NewJeans: Pioneering Gender Equality and Leadership in the Entertainment Industry
Feiyu Lin
- Introduction
The establishment of NewJeans under ADOR, a HYBE subsidiary, is a critical turning point in the conversation around gender dynamics in corporate leadership and management within the dynamic global entertainment sector. This girl group from South Korea, made up of young, talented teenagers, has gained international recognition for its distinctive sound and contemporary appeal in addition to serving as a focal point for discussions on gender roles in the workplace.
The controversy surrounding the founding of NewJeans, especially the disagreements between Min Hee-jin, the creator of the organization, and the former CEO of ADOR, highlights the enduring power conflicts that are a feature of female interactions in the workplace. Min’s ambitious endeavor to promote change in a workplace culture that males dominate highlights the inventiveness and tenacity of women in leadership positions. But, it also highlights the persistent difficulties they encounter, which are marked by institutional injustices and gender prejudice.
By examining how the instance of NewJeans and Min Hee-jin captures more general concerns of gender discrimination in the workplace, this thesis seeks to dive into these complications. The subtle dynamics that determine gender roles in professional situations, along with the structural impediments that prevent women from assuming leadership roles, will be examined through this perspective. Insight into the subtleties of gender politics in corporate hierarchies and the entertainment industry, in general, can be gained by using the NewJeans phenomenon as a contemporary case study.
This approach will be used to analyze the subtle dynamics that define gender roles in professional settings as well as the structural barriers that keep women from obtaining leadership positions. The NewJeans phenomena may be used as a modern case study to shed light on the nuances of gender politics in business hierarchies and the entertainment industry at large.
II.Background
The South Korean girl group NewJeans, which is managed by ADOR, a division of the entertainment giant HYBE, is a major advancement in the world of music. In interviews, NewJeans have clarified that their name is a play on words. NewJeans aims to become a timeless female group because jeans are a timeless fashion item. The phrase “new genes” is also punched into the name. NewJeans considers itself to be the vanguard of a fresh pop music movement. With a distinctive launch strategy that focused on young culture and digital innovation, the organization swiftly gained recognition on a national and worldwide level. Under the direction of Min Hee-jin, a former creative director at SM Entertainment, NewJeans made a splash in the music industry by taking a novel approach to K-pop idol culture and emphasizing relatability and authenticity over the highly polished images that are usually associated with K-pop stars.
A crucial part of the establishment and administration of NewJeans was played by Min Hee-jin. Her goal as CEO of ADOR was to change the K-pop business by presenting the group in a more genuine and approachable way. This strategy not only set NewJeans apart from other Kpop groups, but it also demonstrated the creative possibilities of female leadership in a field that has historically been controlled by men. Min’s experience in fashion and visual arts was essential in creating the visual aesthetic and identity of NewJeans, which are known for its cutting-edge, minimalist approach.
The main points of contention surrounding Min Hee-jin and NewJeans were the public arguments about her leadership style and choices, as well as the claims of power struggles inside HYBE. These instances provide insight into the more general dynamics of gender and power in Korean business, especially in the entertainment industry, where female executives are still fairly uncommon and frequently encounter formidable obstacles in their ascent to and maintenance of positions of dominance.
The results of these internal disputes extended beyond business boardrooms and affected public opinion of NewJeans as well as the conversation about female empowerment in the entertainment sector. The debate surrounding Min Hee-jin’s leadership and the issues raised by NewJeans is a fascinating case study for analyzing gender dynamics in a prominent, culturally significant environment because it demonstrates the intricate relationship between gender, culture, and power in modern corporate practices.
III. Recent Controversies Involving NewJeans and Min Hee-jin
This disagreement initially went public on April 22, 2024, when HYBE said that it had started an inspection of ADOR in response to suspicions that CEO Min Hee-jin had been considering a hostile acquisition of the label’s autonomous management rights. ADOR issued a statement on the same day, denying its attempt to seize control. Despite the continued conflicts, HYBE sued Min Hee-jin, and Min Hee-jin conducted a live internet news conference on April 25, 2024, in response to HYBE’s claims of power takeover. For two hours and thirteen minutes, she seemed extremely agitated as she recounted events before and after joining HYBE and launching NewJeans. Throughout the press conference, her emotional state prompted social media users to call her a “crazy woman.” However, on June 3, the court concluded that all of HYBE’s allegations against Min Hee-jin were false. Min Hee-jin won this “battle,” bringing attention to the inadequacies of the Korean entertainment idol business.
