Double Standard: Dancing in Kpop
As with most genres whose premise is based on the superficial, Kpop is a fickle and seemingly diabolical business. There’s a very loose focus on the actual talent of a group or artist; however, label owners and CEOs are not exactly noblemen. They’re more princes of profit, advertising svengalies who pull in audiences with the hypnotizing sex appeal of their top idols.
The standards are inexplicably high, nigh on unattainable. However, the grueling work ethic and thirst for perfection creates a seismic divide between those stars who make it and those who get passed around from group to group in a perpetual torrent of judgment and dissatisfaction. For those who reach that pinnacle, there’s a greater emphasis on certain aspects and expectations.
The competition then becomes a veritable battle of the sexes when you take into consideration the preparation and standard to which certain idols are held. Vocally, there are those whose talents are obviously astronomical, to the point of overshadowing even those artists lying outside the Kpop craziness. However, dance as a visual artform is semi-instantly gratifying. When the complexities of choreography are broken down, it becomes more about what dancing is going to get the most attention and for what reasons. Thus the double standard set in society entrenches itself in pop culture in stark fashion.