K-Pop Dance: Choreography—Comprehensive Study Notes
Overview
K-Pop dance is a dance-driven music genre characterized by polished idols’ synchronized, sophisticated routines; it has transnational visibility through cover dances, YouTube fandom, and flashmobs, yet research has historically been scarce.
The chapter situates K-pop dance within intersecting fields: performance studies, critical dance studies, and cultural studies; it analyzes iconic MV choreographies from groups such as BTS, BIGBANG, Seventeen, EXO, BLACKPINK, and TWICE, including extended concert versions.
Movement analysis is crucial because it embodies sociocultural identities (e.g., gender); a thick analysis includes bodily movement, clothing, facial expressions, and spatial setting, since facial expressions can reflect a movement style’s aesthetics (e.g., hip hop).
“Choreography” here includes not only sequences of movement but also choreographed facial expressions and other sonic/visual elements.
The chapter reviews popular dance scholarship and situates K-pop dance in the genealogy of social and popular dance, emphasizing its emergence as a global phenomenon shaped by social media.
Core concept: “point choreography” – iconic, short movements placed in the chorus that reflect the video’s concept and boost group persona; exemplified by PSY’s horse dance in Gangnam Style (2012).
Categories of K-pop MV choreography (preliminary and overlapping): schoolgirls and schoolboys; beast idols and bad girls; dance-centric; experimental; and hybrid styles. These capture gendered dichotomies (innocent vs. sensual), and a progression toward hybridization through globalization.
The work treats K-pop dance as a “social-popular dance of global youth” operating at the intersection of vernacular (local) and global (worldwide) dance, amplified by online tutorials and fan-dancer communities.
The chapter uses the term “social dance” per Julie Malnig and discusses how social dance can become popular dance via globalization and media, complicating traditional hierarchies that privilege European/American high arts.
The delineation between social and popular dance is blurred in K-pop due to online circulation and cross-border collaboration; the field is framed as a global youth practice of constructing identity through dance.
The visual-digital orientation of K-pop choreography foregrounds the screen as a site of performance; the mediated body can exceed natural movement capacity through post-production and effects, aligning with Sherril Dodds’s concept of “superbodies.”
The dance is designed for media platforms; thus, the screen-drafted body (not a live theater body) is central to the performance.
The chapter argues for a nuanced, multidisciplinary understanding of K-pop dance that connects bodily movement, sonic design, and visual storytelling to broader sociocultural meanings.
Key Concepts and Theoretical Frameworks
Social vs popular dance:
Social dance: vernacular, local traditions circulated within communities.
Popular dance: more global, widely disseminated forms (e.g., hip hop as a worldwide phenomenon).
K-pop dance dwells between these realms as a global, socially performed practice rooted in local Korean contexts.
Contemporary Asian dance and East–West blends:
K-pop dance is described as an intercultural genre blending Western contemporary/dance forms with Korean/Asian styles, grounded in a hybrid bodily intelligence and diverse training backgrounds.
The industry’s transnational collaborations (musicians, dancers, choreographers) complicate a fixed geographic identity for K-pop.
Worlding dance and canon debates:
K-pop showcases a mix of classical, popular, traditional, and contemporary dance forms, challenging strict Western/non-Western dichotomies.
Orientalist critiques are acknowledged; globalization allows Asia to be seen as contemporarily dynamic rather than historically bounded.
Contemporary Asian dance and the global dance lexicon:
The field is framed within broader conversations about world dance and its boundaries, with K-pop cited as a prominent contemporary Asian example.
“East-West blends” in contemporary Asian dance:
A production system in K-pop facilitates cross-cultural collaboration, complicating simple national boundaries.
Trainee culture and formalization of K-pop dance:
The industry’s disciplined training pipelines, language learning, and conservatory backgrounds contribute to a standardized performance aesthetic.
Ethics of cultural exchange in neoliberal capitalism:
The digitization of distribution and consumption raises questions about cultural ownership, representation, and the potential for superficial intercultural understandings.
The concept of Koreanness in global K-pop:
Scholars discuss the “absence of Koreanness” in K-pop due to hybridity; hybridity remains a defining feature of K-pop dance.