From the label’s side, the incident began when Min Hee-jin voiced worries that ILLIT, a five-member female group under HYBE’s subsidiary Belift Lab, had mimicked NewJeans in style, dancing, and music videos. ILLIT launched in March with an EP produced by HYBE chairman Bang Si-hyuk, which sold 500,000 copies in the first four weeks. And， they have received 12 music-show prizes for their main track, “Magnetic.” ADOR said that they formally filed an internal complaint with HYBE to protect NewJeans’ “cultural achievements”. They alleged that rather than delivering a clear response, the corporation wanted to remove Min Hee-jin. HYBE’s repression of Min Hee-jin during this incident was because to NewJeans’ success. Within two months of their launch, NewJeans had already achieved profitability, with an operational profit of 33.5 billion KRW in their second year. However, Min Hee-jin’s approach to girl group development, which valued fan experience over profitability, was incompatible with HYBE’s general ideology. Her strong individualism and uncontrollability led to suppression from HYBE’s senior management.
Furthermore, it’s not the first time that Min Hee-jin was treated discriminatorily. Several acts and choices exposed gender prejudices and damaged her influence in the organization, demonstrating a pattern of unfair treatment that reflects deeper gender dynamics in the workplace. First of all, one of the most significant characteristics of HYBE’s discriminatory treatment of Min Hee-jin was the limitation and lack of support for her creative authority and autonomy. Min Hee-jin had a critical part in the establishment and success of NewJeans, although her influence over major choices was limited. Key decisions about the group’s promotion, creative direction, and strategic planning were frequently taken without her participation or overruled by higher-ups within HYBE. This constraint stopped her from completely realizing her artistic vision and efficiently leading the group. It illustrates a systematic issue in which female leaders are not given the same amount of influence and power as their male colleagues.
Additionally, Min Hee-jin’s Creative Demands were neglected. For example, in the instance of NewJeans and ILLIT, Min Hee-jin expressed various creative issues, notably concerning the parallels between NewJeans and other HYBE groups, which were not appropriately addressed. She underlined that HYBE’s new female group, ILLIT, mimicked NewJeans in a variety of ways, including haircuts, cosmetics, costumes, choreography, pictures, videos, and live performances. This scenario not only limited her creative freedom, but it also jeopardized NewJeans’ ability to build a distinct identity in the fiercely competitive Korean pop industry.
Finally, HYBE’s refusal to support Min Hee-jin’s creative liberty undermined her status inside the organization and jeopardized her professional reputation. By dismissing her creative requests and downplaying her contributions, HYBE sent the impression that her skills and leadership were devalued. This had a severe influence not just on her position within the firm, but also on her reputation in the larger industry, where recognition and support from corporate leadership are critical for career progression. In contrast, male CEOs and their creative judgments at HYBE and other entertainment organizations are frequently given more support and authority. This difference underscores the industry’s gender biases, as female CEOs face additional barriers in asserting their authority and realizing their creative goals. The absence of support for female creative leaders can make it more difficult for women to advance to top creative roles, exacerbating gender inequities inside corporations.
Overall, the limits on Min Hee-jin’s creative authority and autonomy highlight the gender discrimination she experienced at HYBE. This instance exemplifies wider challenges of gender imbalance in corporate leadership, in which female executives’ contributions are discounted and unsupported, limiting their capacity to promote innovation and professional achievement.
- literature Review
Gender dynamics in the workplace have long been a critical area of study within organizational behavior and gender studies. This literature review explores key theories and research findings on gender roles in leadership, particularly in the context of the entertainment industry. By interpreting the case of NewJeans and Min Hee-jin, this review seeks to emphasize the systemic challenges and potential strategies for achieving gender equity in corporations.
In 1998, the United States Department of Defense reported that just 2% of officers at the rank of Brigadier General and Rear Admiral or higher were women. Furthermore, in 2001, the Center for American Women and Politics reported that women accounted for just 13% of senators, 14% of house members, and 10% of governors. These figures show that males dominate leadership roles in corporations, politics, the military, and other areas of society. Although women are increasingly taking on positions as supervisors and intermediate managers, their representation among top leaders and executives remains low. To explain this phenomenon, public and scientific debates frequently resort to Eagly and Karau’s (2002) role congruity theory, which explains how biases against female leaders emerge from perceived inconsistencies between female gender norms and leadership duties. According to this concept, leadership attributes such as aggressiveness, dominance, and competition are often associated with men. As a result, women in positions of leadership are sometimes subjected to harsher criticism since their actions defy established gender stereotypes. This prejudice presents itself in a variety of ways, including doubts about women’s leadership capacity and harsh assessments of their performance. In the highly prominent and important entertainment sector, these assumptions are frequently reinforced, making it especially difficult for women to negotiate leadership posts without confronting gender discrimination.
