Critics Claim the Profit-Driven K-pop Industry is Objectifying Idols as Products

Current Landscape of the K-Pop Industry

In the past year, South Korea’s music sector saw a remarkable revenue surge, generating over 12 trillion won (approximately 8.3 billion USD), which is a staggering increase from the 6 trillion won recorded in 2018. However, despite these impressive figures, critics argue that the industry’s growth is not substantial and lacks genuine maturity.

Among the pressing concerns are idol rights, exploitation of artists, and a scarcity of adequate performing venues, which question the validity of South Korea as the true “home of K-pop.”

Long-standing Concerns Surrounding Idol Rights

On December 8, KG, an American member of VCHA, a girl group formed by JYP Entertainment, accused the agency of abusive practices before announcing her departure and filing a lawsuit.

Although JYP’s U.S. branch dismissed these allegations as “false and exaggerated,” they have reignited long-standing discussions regarding human rights violations within the K-pop industry.

At a November 28 press conference, Minji, a member of NewJeans, revealed that their decision to terminate their contract with ADOR stemmed from a significant breakdown in trust. The situation further deteriorated when an internal report suggested, “Just scrap New(Jeans) and start anew.”

This internal document, part of HYBE’s “Weekly Music Industry Report,” caused considerable distress among the group members who felt their dignity was disregarded. Additionally, they highlighted ongoing issues such as workplace harassment faced by member Hanni.

Even amid the global expansion of K-pop, the rights of idols remain precarious. The situations surrounding VCHA and NewJeans serve as stark reminders that idols are often regarded more as products than as individuals.

Bang Min-soo, a former member of TEENTOP, has vocally criticized the idol system, stating, “From their debut, idols are controlled and constrained in nearly every aspect of their lives—from their work commitments to their personal relationships and even social media usage—to prevent any controversy.”

KG also expressed on social media that, despite the demanding nature of her work and the significant limitations imposed on her personal life, she has accumulated substantial debt while receiving minimal compensation, revealing a deeply entrenched problem within the K-pop industry.

She emphasized her disinterest in continuing her music career under such oppressive conditions and expressed hope that her actions would incite systemic changes aimed at safeguarding idols and trainees.

The Normalization of Inhumane Practices

A controversial document from HYBE, circulated among its executives, included derogatory remarks about even underage idols, prompting widespread outcry.

Although HYBE issued an apology and promised to halt the production of such documents, public dissatisfaction continues to mount. On December 13, a national petition advocating for a comprehensive investigation into the matter exceeded 50,000 signatures, necessitating an official review by the National Assembly.

Industry experts link these concerns to the K-pop sector’s hasty and outward-focused expansion. Since the 2020s, K-pop agencies have been integrating talent from various sectors, such as IT, gaming, and finance. Notably, HYBE operates 71 subsidiaries globally, with leaders recruited from major technology and entertainment companies, including Google and Nexon.

Music critic Im Hee-yoon observes, “Reports like this may stem from a requirement for documentation that is comprehensible across diverse industries. This scenario bears resemblance to the notorious ‘Celebrity X-File’ from 2005, which caused a societal uproar with its unverifiable claims and harsh judgments regarding personal details about artists.”

The infamous “Celebrity X-File” contained candid critiques regarding appearances and unverified personal information, which led to public outrage. Similarly, HYBE’s document mirrors this disregard for the dignity of its artists, with some officials pointedly blaming leadership for an insatiable drive for control.

There is an increasing call for systemic reforms to ensure that the rapid external growth of the K-pop industry is matched by an equal maturity in its internal practices.

According to music critic Kim Do-heon, the crux of the problem lies with executives who endorsed such documents, emphasizing the need for a shift in leadership perspective.

Senior researcher Kim Yoon-ji added, “Although K-pop has rapidly expanded externally, its management practices have lagged behind. As the multi-label system remains relatively new to many Korean firms, efforts must intensify to enhance internal governance and promote self-regulation.”

Ultimately, there is a pressing need for an official organization that can amplify idols’ voices. Music critic Seo Jung-min-gap suggests, “The entertainment industry should establish a body, similar to a labor union, that can challenge unsatisfactory decisions made by company management. It is imperative to seriously consider recognizing idols as legitimate workers.”

Recent discussions highlight that, as evidenced by the issues faced by Hanni of NewJeans during a national assembly hearing, there is currently no regulatory authority to protect idols—who do not fall under the traditional definition of “regular workers” —from workplace harassment.

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