The role of social media and participatory culture:
Point choreography enables fan imitation, democratizing participation and shifting much of dance culture onto digital platforms.
The educational dimension:
K-pop dance is increasingly treated as a formal subject in South Korea’s education system, reflecting its cultural and economic significance.
Point Choreography: Definition, purpose, and implications
Point choreography: short, iconic movement featured in the chorus that captures the video’s concept and strengthens group personas; should be eye-catching, memorable, and imit able by fans.
PSY’s “Gangnam Style” horse dance is a primary example of point choreography.
Characteristics of effective point choreography:
Reflects the video’s general image and theme.
Distinctively tied to a group’s idiosyncratic persona.
Highly visible and easily copied by fans, enabling participatory culture.
Democratic/participatory dance in the digital era:
Point choreography supports the democratization of dance in social media, enabling mass participation and fan-generated content.
Screen-oriented performance:
K-pop dance is designed for the screen; mediated bodies (with post-production or effects) can appear to transcend normal physical limits, aligning with the idea of “superbodies.”
Digital circulation and audience engagement:
Global fans create cover dances, chat about choreography, and participate in challenges (e.g., #Kpopdancechallenge on TikTok/Instagram).
Terminology connections:
“Worlding dance” and “contemporary Asian dance” help frame K-pop as both a local practice and global phenomenon.
Quantitative milestone (example):
A notable milestone for point-dance visibility is PSY’s Gangnam Style, which achieved extremely high view counts rapidly: V \,=\, 1\times 10^{8},\quad t\,\approx\, 2\ \text{days}.
Global audience reach and cultural diffusion:
The screen-first production, star personas, and iconic moves facilitate cross-cultural diffusion and fan engagement across borders.
Typologies of K-Pop MV Dance: Categories and examples
The Schoolgirls and Schoolboys concept
Gendered dichotomy: innocent/cute vs. sensual/mature.
Schoolgirl/schoolboy aesthetics emphasize girlish/boyish charm, with facial expressions (aegyo), space limitations, and controlled, decorative movements.
Aegyo: baby voice, winks, or playful gestures; used to convey innocence.
Spatial dynamics: girls typically perform in narrower spaces; boy groups may exhibit more expansive movement but can still balance between cute and mature aesthetics.
Costume and setting: bright colors, school uniforms, or casual outfits; space and setting can reinforce the persona.
Examples:
TWICE – “Likey” (2017): Solo dance inserted in chorus (Momo), pink shorts, white top; juxtaposition of cheerful, cute upper body with more sensual lower-body movement; backdrop shifts from old alley to colorful ice-cream shop; portrayal of “innocent” vs. mild sensuality.
TWICE – “TT” (2017): Halloween-themed cosplay; multiple character roles; visual storytelling.
Girls’ Generation – “Genie” (2010): Delicate, balletic movements; canonical “hypergirlish femininity.”
SHINee – “Replay” (2008): Flower-boy aesthetic; back-of-hand gestures, rond de jambe leg movement; light, youthful energy; concept of nuna/oppa relational dynamics in service of the song.
Gendered dynamics and space: space is subtly gendered; girls’ choreography prioritizes restraint, decorativeness, and a gentle gaze.
Cultural/linguistic notes: term usage such as “aegyo” reflects cultural signaling embedded in choreographic choices.
The Beast Idols and Bad Girls concept
Beasts idols: tall, muscular male idols with swaggering, “beastly” movements and tough masculine imagery (possible shirt tearing, pole dancing, hip-hop influences).
Costumes emphasize masculine power (e.g., leather jackets, dark fashion).
Examples: BIGBANG, MONSTA X, 2PM, BEAST, B.A.P.
Beasts can also show softer masculine traits or cross-dress in some contexts, challenging rigid gender norms.
The girl-equivalent concept (bad girls/girl crush): fierce, independent, and sexy female personas with strong stage presence.
Examples: 2NE1, ITZY, BLACKPINK, Red Velvet, f(x);
“Girl crush” aesthetic is linked to feminist discourses and changes in gender norms and MeToo-era awareness.