The Harvard Business Review conducted two studies on the opinions of several male and female executives (Bowman, Worthy, & Greyser, 1965; Sutton & Moore, 1985). Both polls contained the following question: “Overall, what is your basic attitude toward female managers: very favorable, somewhat favorable, neutral, somewhat unfavorable, or very unfavorable?” In 1965, 35% of males and 82% of women voted extremely favorable or moderately positive. By 1985, the figures had risen to 73% for males and 91% for women. The basic conclusion obtained from these polls is that in 1965, most male executives were opposed to women occupying executive roles; by 1985, this bias among male executives had greatly reduced but not gone. Therefore, gender prejudice and preconceptions have a wide-ranging and significant influence on female leaders. Deep-seated prejudices, such as doubting women’s capacity to lead successfully because of perceived family duties (Greenhaus & Parasuraman, 1999), frequently result in an underestimation of women’s leadership potential. This underestimate leads to fewer prospects for advancement and restricted access to critical leadership positions. Furthermore, when women achieve leadership roles, they are often assessed more harshly than their male counterparts. According to research, women in leadership positions are more likely to be reprimanded for qualities such as decisiveness and ambition, which are regarded as normal or even admirable in males. These prejudices may be especially detrimental in the entertainment business, where public opinion and media coverage shape the careers and reputations of female executives.
The entertainment sector frequently reinforces gender stereotypes through its content and organizational procedures. Bielby and Bielby (1996) found that entertainment media typically reinforces conventional gender norms, altering public perceptions and expectations of gender behavior. Furthermore, within the entertainment industry, organizational processes may reflect these preconceptions, resulting in biased recruiting and promotion choices. These policies not only limit women’s employment options but also influence the industry’s cultural environment, creating a cycle of gender inequity.
Despite these limitations, the entertainment sector offers women unique possibilities to question and alter gender stereotypes. The industry’s creative character encourages new manifestations of identity and leadership. Prominent female leaders utilize their positions to promote more inclusive and varied gender depictions. These efforts not only help to create a more equitable sector but also inspire larger societal change by questioning established standards and highlighting the possibilities of female leadership. Female directors, such as Chloé Zhao and Ava DuVernay, are altering women’s roles and narratives in film. Their creative achievement and influence contribute to more inclusive and varied gender depictions. This transformation not only benefits the film business, but it also has far-reaching implications for cultural gender standards. Moreover, efforts to empower women are continuously progressing on a global scale. In countries like Mongolia, grassroots organizations are actively challenging long-standing patriarchal values and gender stereotypes by establishing women’s leadership networks to support and guide women into political and decision-making roles. These organizations provide knowledge and information to help women develop leadership skills, thereby promoting gender equality across broader society (UNDP). These examples demonstrate that despite significant gender barriers in the entertainment industry, female leaders are leveraging their platforms to challenge traditional gender norms, driving the industry and society toward greater inclusivity and diversity. This progress not only holds great significance for the entertainment sector but also offers valuable insights and lessons for other industries.
Policy improvements are critical for increasing gender diversity and inclusion in companies. Implementing a comprehensive gender diversity policy can lead to a more equitable work environment. Companies, for example, might require gender diversity in recruiting and leadership roles. Regular bias training is critical for developing awareness of latent biases and fostering ethical behavior. This program teaches employees how to recognize and reduce their unconscious prejudices, resulting in a more inclusive workplace atmosphere. By addressing prejudices at all organizational levels, businesses may guarantee that female leaders are treated and evaluated fairly. Creating an inclusive culture necessitates open communication and fair decision-making. Companies should make diversity and inclusion a key value in their everyday operations. Encouraging different ideas and ensuring all voices are heard may result in a more inventive and collaborative workplace. This cultural transformation is critical to ensuring long-term gender equality. According to studies, these measures can help create a more inclusive workplace and break down structural obstacles to women’s professional progression.
