在日本取得的成功會不會是解體的原因?KARA的韓勝妍,姜智英,鄭妮可19日向所屬公司DSP Media提出解除專屬合約,并要求中斷經紀業務.
南韓國內對KARA提出解除專屬合約表示非常突然,也引起了外界巨大的關心.網友們通過部落格和Twiter等紛紛討論,意見主要有兩種,“經紀公司的非正當對待是問題關鍵”,及“到頭來都是爲了錢”.KARA的解約門又讓各界聯想起了當時東方神起和SJ韓庚解約門時間.這種不斷出現的藝人和所屬公司的合約糾紛對南韓流造成了很不好的影響.有關人員表示這應該是在對藝人進行管理的過程中產生的矛盾,以及收益分配等問題發生複雜作用的結果.
最近,南韓的偶像明星不僅在南韓國內,在亞洲全領域的活動都在開展和擴大中.一天之內到達幾個國家登臺表演的情況也比比皆是.又,一旦開始活動,就免不了會有非常緊湊的時間日程表.於是藝人們就會希望收到更好的待遇.在主張自己這種權益的過程中,就和所屬公司產生了矛盾.更甚的是,在糾紛時接觸妥協條件,福利等多種提議的同時,會進 一步對想法造成影響.又想著即使不在南韓國內活動了,起碼還有海外市場,所以沒必要什麽都忍著,於是開始積極地探索其他的發展道路.然而,經紀公司的立場不同.對經紀公司來說,培育一個偶像團體,初期階段就要投入大概20億的巨額資金和非常多的時間精力.之後如果偶像團體取得了成功, 走紅了之後,爲了維持他們的受歡迎度也需要大量的錢.另外爲了公司里的後輩們,也需要打下一個堅實的前輩基礎.然而藝人們一旦走紅,很容易就會失去出道初期的赤子之心,忘記公司把他們培育成才的恩德.
從另一個角度來看,這種現象也不失為南韓流過於快速成長的一種副作用.爲了刺激南韓流發展,太過於注重在賺錢上,而忽視了管理體制方面的改善.使得公司也不斷要求藝人付出更多,藝人也不斷想要從公司獲得更好的待遇.而藝人們通常也會陷入一種錯誤思維,認為即使沒有公司,憑自己的人氣也可以創造很大的收益.
南韓流在經歷著很大的變化,但經紀公司和藝人的意識卻還停留在原地.因此當雙方意見相左處在現在這樣的情況下時,只就考慮到了自己的權益.這使得雙方都不得 不同時扮演了加害者和被害者的角色.這種事態很容易就會讓喜歡南韓流的粉絲們對南韓歌謠界失去信賴.KARA事件一爆發,開始有更多的人呼籲,應慎對這個解約事件背後隱藏的大問題作慎重考慮.
Kara-經紀公司DSP訣別宣言 Kara帝國的滅亡
19日，Kara成員中韓勝妍，Nicole，具荷拉，姜智英將四人向經紀公司DSP通報，稱解除專屬協約。
目前，網民中傳言稱，這四人與隊長朴奎利不和。19日，這四名成員發佈:「公司對於我們的活動進行完全的強迫，並侮辱人格，各種無端協約導致我們承 受著巨大的精神痛苦，我們通報，解除與公司的專屬協約」。當天下午DSP方面表示:「這四人的主張與實際情況不同，對於收入的分配也有誤會的部分」。另外，成員具荷拉表示自己要取消解除協約的發言。
Kara的訣別中收入分配佔了很大的比重，特別是DSP方面提到了的母親關於收入分配的主張，稱待遇不當指的就是收入問題。20日，Nicole的母親在自己的twitter上寫道：「沒有父母會因為錢拿子女的人生來賭博」。這表明她們與DSP的矛盾就是因為錢，收入的問題而引起的。偶像組合中經常 出現這種情況，此次也是如此，偶像的父母介入到了事件之中。仔細觀察DSP與Nicole母親的立場，可以發現他們此間已經發生過矛盾，雖然無法得知具體 情況，但他們的不信任導致了Kara帝國的滅亡。
如果在10個月之前就有矛盾，那麼應該在此次活動之前把事情捅出來。10個月前正是Kara活動最多的時候，她們參加各種節目，進軍日本刮起 Kara熱潮正是在10個月之前。當時的日程比現在要恐怖得多，但為什麼Nicole的媽媽要在這個時候站出來，其內部必定有著不為人知的事，雙方也都有 不能被戳穿公開的部分。
某個網民曾做過女子組合地圖，Kara在其中佔據了重要位置，並形成了Kara帝國。由此可以看到她們的認知度與人氣。這一帝國已經形成，並有著輝 煌的未來，卻在一夜之間滅亡了，這實在令人惋惜。Kara的不當待遇與收入分配，如今分為2人與3人，預計她們的對立會愈發尖銳，父母的介入令她們的滅亡 更令人惋惜。DSP與Nicole母親的矛盾，Kara帝國的滅亡，根本原因在於收入問題。Kara的問題不是Kara成員與所屬公司的直接性矛盾，這令人更覺心寒。
카라Kara是南韓DSP Media在2007年推出的五人女子組合， 現成員包括奎利、勝妍、妮可、荷拉及智英，原為四人組合，於2007年以歌曲《Break It》出道，後來原隊員成熙因學業退出。荷拉及智英在其後加入。「Kara」取名自希臘語「chara」（χαρά，意即「喜樂」），表示組合希望通過Kara美妙的聲音把喜悅帶給大家。
What is the risk and reward that companies have when developing idols?
