The K-pop Group Becoming the Voice of Their Generation
In the bustling streets of Shanghai, I recently encountered the vibrant world of K-pop through the music videos of [G]I-DLE. Their style and themes reminded me of Madonna’s iconic videos from the ’80s and ’90s, and even Gwen Stefani’s work from the early 2000s. What struck me most was the profound discussions these videos sparked among young women in China, particularly around feminist concepts. This led me to delve deeper into the “Girl Crush” movement in K-pop, with [G]I-DLE at its forefront.
The “Girl Crush” trend in K-pop is characterized by themes of strong, independent women, self-confidence, and self-love. Unlike traditional love songs aimed at male listeners, these songs focus on personal empowerment. For instance, [G]I-DLE’s “TOMBOY” challenges traditional gender roles with lyrics like, “Do you want a blond Barbie doll? / It’s not here, I’m not a doll.” Similarly, IVE’s “Love Dive” and LE SSERAFIM’s “ANTIFRAGILE” emphasize self-admiration and career passion, respectively.
Beyond K-pop, the broader South Korean media industry is also celebrating strong, independent women. Comedian Kim Sook, known for her gender role-flipped humor, won Korea’s national broadcasting station’s Grand Prize in Entertainment in 2020. The reality competition series “Street Women Fighter” has also become a hit, showcasing female dancers with strong physiques and impressive career backgrounds.
An interesting crossover with K-pop is the project group Refund Sisters, featuring top female pop divas from different generations. Their single “DON’T TOUCH ME” celebrates their successful careers and strong personas. This group, along with others like BoA and 2NE1, has paved the way for the current “Girl Crush” trend in K-pop.
2NE1, in particular, was groundbreaking with their independent, less male gaze-centric self-presentation. Their global hit “I Am the Best” is about self-confidence and rejecting societal expectations. This trend reflects the rise of feminism in South Korea and globally, as well as the industry’s recognition of the purchasing power of female fans.
The emphasis on worldbuilding in fourth-generation K-pop idols also allows for creative freedom. Groups like Aespa have crafted interconnected story worlds, making their narratives more complex and engaging. This shift away from traditional love songs to more empowering themes is significant.
(G)I-DLE stands out in this movement, with their leader Jeon So-yeon directing the group’s activities and album production. Unlike many other groups, they do not have a structured fantasy world, focusing instead on real-world themes and personal empowerment.
In China, the “Girl Crush” style has resonated deeply with fans. 2NE1’s “I AM THE BEST” became an anthem for young women who wanted to break free from traditional gender roles. Similarly, Chinese singers like BiBi Zhou and Chris Lee, with their neutral appearances and non-traditional love songs, have also influenced this movement.
HyunA, with her sexy appearance and confident attitude, has more female fans than male fans in China. Her songs, like “Lip & Hip,” challenge traditional gender roles and encourage women to express their sexuality confidently. This has been particularly important in a society where girls are often criticized for their appearance.
In conclusion, the “Girl Crush” movement in K-pop is not just about strong female images but also about the spirit and power these idols bring to their fans. This movement has inspired young women to challenge societal norms and embrace their true selves. As K-pop continues to evolve, it is clear that groups like [G]I-DLE are becoming the voice of their generation, empowering fans around the world.
