Controversy Over Standardizing Copyright Rules for K-Pop Choreography...Clash Between Association and Music Industry

The debate surrounding copyright protection for K-Pop choreography is intensifying. The Choreography Copyright Association is pushing for revisions to the copyright law that would explicitly classify choreography as an independent work and clearly define the rights of choreographers, along with the introduction of standard contracts. In contrast, the music industry has opposed these proposals, demanding thorough discussions first. Under current copyright law, popular music choreography is recognized as part of “theatrical works, dance and mime, and other dramatic works.” However, there are no specific regulations regarding choreography copyrights or mechanisms for collecting royalties. This issue was also addressed during last year’s parliamentary audit by the Culture, Sports and Tourism Committee. Minho-bae Min, a member of the Democratic Party, cited the fact that BLACKPINK’s choreography video has accumulated 1.7 billion views on YouTube and questioned how much profit goes to large entertainment companies. At that time, representatives from SM, YG, and JYP stated they would comply if systems for choreography copyrights were established, while Yu In-chon, Minister of Culture, Sports and Tourism, said, “We are preparing standard contracts.” The Choreography Copyright Association is demanding: ▲ revisions to the copyright law that explicitly classify choreography as an independent work and define choreographers’ rights ▲ the introduction of standard contracts outlining fair contractual terms and profit-sharing methods ▲ the creation of a transparent and efficient system for managing choreography copyrights ▲ the formation of a consultative body involving various stakeholders. In response, four music industry organizations—Korea Management Federation, Korea Entertainment Producers Association, Korea Music Label Industry Association, and Korea Music Content Association—issued a joint statement on the 26th to oppose these demands. The music groups stated that “the hasty introduction of standard contracts could cause significant confusion and disputes in the industry, so thorough discussions must precede any action.” They argued that “dance works already covered under current copyright law include popular music choreography,” adding that “separately regulating only choreography would be unfair compared to other types of works.” They further claimed that “K-Pop choreography is a unique genre where music and dance are inseparably linked, and copyright laws in countries with developed similar industries such as the United States and Japan do not recognize separate rights for choreography-based profit claims.” The music groups also emphasized that “music videos with several billion views are extremely rare cases even within the K-Pop industry.” In fact, among the 1,064 record producers who entered data into the Circle Chart system managed by the Korea Music Content Association, only 216—about 20%—have registered dance songs related to choreography over the past three years. The remaining 80% handle genres like ballads that do not involve choreography. The music groups criticized the Choreography Copyright Association for “fanning public opinion without attempting even a single formal discussion with record producers” and stressed that “instead of denying choreographers’ contributions, true mutual benefit based on balanced industry interests is necessary.” Until genuine discussions between the two sides take place, the institutionalization of choreography copyrights in the K-Pop industry is expected to remain uncertain.