This article is by Shin Ha-nee and read by an artificial voice.
[INTERVIEW]
At the University of Southern California (USC) this spring, a new course will cover G-Dragon — not to celebrate the K-pop idol's decades-long career, but to ask harder questions about the industry itself.
The upcoming four-credit communication course at the USC Annenberg School for Communication and Journalism, called "Crooked Studies of K-pop: Reimagining K-pop's Dominant Discourses Through G-Dragon," sets out to be something far less reverential than one might expect.
Rather than revisiting the highs of G-Dragon's career, the class invites students to treat the singer as a case study to examine where K-pop stands today, and why the genre, despite its expanding global reach, remains constrained by persistent critical assumptions, according to Professor Lee Hye-jin.
"I did not create this class because I'm a huge G-Dragon Fan," said Lee during a virtual interview with the Korea JoongAng Daily on Thursday. "This course is challenging dominant discourses through the body of work of an artist."
That, Lee explained, is precisely why G-Dragon — one of the few K-pop idols to sustain such a long-running, influential career across music and fashion — makes an ideal subject.
Lee, who describes herself as "a generalist," earned her PhD in mass communication from the University of Iowa and has taught at USC Annenberg since 2015, becoming a full-time faculty member in 2017. Her earlier courses focused largely on Western pop culture, but she expanded into K-pop amid the genre's global rise, led by BTS's breakthrough later that decade.
After developing a K-pop-specific course in 2019, she began teaching "Evolution of K-pop" in 2022, the first regular communication course centered on K-pop offered by a U.S. university.
Because Lee's research is grounded in the broader pop culture rather than K-pop or its fandom specifically, she noted that responses to K-pop vary sharply among students.
"We like to think that K-pop is very mainstream and liked by everybody, but that's really not the case," noted Lee. "There's still a lot of resistance and reluctance that I see from the non-K-pop fans."
That gap between K-pop's perceived ubiquity and its uneven acceptance has caught Lee's academic interest, the professor said, as she examines what continues to limit K-pop despite its global visibility.
The following interview has been edited for length and clarity.
Q. Why G-Dragon? And what is the analytical lens of the course?
A. While the class is informally called the "G-Dragon class," I did not create this class because I'm a huge G-Dragon fan, though I do respect how he's been able to establish himself as a cultural icon.
As someone who teaches K-pop classes and is aware of other pop-star-focused courses on, for example, Beyoncé, Taylor Swift or Madonna, I had been thinking about this format for a while. But I couldn't think of anybody until last year when I saw G-Dragon making a major comeback.
There was an intergenerational reception to his comeback, and it was interesting, particularly because of his long hiatus. It's rare for artists who have been away from the spotlight for that long to still get that kind of welcoming response.
For me, the goal isn't to celebrate his achievements. What I want to do is to use this K-pop artist as a way to challenge and to critically interrogate dominant discourses surrounding K-pop, particularly in Western contexts, where there's still resistance to embracing K-pop.
K-pop artists are often perceived as "manufactured commodities" without any originality or as carbon copies of Western music. There's also this idea that K-pop is childish and only for young people.
Therefore, I needed to find an artist with a long career trajectory. G-Dragon is also a good case to talk about creative agency, as an artist with creative control over their own music.
How is the class structured? Did you consult with Galaxy Corporation or YG Entertainment in...