Sharing K-pop with Asia and beyond through bidirectional openness

Togetherness has often appeared as a wordplay in advertising, but it is more than that. The piece argues that the essence of politics lies in sharing values and in forging friendships through that sharing. It proposes ways to enjoy Hallyu with neighboring countries to grow Korea’s pop-cultural assets and to widen the circle of friends abroad. If culture flows in only one direction, a backflow is bound to meet it.

From the success model of Twice, produced by Park Jin-young, there are many lessons to learn. Twice is a nine-member group whose strong vocals and dance skills contribute to its success, but unlike earlier K-pop groups, it features three Japanese members and one Taiwanese member, a factor that proved crucial. At the time of their debut, Korea–Japan relations were strained, and Japan had been the biggest export market for K-pop, with the domestic market barely sustaining it. Yet Twice boldly opened a third of its lineup to Japanese members, crossing the anti-Japanese sentiment with ease. Today, Twice remains one of the most beloved K-pop groups in Japan, seen as their own group by Japanese fans.

If K-pop becomes not only Korea’s but also shared with Japan, Taiwan, Thailand, Indonesia, and Vietnam, the Hallyu cultural industry will grow manyfold, and Korea’s cultural-diplomatic influence will rise as well. Hallyu could become a source of pride and a target of admiration for Asians worldwide, rather than a source of envy. If we share K-pop stages with neighboring regions and the world will watch and admire, it could help alleviate historical resentment caused by colonialism and provide an opportunity for Asians to feel empowered. A future where Hallyu stages are opened to Africa and South America is not unimaginable.

Going further, the piece proposes opening a five-minute segment on public broadcasters’ music programs to showcase popular artists from Asian countries, giving many audiences the chance to discover new stars. If millions around the world tune in, artists from Japan, Taiwan, Vietnam, Indonesia, and Thailand could gain new fans and broader recognition. The more widely these programs are watched, the more devoted fans they will attract. This year, nominations at the Grammys included Rosé, a Korean-Australian artist, and the multinational group Cats Eye, with the K-pop Demon Hunters (KDEHun) also noted. Opening stages to overseas audiences could attract more international attention to Korea’s music scene.