How long must K-pop remain confined within the category of "Asian music"? The group BTS's recent declaration boycotting the Grammy Awards has once again brought this long-standing question to the surface. Regarding the "Best Asia Pop Music Performance" category newly established by the Grammys this year, BTS declined to submit entries, saying they "hope music is heard and loved as music itself, rather than being divided by region or language." The group raised concerns about a reality in which K-pop, even now that it has established itself as a mainstream force in the global music market, is still being classified separately under the name "Asia."
The Grammys explained that the intent was to recognize the artistic achievements of Asian music, but criticism is mounting. It raises the question of whether it is truly fair to bundle Asian music separately while not creating a "European Pop" category for the likes of Dua Lipa or Ed Sheeran. While numerous Asian works have won awards at film and drama ceremonies such as the Academy Awards and the Emmys, critics argue that a "glass ceiling" may exist at the Grammys, which have been particularly stingy toward Asian works. Indeed, the Grammys have long been criticized as a ceremony centered on white, English-speaking artists, and figures such as The Weeknd and Drake have declared boycotts.
There are, of course, counterarguments. The reasoning is that, like Afrobeats, a new regional music category could serve as a stepping stone into the global market. But separate from the intent of the system, concerns that it could lead specific regional music to be perceived as "music outside the main awards" are not easily subsiding.
Recently, the boy group Stray Kids was asked at a comeback showcase whether they would submit entries to the Grammys. Member Hyunjin said, "We have never worked with records as a goal. Our biggest goal is for our fans to be satisfied and happy." Though different in tone from BTS, which criticized the Grammys head-on, the two artists' views converge in prioritizing the essence of music. It is a point that prompts reflection on whether the boundaries of genre and region are being placed ahead of the essence of music.
The core of this controversy is not the Grammy trophy. K-pop is no longer music limited to a specific region but has become a genre leading the global popular music market. BTS's boycott is not merely a refusal to submit entries but a question about the standards by which the global music market will view non-English-language music. Now it is the Grammys' turn to answer.