Visuals: heavy makeup, leather, streetwear, assertive gazes, sometimes darker or more aggressive concepts.
Example: BLACKPINK’s “Kill This Love” (2019) – iconic for its rapid rise to 100M views in ~2 days; choreography emphasizes dominance and power.
Choreography and gaze: non-smiling, hard-edged facial expressions (e.g., Red Velvet’s “haughty”/horror-flavored aesthetics) convey aggressive femininity; some idols (e.g., Amber Liu) exemplify androgyne aesthetics that challenge traditional gender norms.
Cultural implications: girl crush groups’ performances engage with shifting gender norms and political discourses in Korea (e.g., feminism, MeToo).
The Dance-Centric Style
Emphasizes intricate, powerful, technically demanding choreography, often more common in boy groups; less emphasized in girl groups due to gendered expectations.
EXO as exemplar: synchronized, high-level group dancing; highlighted by “Love Shot” and “Call Me Baby” (intricate, precise, and stylized).
Key features: minimalistic or futuristic visuals; often a strong emphasis on point choreography alongside narrative or concept.
BTS: “Fake Love” and “Blood, Sweat & Tears” show a sophisticated dance-driven aesthetic; special projects like “ON: Kinetic Manifesto” expand into theater-like, contemporary-dance aesthetics (e.g., “Not Today,” “Black Swan”).
“Call Me Baby” (EXO, 2015): a signature sequence with rigid punching, grounded hip movements, and a suggestive hip thrust; camera angles and gaze add sensuality.
The Experimental Style
Departures from conventional aesthetics; less reliance on punk/beat-based choreography, more on conceptual or cinematic visuals.
G-Dragon – “Untitled” (2014): a piano ballad-driven video with a silhouette-based, minimalistic mood; the body acts as the dance.
Taeyang – “Eyes, Nose, Lips” (2014): long-take shot; camera gradually reveals more of the body; emphasizes subtle facial expressions and body nuances over overt movement.
BTS – “Save Me” (2016): indie aesthetics; relatively natural looks; wind, loose clothes, and vulnerable emotional tone; a contrast to over-polished pop videos.
Lee Hyori – “Seoul” (feat. Killagramz, 2017): improvisational hair flipping and chest movements with location-based contrasts (Seoul vs. Jeju Island).
ZICO – “Any Song” (2020): casual house-party vibe; idiosyncratic steps and playful facial expressions; improvisational, spontaneous feel.
The experimental style broadens the audience’s sense of authenticity and accessibility, sometimes increasing perceived intimacy by appearing less manufactured.
The Hybrid Style: International Collaboration and Korean Folk Dance
Hybridity through cross-border collaborations and revival of traditional Korean motifs.
High-profile collaborations include PSY and Snoop Dogg’s “Hangover” (2014); Lady Gaga and BLACKPINK’s “Sour Candy” (2020); BTS’s “Boy with Luv” (2019) ft. Halsey; J-Hope’s “Chicken Noodle Soup” (2019).
“Hangover” illustrates how international collaborators can work with localized cultural spaces (karaoke bars, hair salons, spas) and how cross-cultural chemistry may be mediated through virtual collaboration rather than extended in-person contact.
The risk of superficial cultural representation in international collaborations is acknowledged; deep embodied knowledge of cultural contexts can be uneven.
The hybrid approach allows global audiences to access a broader range of dance vocabularies while preserving Korean cultural identity through motifs like hanbok.
Examples of hanbok modernization in MVs: BLACKPINK’s “How You Like That” (2020) and other outfits; modern hanbok aesthetics in “Refresh” (2020) with Zico and Kang Daniel; IDOL (2018) featuring hanbok-inspired but modern outfits.
Traditional Korean themes in choreography and visual references:
BTS’s “IDOL” (2018) includes references to buchae-chum (neoclassical fan dance) and sajachum (lion-mask dance); live MMA performance revived these elements with modern aesthetics.
