The singer Crush apologized for a “misunderstanding” after the exchange, which highlights what experts call K-pop’s uneasy relationship with Black culture.
It happens so fast in the videos that you need to rewatch them to notice: As Crush, a South Korean R&B singer, high-fives fans during a recent performance, he avoids an area where some Black concertgoers have extended their hands.
A fan on Twitter called the episode, at a music festival in Seoul this month, an act of discrimination. When others piled on, some of Crush’s supporters pushed back, saying that videos showed him skipping other parts of the packed audience and warning fans about overcrowding.
Crush apologized last week for what he called a “misunderstanding,” telling his 2.7 million Instagram followers that he had avoided high-fiving some fans out of concern for their safety. He also told The New York Times that he loved and respected Black culture and had not meant to offend anyone.
“I would never intentionally act in a way that would disrespect nor offend any individual,” he said.
The debate over the episode has called attention to what experts call an old problem: the K-pop industry’s struggle to develop the level of cultural sensitivity that fans in the United States and elsewhere expect.
The criticism also highlights resentment that has built up for years among many Black fans who feel that K-pop acts adopt their culture but do not respect them, just as earlier generations of white musicians appropriated Black music and reaped the riches.
“There are Black fans who love K-pop so much,” said CedarBough T. Saeji, an expert on the K-pop industry at Pusan National University in South Korea. “But they also do have a bone to pick with the way that their fandom has been ignored, and the way that their concerns about things like cultural appropriation have also been ignored.”
The Big Picture
Crush, 30, whose real name is Shin Hyo-seob, is an A-list K-pop star at a time when South Korea’s cultural exports are winning legions of new fans abroad. As the K-pop industry becomes increasingly international, more of its lyrics are being written in English, and agencies that promote K-pop acts are opening offices abroad.
Crush’s record label, P Nation, was founded in 2018 by the singer Psy, whose breakout 2012 hit, “Gangnam Style,” helped K-pop carve out an international profile.
The label’s chief executive, Lionel Kim, said it had always tried aggressively to scrutinize its artists’ content for cultural sensitivity.
“We want to reach as many fans as we can around the world,” Kim said in an interview. “We’re extremely cautious to ensure that our artists and music videos do not disrespect any ethnicity or culture.”
But gaps in awareness have been frequent in South Korea, an ethnically homogeneous society that has generally been slow to welcome other cultures at home.
“Some people don’t even know what counts as racist or not — and that includes artists,” said Gyu Tag Lee, a professor of cultural studies at George Mason University’s South Korea campus.
Members of Exo, a boy band in Seoul, have been accused of making racist remarks during a live broadcast in which they applied makeup that resembled blackface. And last year, the Korean American rapper Jay Park removed the music video for his song “DNA Remix” after fans noted that some of the performers, who were not Black, wore hairstyles that included Afros, braids and dreadlocks.
A Rising Star
Crush has explored R&B, hip-hop, soul, jazz and other genres in his decade-long career. He began writing rap lyrics in middle school and listened to Donny Hathaway, Marvin Gaye, James Ingram and other Black musicians in high school, he has told the South Korean news media. In 2018, he released a song that paid homage to Stevie Wonder.
Last month, Crush released “Rush Hour,” a hit single with the rapper J-Hope of BTS. The lyrics are a mix of English and Korean, the style riffs on funk and hip-hop, and the music video was filmed on a New York City-inspired set.
But frustration toward Crush has been building among Black K-pop fans since 2016, when he performed on a Korean television show wearing a mask with dark skin, big lips and frizzy hair — and did not apologize after the backlash that followed.
Some fans were also disappointed when Crush removed an Instagram post two years ago about his donation to a George Floyd memorial fund in support of the Black Lives Matter movement. Crush’s label, P Nation, told The Times last week that Crush had archived that post, along with dozens of others that were not related to music, later that year.
The Fallout
After the high-fiving episode at the 2022 Someday Pleroma festival this month, some Crush allies seemed to backtrack on their initial support.
J-Hope “liked” Crush’s apology on Instagram. Devin Morrison, a Black singer in Los Angeles who has also collaborated with Crush, wrote on Twitter that he had been astounded to see criticism of “an artist who has treated me and my (Black) friends with nothing but respect and kindness.”
But J-Hope’s like and Morrison’s tweet later disappeared. Neither artist responded to requests for comment.
Some Black fans took a nuanced view of the episode, saying that they were frustrated less with Crush than with the culture of racial bias that they feel pervades the K-pop industry.
Videos of Crush “skipping over the Black fans seemed unlike him, but it didn’t seem like it was unlike K-pop,” said Akeyla Vincent, 32, an African American public-school teacher in South Korea.
Melissa Limenyande, 29, a Black South African who also teaches in South Korea, said she believed Crush’s explanation that he had acted out of concern for fans’ safety.
At the same time, she said, she has struggled to reconcile her enjoyment of K-pop with what she sees as its creators’ insensitivity toward other cultures.
“I like these artists so much and I love their music and their personalities,” she said. “But if I can take my time to learn about their culture or where they come from, why can’t they do the same?”
Source: Music - nytimes.com
