Series of Essays from Professionals about the K-Pop Industry
This series of essays aims to convey the perspectives of K-pop industry professionals on the current ecology of K-pop. Originally published in the newspaper "The JoongAng" in 2022, we have translated these articles into English for our readers. Enjoy these writings, which will provide you with insightful information about K-pop. The author, Ms. Yun Sun Mi, holds all copyright permissions and has authorized us to publish this on our website.
Sun Mi Yun’s "I am a K-Pop Idol Planner" (Part 4)
From the perspective of a salaried employee, not an owner, the appeal of an idol planning company lies in the immediate public response to the content I create. The feedback, faster than any other content and blunt, whether it's praise or criticism, is intriguing. Music is ubiquitous and easily accessible, and when combined with other industries or areas, its versatility transforms like a 'Transformer.' This immediate response is crucial; how the agency reacts can make or break an artist's career. In an environment where feedback pours in by the second, the role of the agency in representing the artist across various domains is immense. Among these, three primary responsibilities of an idol planning agency can be outlined.
1. Group Direction Reflects the Agency's Vision
Much depends on the direction the agency takes in forming a group. It influences decisions like which trainees to select and how to train them. The direction is more than just a profit-making strategy; it's the company's vision. It determines the kind of employees to hire, the music to produce, and the communication methods to employ. Naturally, this shapes the company's details, crucial for communicating with both artists and the public.
For instance, my current company was founded by people who resonated with the goal of creating groups with positive influence. This objective influenced the casting and training of idol members and is reflected in every aspect of the content we produce. Following this goal, we were able to debut a new boy group, NINE.i, after three years of preparation. The many challenges and setbacks during this period were overcome due to our shared belief in this direction.
2. Relationship Coordination Demonstrates the Agency's Skill
This includes how the public communicates and how team relationships are formed. Idol groups are teams of individuals from different backgrounds, ages, nationalities, and personalities, unified for a single purpose. It’s crucial for the agency to coordinate among these diverse members. Currently, communication between artists and fans is more important than ever. The company plays a role in bridging the gap between what artists and fans want. The closer this gap gets, the longer the partnership can be maintained, ultimately creating a foundation for achieving individual goals. The agency's skill is proven in how smoothly it manages these relationships.
Previously, the agency's role was relatively simple: recruit talented singers, produce albums, and generate sales through promotion. However, as the industry has evolved and become more structured, various stakeholders like experts, partner companies, investors, and internal staff get involved. The agency must coordinate and collaborate with many people to create quality content. Naturally, the role of the agency as the ultimate controller is growing.
3. Creating an Optimal Environment for Creative Activities
This is what many people see through the media about an agency's work. It involves supporting artists so they can fully focus on stage quality, musical activities, and creative endeavors. This support includes material, human, and emotional aspects.
Contracts with artists are often termed 'management contracts,' which are frequently misunderstood. Management is not just about 'control.' The core asset of an agency is its people, the artists. Especially in the K-pop industry, artists start learning dance and singing at a young age, before their values are fully formed, and must communicate with various people. They need to learn how to converse, manage their condition, and control their emotions. The company has a duty to protect and educate the artists, ensuring they don't go astray, and to help them recover from mistakes. Additionally, after debut, the agency must support them in maintaining their best condition amid various activities and schedules to maximize their potential.
Original Article: https://www.joongang.co.kr/article/25080698
Author: Sun Mi (Irene) Yun
Sun Mi (Irene) Yun is a renowned figure in the K-pop industry, presently leading as the Head of the Music Business Department at Afun Interactive. Her robust career includes pivotal roles at FirstOne Entertainment, FNC, Lazin Korea, Danal Entertainment, and JYP Entertainment, marking her significant contribution to the industry.
As an accomplished author, Yun released "Big Hit Signal" in December 2020, offering a deep dive into the KPOP industry and Korean economics. The success led to a Japanese version and another book, "BIG HIT," in May 2022. Yun's expertise also spans to column writing. Since June 2022, she has been sharing her insights in "I Am an Idol Planner" in JoongAng Ilbo, and a marketing-focused column, "Three Perspectives on NewJeans," launched in October 2022.
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