BTS’s Jimin’s live performance of buchae-chum at MMA—an example of Korean folk dance integrated with contemporary and urban dance forms.
Suga’s “Daechwita” (2020): historical king persona and modern gangster imagery; shot at Yongin Daejanggeum Park (an outdoor film set) with traditional and contemporary elements; J. Kim Baek-bong’s fan dance motifs appear in a modern, narrative-tinged setting.
The globalization of K-pop alongside traditional motifs demonstrates a carefully calibrated balance between authentic cultural revival and global marketability.
Hanbok and traditional motifs serve as signs of hybridity and localization within global pop culture.
Gender, Identity, and Space in K-Pop Dance
Gender as a performative, stylized repetition (Judith Butler): K-pop groups typically foreground conventional gender roles, either as innocent schoolgirls/boyish students or as adult, sensual figures.
The schoolgirl/schoolboy concept demonstrates controlled, moderate power dynamics; movements are decorative and elegant rather than aggressively assertive.
Space and performance: spaces are used to communicate gendered power dynamics; for example, girls tend to occupy narrower spaces, while boy groups may command more physical space.
Iris Marion Young’s phenomenology of feminine body comportment and spatiality suggests that girls are socialized to occupy smaller spaces, affecting choreographic choices.
aegyo and “hypergirlish femininity”:
Distinct facial expressions, gestures, and body language that maintain a cutesy, innocent image.
As stars age, there is a trend toward more mature, seductive personas (though many girls maintain a “cute” image at younger ages).
Flower boys and soft masculinity:
The flower-boy concept (kkot-minam) signals an ideal of refined, androgynous, sophisticated masculinity.
Example: SHINee’s early image; BTS’s “Boy with Luv” reinforces a youthful, energetic masculinity.
Beast idols and male swagger:
Beast idols emphasize tall, muscular bodies and aggressive, hip-hop-inspired choreography; darker or more provocative fashion is common.
Some groups traverse gender boundaries and incorporate soft-man or cross-dressing elements for versatility.
Girl crush and empowered femininity:
Groups like ITZY, BLACKPINK, Red Velvet, and f(x) embody stronger, more independent personas; facial expressions can be unsmiling or “cold” to project femme fatale energy.
Red Velvet’s “Psycho” and “Monster” exemplify a shift to sophisticated, high-concept aesthetics.
Androgyny and feminist readings:
Amber Liu’s androgyne styling (f(x)) and Taeyeon’s contrast with Amber in collaborations highlight gender performance fluidity.
Suk-Young Kim discusses conceptual versatility of K-pop idols, who can “try on all kinds of concepts” (sexy, cute, innocent) to maximize profitability and relatability.
Age and agency dynamics:
Boy groups often navigate aging trajectories into more mature aesthetics, whereas girl groups face tighter constraints regarding age and persona.
Uniforms and fetishization of power dynamics:
Uniforms convey discipline and synchronization while enabling gendered fantasies (e.g., maid, police officer costumes).
Genies and militarized visual motifs (e.g., Dope) deploy uniform imagery to evoke authority and subservience tensions.
Media Platforms, Globalization, and Cultural Exchange
Visual-digital emphasis:
K-pop is primarily distributed via YouTube, TikTok, Instagram, and other visual media; the screen shapes performance and audience reception.
The “world dance” and intercultural interaction:
K-pop’s hybridity draws from global dance forms, leading to “world dance” classifications that transcend Western-only canons.
Orientalism and the East–West exchange:
Western dance histories have long treated Asia as historical; modern K-pop dance challenges such distinctions through contemporary Asian dance.
Cultural exchange ethics in digital neoliberalism:
Digitization enables rapid dissemination and remixing but also risks superficial understandings of cultures; the ethics of intercultural adaptation—especially among fan-dancers—require further study.
Koreanness and globalization:
The transnational circulation of K-pop raises questions about how “Korean” identity is represented, marketed, and consumed globally; hybridity is both a hallmark and a contested feature.
Education and industry structure:
K-pop’s formalization in education (popular and commercial dance programs) reflects state and corporate support for the industry as a national project.
The role of entertainment agencies in shaping training, repertoire, and language skills.
