A Deep Dive Into What Makes K-Pop Dance Moves “Iconic”
Choreography and the History of Hip-Hop Dance
When we think about the term “choreography”, we often conceptualize its meaning with dance, and specifically, dance as a performance and a form of creative expression. Choreography is generally understood as a coordinated sequence of steps and movements which coalesce into a staged performance. William Forsythe describes this as the “[organization of] bodies in space, or [the organization of] bodies with other bodies, or a body with other bodies in an environment that is organized” (1). While choreography started off as a practice in ballet, the term eventually becomes used across different dance forms, encompassing the varying artistic and cultural forms of dance. Choreography is now largely integrated into popular music performances because of its ability to provide additional aesthetic and visual cues to the audience, hence drawing in the audience even more.
To situate ourselves with the significance of choreography (and point choreography) in K-Pop, we must first look back to the late 20th century, where two important events took place that shifted perspectives on choreography’s presence within K-Pop.
African American vernacular dance is a type of dance performed to the beats and rhythms of African American music. This dance has distinct features and qualities that are central to the “Africanist Aesthetic”, such as polymeter, polyrhythm, asymmetry and angularity. When we consider this aspect of vernacular dance, we see that K-Pop not only takes influences from hip-hop music, but also hip-hop dance style as well. The birth of hip-hop dance begins in the early 1970s, forming in the New York City ghettos (2). What emerged following this was a cultural wave, leading to the creation of unique dance styles, such as Breaking, whaack, and uprocking (3). On the West coast, Californian dancers were inspired by the West coast “funk” culture”, creating dance styles such as popping and locking, boogaloo. Rhythm was essential to these dance forms, and this was manifested in the dancer’s movements, their fashion, and DJ beats. Concurrent with the emergence of these dance styles was the rise of the music video industry and the MTV youth culture. Many dancers (mostly b-boy/girls, uprockers, lock and poppers) were invited to perform in music vides and commercials. This era was also marked by U.S pop icons such as MC Hammer, Michael Jackson, and Janet Jackson- all introducing hip-hop dance styles to newer and wider audiences. As part of the digitization and commercialization of these dance forms, the hip-hop dance styles became highly choreographed to be presented to the public.
Choreography in K-Pop
Shifting gears into Korea, choreography plays a vital role in the K-Pop industry since the inception of K-Pop. In its infancy, K-Pop performances did not rely heavily on choreography. Most of the performances either had very traditionally styled routines, or no routines at all. When it hit the 1990s, more Western influences and the television became parts of South Korean culture, culminating and contributing to the explosive debut of Seo Taiji and the Boys. Seo Taiji and the Boys’ performance styles were distinctive in its’ heavy use of hip-hop inspired choreography and rap music, incorporating Breaking and boogaloo styles into their performances. Their debut can also be seen as the beginnings of black influence in the K-Pop industry. Seo Taiji and the Boys’ powerful and vigorous dance moves were considered foreign to South Korea at the time, but this became the inspiration for the further generations of idol groups in the K-Pop scene. Not long after, three distinct companies enter the market and expand the idol formula, solidifying the role of choreography in the K-Pop world. SM, YG, and JYP Entertainment are known to be the Big Three idol companies of South Korea. Each company has distinct brand images, but all of them emphasize the role of choreography in their idol groups: SM maintains harmonizing dances and promotes the “military style dance” (gunmu); YG has less uniformity in their dances to create a fun atmosphere; JYP’s dances were highly gendered according to their idol groups (4). While most (if not all) K-Pop music videos (MV) are filled with flashy clothes and impressive visuals, a key component to them is the choreography. These MVs would place the idol group in a boxed background as they perform the choreography to their songs, sometimes having shots of individual members doing the dance by themselves. The cruciality of choreography in K-Pop can also be shown through deliberate releases of choreography-specific videos. These are usually labeled as “Dance MVs” or “Performance Version” to their songs. We also see groups releasing dance practice clips where they practice (perform) their choreography in their practice rooms, sometimes having unique themes in their practices, where they’re performing their routine but with twists (titled as “pajama ver.” or “part switch ver.”). Here are some examples of this:
Hip-Hop Dance’s Influence in K-Pop Choreography
Through these videos, we can see how vital choreography is to the K-Pop formula, because not only does it enhance the well-roundedness of idols (they can sing, dance, are attractive), but it is also aesthetically pleasing to the viewer. Idol groups are constantly performing new and creative dance routines to grab our attention and keep our eyes glued to the screens. When we consider the role of choreography in K-Pop, we see a consistent dance form across most idol groups’ routines. The most dominant style of dance found in K-Pop is hip-hop/ street style. Hip-hop dance styles can be seen through choreographies incorporating a multitude of dance styles such as popping and Breaking into their routine, combined with lots of aggressive arm and leg movements. Groups such as BTS and SEVENTEEN are great examples for this kind of influence, where BTS relies on aggressive, yet sharp movements, while SEVENTEEN incorporates isolation in their choreography. With SEVENTEEN’s routine, we also see how the art of choreography itself shines through with their use of power blocking (doing a simple formation in a given period of time without much transitions), where certain formations without much change provide a different aesthetic of choreography, where the “power” the group is highlighted through the simplicity of the formation, creating a fluidity and sharpness to their movements.