Returning to Min Hee-jin and NewJeans, his leadership and vision for the group stressed honesty and a departure from typical K-pop conventions. Her new method, which valued authentic expression above created identities, resonated tremendously. Despite confronting major hurdles and gender prejudice, Min’s leadership approach was critical to NewJeans’ success. Her experience demonstrates the potential for female leaders to promote innovation in the entertainment business. Min Hee-jin’s experiences highlight the institutional adjustments necessary to assist female leaders. The difficulties she experienced highlight the persisting hurdles that women confront in business settings. Min and NewJeans have added to the conversation about gender dynamics by defying established standards and pushing for creative freedom. Their success exemplifies the advantages of varied leadership styles and the relevance of creating an inclusive business culture.
Moreover, according to study conducted by Korea JoongAng Daily in 2022, “Without a census, there has been no way to pinpoint the gender ratio or age range of these fans, but the industry has generally come to assume that 70 to 90 percent of K-pop fans are female.” As a result, the success of a K-pop singer is almost entirely dependent on female support, as women are not just music consumers but also key cultural producers. K-pop idols’ attractive appeal, musical flair, and emotional ties captivate these female followers. NewJeans, a rising K-pop girl group, has gained a big female fan base due to its distinct musical style and approachable look. NewJeans’ original style and distinctive brand positioning attract to enthusiasts of all ages. They represent freedom and confidence in opposition to established gender norms, which resonates especially with young women. This tendency reflects, to some extent, the maturation of the K-pop fan base, which has progressed from idol worship to identifying with the ideals and cultural symbols represented by their idols. Min Hee-jin, as a female leader, is better positioned to understand the preferences and tastes of NewJeans’ female followers. Min Hee-jin’s leadership style stresses sincerity and approachability, with a focus on building more real ties between idols and followers. This strategy addresses many female fans’ needs for genuineness and accessibility, particularly in an industry recognized for its high degree of refinement and packaging. Furthermore, Min Hee-jin’s in-depth grasp of female fan psychology allows her to help NewJeans transmit more inclusive and varied cultural themes. She utilizes music and visual expression to challenge established gender norms and stereotypes, urging audiences to discover and express themselves. This leadership approach strengthens NewJeans’ fan base while also increasing their impact in the worldwide K-pop market.
- Discussion
The examination of gender and power dynamics within the K-pop business, as noted in the literature review, emphasizes the critical need for structural changes. These reforms aim to address the industry’s widespread gender inequality and power imbalances.
One of the main recommendations for addressing gender dynamics is to increase female representation in leadership roles. Min Hee-jin’s struggles reflect the contemporary environment of the K-pop business, which is controlled by men. Companies that promote more women into decision-making positions can develop a more inclusive atmosphere that encourages varied viewpoints and leadership styles. This transformation may result in a culture shift that promotes gender equality at all levels of the company.
Implementing a comprehensive gender diversity policy is also critical for creating a more equal workplace. These rules should include recruiting and promotion methods that promote equal opportunity for all genders. Companies can actively strive toward attaining balanced gender representation by defining explicit diversity targets and accountability metrics, therefore breaking down structural obstacles to women’s progress in the business.
Regular gender sensitivity training is essential for developing awareness of unconscious prejudices and encouraging respectful behavior in the workplace. Such training programs can help employees understand and confront gender stereotypes, resulting in a more inclusive company culture. By addressing prejudices at all levels, businesses can guarantee that female leaders are properly assessed and given equal opportunity to flourish.
- Conclusion
Under Min Hee-jin’s direction, NewJeans has not only achieved tremendous success in the worldwide music business, but has also become a crucial case study for investigating gender equality concerns in the entertainment sector. Min Hee-jin’s unique leadership style and devotion to authenticity have distinguished NewJeans in the K-pop scene, while also spotlighting the structural issues that women face in the business. Her accomplishment highlights the enormous potential for female leaders to promote cultural change and innovation.
NewJeans has gained a large female fan base by deviating from the usual, highly polished image of K-pop with its distinct musical style and real demeanor. This emphasis on authentic emotion demonstrates Min Hee-jin’s in-depth grasp of female fan psychology, which strengthens NewJeans’ position in the worldwide K-pop industry. The group’s success is not simply a challenge to traditional gender standards, but also an advocate for diversity and inclusiveness.
The accomplishments of Min Hee-jin and NewJeans demonstrate the importance of attaining gender equality in company culture. Companies may foster a more inclusive and inventive workplace by expanding female presence in leadership positions and promoting varied leadership styles. The success story of NewJeans motivates women in the entertainment business and beyond to keep pushing limits, redefining gender myths, and propelling society toward more fairness.
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