Intellectual property and copyright concerns:
The digital era raises questions about ownership, sharing, and credit in fan-made covers and remixes.
Fan culture and ethics:
The rise of fan-dancers and intercultural adaptation requires ethical guidelines to protect performers and respect cultural origins.
Global Reach, Real-World Implications, and Future Directions
K-pop as a national/global project:
K-pop dance functions as a core component of Hallyu (Korean Wave) with multinational productions and government-supported cultural diplomacy.
Global events and platforms (e.g., KCON, K-Pop Cover Dance Festival) help sustain and disseminate K-pop dance worldwide.
Potential risks of superficial intercultural exchange:
While digital tools enable rapid cross-cultural collaboration, there is a danger of misrepresenting cultures if engagement remains surface-level.
The need for continued study:
Copyright, creation processes, and education in the digital era require further exploration.
Emergent concerns around intercultural adaptation, fan-dancer ethics, and the globalization of K-pop identity.
Real-world relevance and applications:
K-pop dance informs discussions of global youth culture, media production, and cross-cultural fandom.
Methodological implications for research:
A thick descriptive analysis that includes bodily movement, facial expressions, space, costume, and the musical-soundscape is essential for understanding how dance embodies sociocultural identities.
Notable Examples Referenced in the Chapter
Point choreography references and milestones:
PSY – “Gangnam Style” (2012): iconic horse dance; key example of a point choreography.
BLACKPINK – “Kill This Love” (2019): rapid rise to 100M views in roughly two days; indicative of a powerful girl-crush performance.
Dance-centric exemplars:
EXO – “Love Shot” (2018), “Call Me Baby” (2015), “Monster” (2016): precise, synchronized group dancing with strong stage presence.
BTS – “Fake Love” (2018), “Blood, Sweat, & Tears” (2016), and theater-inflected works like “ON: KinEtic Manifesto Film: Come Prima” (2020) and “Black Swan” (2020).
Experimental exemplars:
G-Dragon – “Untitled” (2014): minimalistic, silhouette-driven performance.
Taeyang – “Eyes, Nose, Lips” (2014): long-take camera work focusing on intimate body movement.
BTS – “Save Me” (2016): indie aesthetic and vulnerability.
Lee Hyori – “Seoul” (2017): urban vs. natural landscapes achieving different mood cues.
Hybrid exemplars:
PSY + Snoop Dogg – “Hangover” (2014): cross-cultural collaboration with urban Korean cultural spaces; commentary on cross-cultural exchange.
BTS – “Boy with Luv” (2019) ft. Halsey; “Chicken Noodle Soup” (2019) with J-Hope; hanbok-inspired visuals in modern contexts.
BLACKPINK – “How You Like That” (2020): modern hanbok-influenced styling; performance at The Tonight Show Starring Jimmy Fallon drew large online engagement.
Korean folk motifs in modern pop:
BTS – “IDOL” (2018): references to buchae-chum and sajachum; performance at MMA revived traditional elements.
Suga – “Daechwita” (2020): traditional wind instruments integrated with contemporary rap visuals; shot in Yongin Daejanggeum Park.
Ethnographic and social implications:
The chapter emphasizes that global digital circulation enables rapid fan responses, cross-border influence, and redefinition of “new authenticity” in dance and tourism contexts.
Conclusion and Further Readings
Conclusion: K-pop dance typologies (schoolgirl/boy, beast idol, girl crush, dance-centric, experimental, hybrid) illustrate a transnational phenomenon shaped by media platforms, industry structures, and cross-cultural collaborations.
K-pop dance is a leading force in Hallyu and a sustained global dance project.
Future research directions include:
Copyright and creation-process studies; dance education in the digital era; and ethics in intercultural adaptation for fan-dancers.
Suggested readings and references provided in the notes offer broader frameworks for studying K-pop dance, social/popular dance, and intercultural performance.
21^{st} century digital space and V \approx 1\times 10^{8} views in t \approx 2 days are among the numerical touchpoints illustrating the scale and immediacy of K-pop dance’s global reach.