Exploitation within K-Pop, An Issue or Business as Usual?
The Korean entertainment industry has seen widespread success in the past few years, not only domestically, but internationally as well. This success is due in part to wider globalization efforts by different companies, the film and TV industries both reaching massive audiences overseas, and of course, K-Pop. According to estimates by Professor Kim Seiwan from Ewha Womans University, “K-Pop generates about $10 billion for the country each year” (2022). There’s no doubt that the music market in Korea is amazing at generating revenue. My name is Isa, and I’m a columnist covering K-Pop at Arizona State University. Due in part to the recent departure of LOONA’s Chuu, however, fans have started to question the methods in which these companies are making their money and the morality of it all. The idol trainee system combined with the influx of minors drawn towards it and the harsh slave contracts involved has led to the perpetuation of mass exploitation within the K-Pop industry.
Idol and Trainee Life
The idol trainee system has long been criticized. Yet, there continue to be stories of idol mistreatment and their struggles during their pre-debut period or even after their debut. Future idols are usually young teens who audition directly for the company or are scouted through other means. One such artist, Kiseop, developed depression and, “had suicidal thoughts due to his many failed auditions” (Padget, 2017). It doesn’t stop at the audition however, as Francesca Padget, a writer on Korean culture notes, “The conditions that the trainees live in vary, but most commonly they live in a boarding house with about 30 other trainees, are made to go on a strict diet and attend regular weigh-ins, and put in more than 10 hours of practice a day alongside extra homework” (2017). Trainees have to endure such tough conditions, even with the premise that they may not even debut.
Along with such an intense training regimen, once idols debut their basic human needs can still go neglected. The above photo includes some of the members of LOONA, who during their recent performances were made to perform without any sort of protection. Very clear bruising can be observed in the legs, and the worst part is this isn’t the first occasion in which the company has been negligent to protect their artists.
Minors Training to Be Idols
The industry has proved to be such a dark place even for the most resilient and experienced trainees. Adding to the fact that a very large majority of trainees are minors makes all the problems present so much worse. As a minor, they have very little say when it comes to speaking up for themselves, making it so much easier for companies to take advantage of them. Take TWICE’s Jihyo for example. With dreams of becoming a singer, “She started training at JYP Entertainment at [8 years old], she debuted at the fresh age of 19” over 10 years later. So often companies abuse the naivety and innocence of children and give them hope of debut, just to keep them struggling until it suits them. Having minors within a group or as trainees certainly isn’t anything new, it just seems that they are more prevalent than ever recently. “Look at any of today’s top rookie acts, and you’ll find at least one underage member. Crystal Bell, a pop-culture writer from New York goes on to say, “IVE’s Leeseo was 14; her group mate Wonyoung, 18…NMIXX’s Kyujin was 15…the same age as LE SSERAFIM’s Eunchae when she made her debut in May 2022” (Bell, 2023). The problem isn’t necessarily that minors want to be involved in the music industry, it’s a common dream or goal among teens these days and will definitely seem more and more attainable as time goes on. The bigger issue here is why these entertainment companies continue to pick minors for their groups when there are just as many trainees of age who want a chance. What is the defining factor between the two?
The problem isn’t any better when these groups are given songs with highly suggestive lyrics either. NewJeans, a group full of teenagers ranging from 14–18, was the topic of controversy after releasing their track ‘Cookie’ with their debut EP. Choi Ji-Won notes that the lyrics were seen as “provocative references and sexually [objectifying] the minor bandmates who sing the words” (2022). Some of the words being, “‘The scent is different (taste it), one bite is not enough (uh)’; ‘Take it, don’t break it, I wanna see you taste it’” (2022). Without context, this may sound like a typical pop song with some innuendos thrown in. When it’s being sung by a group of teens though, it completely changes everything.
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Slave Contracts
Contracts and profit distribution when it comes to idols and their companies have to be one of the most obvious displays of pure exploitation that has no defense whatsoever. The story to get to a contract is a complicated and strenuous process. Trainees apply to a company and accrue a trainee debt for the resources utilized by said company during their training process. “Trainees are required to pay for everything from their food to their training expense, dorm rent, and even the manager’s moving fee,” says former trainee Bin Ha Neul (2020). If a group is selected to debut, they sign a contract with the company with a max of 7 years at a time and must fulfill the contract for the entire period or face lawsuits, fines, and more.
This is where the story connects back to former LOONA member Chuu and her leaving due to her contract among constant mistreatment for years. “When BlockBerry and Chuu signed an exclusive contract in December 2017, they decided to split the earnings from all her entertainment activities with a ratio of 7:3, meaning that the company would receive 70 percent and Chuu would receive 30 percent. On the other hand, the expenses from her activities were agreed to be split with a 5:5 ratio” (TeamSOOMPI, 2022). Visually, that contract breakdown looks a lot like the following:
For every project BlockBerryCreative embarked on with LOONA, they were able to freely spend, while LOONA members had to continually shoulder the unnecessary costs. In what should be “break-even” situations, BBC would still make roughly 20% profit, while the group would suffer a 20% debt. This type of contract is in place to keep companies wealthy for years and leave the idols powerless to do anything about it.
The aftermath of Chuu’s Expulsion
Remembered by many as such a pivotal moment in the world of K-Pop, November 25th, 2022 changed K-Pop history. Many of you readers remember where you were and what you were doing, when the headlines read “LOONA’s Agency Announces Chuu’s Removal From Group ‘’ The official statement started with, “Hello. This is BlockBerryCreative.
We are releasing a statement to notify fans that we have decided that our agency artist Chuu will be expelled and withdrawn as a member of LOONA as of November 25, 2022”. Fans had speculated that Chuu was not on good terms with the company, as she had not participated in previous activities due to ‘schedule conflicts’. However, removal from LOONA was something nobody expected to take place. The statement went on to say Chuu had used “…violent language and misuse of power toward our staff…” which let fans know something was off. Chuu, the member with the brightest smile and the kindest heart accused of abusing her staff, but it didn’t add up. BBC quickly released more statements following enormous public backlash, as well as announcing projects for the remaining 11 members to participate. Fans figured since the other members were in similar contracts and in debt as well, they would boycott to take a stand.
#BoycottBlockBerryCreative and #JusticeForChuu quickly spread on social media, leading to a full-scale boycott of streaming the music, buying albums, and support of the group until things were made right. As of writing, the remaining members of LOONA have filed injunctions to terminate their contracts as well.
Exploitation has permeated the K-Pop industry, through the means of trainee conditions, appeal to minors, and unequal contracts. As a result, fans in today’s day and age are more than willing to stand up for their beloved idols and make whatever sacrifices necessary to seek the best for the artists they love and respect.