Source: Herald Biz
by VITALSIGN on January 19, 2011
With 2011 already off to a fast start, the Korean music industry has been gearing up for plans of a new ’smart idol’ development to the Hallyu wave, in what is now known as idol economics.
The Korean idol industry has been recognized as being top tier in dancing, singing, and looks, and the training system has received acknowledgment from international industries as well. An extensive amount of investments are made into trainees, with top companies like SM Entertainment investing millions into producing their line of idols. The idol industry itself has been reported to be making billions a year.
The fruits of their effort can be seen in Japan, the center of the Hallyu wave. Korean artists such as SNSD, KARA, 4minute, and 2PM are plastered near the entrances of record stores, and three to four groups of Japanese youth can be seen browsing the Korean section at any given moment.
Yoshida Jun, the Shibuya branch manager of Tower Records, revealed, “The sales of Korean idol group albums have risen 40% in 2010 compared to sales of 2009. With the debut of Korean girl groups such as SNSD, KARA, and 4minute, along with the rising popularity of FT Island, the teens to 20s consumer base has been created.”
The power of Korean idol stars has developed the Hallyu market, as well as change ‘the economics of Hallyu.’ Samsung Economics Research Institute (SERI) once called BoA a ’small walking enterprise’ for her achievements in the Japanese market, and claimed that she was worth billions.
Idol singers who go through extensive training to survive in a competitive environment emerge with excellent talent in not only dancing and singing, but acting and variety show skills that exceed the economic worth of the former Hallyu stars.
Jung Taesu of SERI attributed three reasons to the leading of the new Hallyu wave by idol stars: their ability to ‘melt and join together a variety of different cultures,’ an idol training system that creates only the best, and the use of social media and global networking.
But how much does it cost to raise one idol? According to the majority of industry representatives, agencies spend about $20,000 USD to $40,000 USD per idol per year. The amount pays for their food, transportation, singing, vocal, acting, and foreign language training. This figure does not include the cost of health, figure management, beauty, and plastic surgery.
Each agency houses over 20 trainees, and top agencies such as SM, YG, and JYP spend upwards of millions a year in just the investments made on their trainees alone.
Using five years of training as an example, to debut one girl group member in that time requires a minimum investment of $150,000 USD. That means in order to produce a nine-member girl group like SNSD, agencies must invest a minimum of $1,300,000 USD.
That figure does not include the expenses for their dorm, transportation, manager, outfit costs, album productions, promotion, and marketing. To include all of such factors would require a minimum of $2,000,000 USD in their creation alone.
However, the years of investing they did in their idol groups are repaid in the form of hundreds of millions of dollars once the group makes a successful debut overseas. Once the group begins making sales in not only albums and CF, but various merchandising products in Japan, China, and South East Asia, an idol group can easily bring in a billion a year.
KARA and SNSD, who entered the Japanese market late last year, both made over $30 million in album sales alone. Although TVXQ halted their activities due to their lawsuit, they recorded over $130 million USD in album sales in Japan last year.
2PM, B2ST, SHINee, and MBLAQ, who are all currently preparing to enter the Japanese market, are expected to achieve similar results.
Japanese boy group Arashi ranked first in album sales last year by bringing in $237 million USD, and if this is considered the best an artist can achieve in the Japanese market, representatives have interpreted it to mean that Hallyu artists can soon surpass $200 million USD in sales. With the addition of digital sales and album sales made in China and other South East Asian countries, Hallyu artists can easily achieve over $300 million to $400 million USD in sales.
According to an industry representative, the most one team can make through an Asian tour is $50 million USD a year. The addition of photobooks, memorabilia, t-shirts, and cosmetic sales, along with movie and drama appearances round out the total to a billion a year, when all it took was an initial $2 million USD investment.
A representative of SM Japan revealed, “Although some Korean merchandise are being sold illegally in Japan, they have recorded high sales. It’s difficult to gouge the exact amount, but it seems a formidable market is being created. Japanese fans want to physically purchase merchandise regarding their favorite stars more so than their Korean counterparts, which further raises the sales.”
Such power has transcended the music industry and has greatly influenced culture and tourism as well. According to the Korea Tourism Organization, international tourists seeking Hallyu star fanmeetings and other K-pop events doubled in the previous year, amounting to over 34,000 people.
The industry is also paying closer attention to the teens through 20s consumer base, as they’ve developed past merely enjoying idol dancing and outfits to loving ‘everything about Korea.’ Due to such effects, global brands such as LG and Samsung have begun using the Hallyu wave by featuring Korean idol groups in their advertisements.
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