While the genre of K-Pop music is expanding its reach globally, it is not something that is new in the music market. K-Pop combines the different aspects of music from ballet to Broadway and repackages it to reach its target audience. By including flashy dance sequences and catchy show tune lyrics, the South Korean music companies are able to draw in fans to help support their artists. Chuyun Oh suggests that with the dance sequences reflecting different genres, genders and races, the “transnational dance” enables multicultural communication through their music. The communication through their music is misleading as the country itself struggles with embracing multiculturalism and the artists themselves are not diverse. In the midst of growing globally, music companies have started expanding to international markets and acquiring international talent but controversies in management shows an unprepared readiness for diversity.
With the intention to examine the inconsistent messages of multiculturalism between music and society, this paper will expound on the differences presented through music videos, the news and fan accounts. In the end this paper will explore the development of multiculturalism in a homogeneous society and how the economic changes are bringing forth an unexpected diversity that can be connected to the globalization of K-Pop and an increased global presence.