We also see street influence in Irene and Seulgi’s “놀이 (Naughty)” routine, where it is heavily inspired by tutting, vogueing, and hints of whaacking. Even TWICE’s “What Is Love?” is heavily influenced by street funk movements in their routine.
Evidently, street dance influence has taken over most idol group choreographies. In K-Pop routines, synonymous with the cross-hybridization of different musical styles within a single song, there is also the cross-fertilization of dance forms within the routine for a song. Influences from different types of hip-hop dance form amalgamate into one cohesive and organized choreography. It can be argued that the large influence of street dance in K-Pop, and the lack of more traditional dance styles like ballet thereof, is due to the highly energetic nature of street dance. Think of the most famous dance moves that have emerged in the last century. The running man, Harlem Shake, the Dougie, the “Nae Nae”- all these popular dance moves are born out of hip-hop dance styles. The consistent street influence in these dance crazes prove that there is a general preference to dances inspired by the hip-hop dance form, that there is something magnetic about it that draws people into this dance style. Hip-hop dance forms also give more freedom to the dance, and don’t necessarily follow stringent rules in its dance theory (as compared to forms like ballet). Especially when we think about how K-Pop is an important cultural export for South Korea, it is crucial that these idol groups have fun and mesmerizing dance routines that keep fans engaged in their craft. On the consumption level of K-Pop, choreography produces what Liew coins as “dance trackers”- “fans who seek more physical engagement from the world of Korean entertainment. They scrutinize the dance choreographies of the music videos” (5). Most importantly, choreography helps to establish a visual element to a group’s identity. This full “package” (looks, songs, dance) aspect to its identity serves as another means for fans to become more engaged with the idol groups.
Point Choreography in K-Pop
The aforementioned parts early on in this piece focused on choreography in general terms within the world of K-Pop. What I want to move towards now is the term “point choreography”. This is a term that is specific to the world of K-Pop. Before diving into this definition, it’s important to highly that the “point” should not be confused with “point dance”, a classical ballet technique that is not at all related to what point choreography is. Point choreography is choreography that is highly memorable, and is oftentimes easily replicable. It emphasizes on key movements of a particular song (usually the repeating hook) that catches the attention of the viewer through its seemingly simplistic movements that perfectly harmonizes with the song. The repetitive movements performed by the members provide structure and regularity to their performance, thereby enforcing the equality of the group, as we see all members performing the same gestures which serves as visual accompaniment to their lyrics. As a result, the group is seen as homogenous and in synchronization (6). How people identify point choreography is usually through their ability to remember that one specific moment in a song’s choreography. Examples of point choreography can be traced back to the early 2000s- KARA’s signature butt-swing in “Mister”, Super Junior’s hand-rubbing in “Sorry, Sorry”, Brown Eyed Girls’ suggestive hip-swaying in “Abracadabra” (who many people believe to be the first ever point routine), Wonder Girls’ finger pointing in “Nobody”, and many more. More contemporary examples include PSY’s horse riding in “Gangnam Style”, EXO’s excessive pants shaking in “History”, BLACKPINK’s gunshot in “Kill This Love”, Crayon Pop’s literal jumping in “Bbar Bbar Bbar”, etc. Evidently, there’s a lot of unique point routines in the world of K-Pop. One thing that I do want to emphasize here is that point choreography is highly subjective from person to person. Some people may consider the examples I’ve included as point, some might disagree with me. The point (haha pun) I wish to make here is that point choreography doesn’t have a proper definition as of yet, and there is no “official” list of point choreographies, just community-agreed ones.
