-year-old Blaze Noon with his striking red-brown hair and blue eyes, introduced themselves to the British media. Their introduction sparked laughter and curiosity. Despite lacking any Korean members, Dear Alice is being marketed as a K-pop group.
Dear Alice is a collaborative project. South Korea’s SM Entertainment, Kakao Entertainment’s North American subsidiary, and the British entertainment company Moon&Back worked together to create this group. Moon&Back managed the auditions and local promotional activities in the UK. Meanwhile, SM and Kakao provided K-pop-style vocal and dance training along with music production. Earlier this year, the members visited Seoul for a 100-day intensive “idol training” program at SM’s headquarters. This journey will be showcased in a six-part TV series titled “Made in Korea: The K-pop Experience.” The series is set to air on BBC One and BBC iPlayer later this month.
The Evolution of K-pop Localization
The formation of Dear Alice is part of a broader trend in the music industry. K-pop’s localization strategy is evolving into what some describe as a ‘de-Asianization’ of the genre. Localization groups operate primarily in their local markets. These groups consist of members from those countries, but their training and music production deeply root in K-pop methodologies. This approach differs from earlier multinational groups like TWICE and BLACKPINK. While those groups included foreign members, they were primarily managed by Korean entertainment companies. In contrast, new localization groups like Dear Alice involve joint investments from local companies right from the audition process.
In the early days of K-pop localization, groups often featured members of Asian descent, who appeared similar to their Korean counterparts. For instance, JYP’s girl group NiziU consists entirely of Japanese members, while SM’s WayVfocuses on the Chinese market. However, since late last year, we’ve seen the emergence of ‘de-Asian’ groups like HYBE’s KATSEYE and JYP’s VCHA. These groups are primarily composed of members from the U.S., U.K., and Europe. Dear Alice stands out as the first all-male group in this ‘de-Asian’ category.
Challenges and Criticisms
The ‘de-Asian’ strategy, while innovative, has sparked debate about its effectiveness. Groups like KATSEYE and VCHA have yet to make a significant impact on their home charts in the U.S. and Europe. In contrast, groups like NiziU and WayVquickly topped charts in Japan and China respectively. Music critic Im Hee-yoon notes that K-pop’s appeal has long been tied to its visual elements. These elements include fashion, makeup, and synchronized choreography, particularly the ‘knife-like’ precision expected from Asian idols. The debut of foreign members often sparks intense scrutiny. Fans both domestically and internationally closely examine how well these members embody traditional aesthetics.
Some industry insiders draw parallels between the current K-pop localization strategy and the path taken by 1980s American boy group New Kids on the Block. Initially dismissed as a white R&B group with a clumsy take on a genre traditionally dominated by Black artists, New Kids on the Block eventually found success after adopting strategies from their predecessors. This historical comparison suggests that the true impact of localization efforts may only become apparent with time.
The Road Ahead for K-pop Localization
As K-pop continues to globalize, its localization strategies will likely face both challenges and opportunities. Music critic Kim Do-hoon observes a potential identity crisis in recent activities by localization groups. While these groups emphasize their connection to Korean culture during their debut, they often adopt Western musical trends. If localization aims to attract new international fans, he argues, there may be a need to reinforce the unique musical characteristics that define K-pop.
The rise of groups like Dear Alice marks a significant shift in the industry. Whether this ‘K-less K-pop’ experiment will redefine the genre or remain a niche strategy remains to be seen. However, it undoubtedly represents an intriguing evolution in the global music landscape.
Reference: https://n.news.naver.com/mnews/article/023/0003850991?sid=103
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