Choreography in K-Pop, as we’ve seen, is very important in not only creating a pleasing image of the idols, but it also ensures that people are engaged in the craft of these idol groups. With point choreography, its key significance can be found in its ability to draw in new fans. The synchronized and hypnotic dance movements draw non-Kpop fans in because there is an addictive value to point values (7). If we consider someone who doesn’t listen to K-Pop at all, and knows nothing about it, it’s still very likely that they can recall the point dance of “Gangnam Style”. This might not be the best example, considering the global impact “Gangnam Style” had, but PSY’s signature horse dancing move works, and it would have made it into the minds of non-Kpop listeners because of two things: one, because it has relatively simple movements, thereby making two, a replicable dance. In addition, point choreography also acts as a key “marketing” strategy in drawing in more fan engagement. Given that K-Pop has reached a global scale, its influence and presence has seeped into countries all over the world. While K-Pop may include English lyrics or even sometimes English/ Japanese version songs, they are always sung in Korea (this is changing with groups like WayV). The linguistic barrier may seem as an obstacle for some fans (and non-fans), but there is one language that’s consistent throughout all idol groups and can be understood by anyone, no matter where they are in the world: dance. Dance relies on visual cues, so for people who might find the linguistic barrier as one that may hinger their enjoyment of K-Pop, it’s likely that the point routines would eventually draw them in. In doing so, the “language” of dance creates a unique phenomenon that is very characteristic of the K-Pop fan culture- dance covers. The creation of this participatory culture is distinctive in the world of K-Pop and establishes a connection between fans and idol groups. As mentioned earlier, point routines usually have rather simple key movements, and in doing so, it implies that the routine is one that can be followed, learned, and eventually, joined (4). This is very crucial to K-Pop, and why K-Pop has such a mesmerizing impact on fans. When you have the capability to perform a routine that your favorite idols have performed, it “[allows you] to fantasize about being a group member” (8). Audience engagement with routines can create a two-fold situation whereby fans are encouraged to try out these routines and become more involved, while at the same time experiencing the difficulty of these routines and appreciating the level of commitment and dedication these idols go through (8). This phenomenon manifests in not only “dance challenge” compilation videos where fans compile famous K-Pop songs and challenge the listeners to perform the routines according to their songs, but we also see dance cover videos from all over the wold.
In the midst of the virality high of point routines, idol groups will also do more in their power to further engage with this virality and ensure more fans are reached. This manifests in idol groups teaching the specific “point” part of their routine. This is usually done in variety shows where idol groups are promoting their songs. The two examples I’ve included are when Brown Eyed Girls taught other idol groups their “arrogant dance”, and BLACKPINK teaching their signature finger-gun dance in Ddu-Du Ddu-Du on Billboard. Most of these shows are broadcasted either on cable television or on the Internet, allowing for people watching from the comfort of their homes to follow along to their tutorials.
Considering the lack of research on the term “point choreography”, I want to reiterate once again that what constitutes as a “point” routine varies between people. Based on a Reddit thread discussing on point routines, the different types of answers given by users further highlight the multitude of point choreographies in K-Pop as well as the variation in answers. Perhaps a “conflict” of point choreography within the landscape of K-Pop is how highly gendered their point routines are. Firstly, and feel free to disagree with me here, a lot of point routines are mostly routines by girl groups. There are obviously instances of point routines specifically performed by male idol groups, and I am not dismissing their contributions of point routines, but the way these dances are “point” are contingent upon highly gendered body politics.
For the purposes of this piece, I’ll solely be relying on simple movements as being “point”. Let’s take two different sounds in girl group songs and compare their point routines- BLACKPINK’s heavy trap inspiration in “Kill This Love” with Wonder Girls’ more Motown inspired “Nobody”. These two songs have very distinctly different feels to their songs. Both point routines involve moves where they sway their hips and accentuate their legs.
When we bring in point routines by male groups, say, 2PM’s “Again & Again” and SHINee’s “Ring Ding Dong”, both routines involve moves that emphasize overall arm movements and unique legwork: 2PM’s “running man” like footwork and SHINee’s aggressive knee bending.
Hence, in thinking about why more point routines belong to girl groups, the simplicity and iconicity of these dances are maintained through the need to uphold femininity in girl groups, thereby incorporating less aggressive dance moves into their routines. This is especially prevalent when we consider girl group songs that employ a “sexy innocent” or “cute” concept (both conventionally “feminine”), songs like these are more likely to have point routines because choreographers would need to find a dance move that could embody and capture this essence of the songs (T-ARA’s aegyo-like hand gestures in “Bo Beep Bo Beep” and Girls Day’s suspender routine in “Expectation”). This is not to say that all female idol groups only perform highly “feminine” routines in their choreography. Groups like BLACKPINK, 2NE1, GFRIEND, ITZY, LOONA’s “Cherry Bomb” dance cover are fantastic examples of girl groups using aggressive, more conventionally “masculine” movements in their choreography.
Conclusion
In retrospect, point choreography is a key component to the virality of K-Pop, promoting and attracting new fans to the industry. We’ve explored how street dance is the very core of most K-Pop choreographies and how lots of choreographies incorporate cross-hybridization of different types of hip-hop styled dances. Point routines remain important in K-Pop because it allows for fans to not only recognize dances in relation to specific songs, but it also allows them to participate in the routines as well. In producing such point routines however, we see that point routines tend to be highly gendered according to the idol group performing it, as idol companies continue to uphold certain notions of masculinity and femininity. Upon understanding the role of point choreography in K-Pop, we as fans (and non-fans even) should also acknowledge and credit the actual creators of these point routines that we love so much. Dance is harder to gain acknowledgement than songwriting itself, and therefore we should always be cognizant of the creators of the dances we have grown to love so much, because these creators are responsible for creating these routines which inevitable acts as a gateway for fans to connect with idols. We must not let large companies take credit for these cultural products that have been essential to K-Pop’s success. We need to acknowledge and appreciate the roles of all the minds that went into the full K-Pop “package”.
References
[1] Spier, Steven. “Choreographic thinking and amateur bodies” William Forsythe and the Practice of Choreography: It Starts from Any
Point. Page 139
[2] Chang, Jeff, ed. “Physical Graffiti: The History of Hip-Hop Dance” Total Chaos: The Art and Aesthetics of Hip-Hop, New York: Basic Civitas Books, 2006.
[3] Forman, Murray and Mark Anthony Neal. “Dance in Hip-Hop Culture by Katrina Hazzard Donald” That’s The Joint! The Hip-Hop Studies Reader. Routledge New York, 2004.
[4] Shin, Solee I. and Lana Kim. “Organizing K-Pop: Emergence and Market Making of Large Korean Entertainment Houses, 1980–2010” East Asian Journal 30, 6th December 2013. DOI: 10.1007/s12140–013–9200–0
[5] Kim Youna (2013). The Korean Wave. London: Routledge, doi.org/10.4324/9781315859064 Page 169
[6] Cyrus, Cynthia J. “Selling an Image: Girl Groups of the 1960s” Popular Music 22, no. 2 (2003): 182–83
[7] Ahn, Patty. “YouTube is Taking K-Pop Global” Flowjournal, November 27th 2017. Accessed on 16th November 2020. https://www.flowjournal.org/2017/11/youtube-is-taking-k-pop-global/
[8] Maliangkay, Roald. “Uniformity and Nonconformity: The Packaging of Korean Girl Groups” In Hallyu 2.0, edited by Sangjoon Lee and Abé Mark Nornes, 90–107. The Korean Wave in the Age of Social Media. University of Michigan Press, 2015. www.jstor.org/stable/10.3998/mpub.7651262.8
“Kpop success for easy choreography”. The Dong-A Ilbo, April 16th 2013. https://www.donga.com/en/List/article/all/20130416/406060/1/K-Pop-success-for-easy-choreography
Doo, Rumy. “Exploring the art of K-pop dance” The Korea Herald, January 31st 2016. http://www.koreaherald.com/view.php?ud=20180130001007
Hsu, Angela. “Dance Dance Evolution: How K-pop Joined Today’s International Hip-Hop Scene” SeoulBeats, December 8th 2016. seoulbeats.com/2016/12/dance-dance-evolution-how-k-pop-joined-todays-international-hip-hop-scene
Nini. “Kpop Magnetism: What pulls in fans and why? The Choreography” Hellokpop.com, April 5th 2013. hellokpop.com/editorial/kpop-magnetism-what-pulls-in-the-fans-and-why-the-choreography
Romano, Aja. “A beginner’s guide to K-pop” Vox, May 20th 2020. vox.com/culture/21258262/k-pop-essential-playlist-guide-for-beginners
