K-pop and Breakdance: The Unlikely Soundtrack of South Korea’s Presidential Race
K-pop beats and breakdance routines have become the unlikely soundtrack to South Korea’s high-stakes presidential contest. As candidates crisscross the country seeking youth votes and renewed enthusiasm after a fraught political period, both the ruling Democratic Party (DP) and the main opposition People Power Party (PPP) are harnessing the power of pop culture to energize their campaigns.
Lead candidates Lee Jae-myung (DP) and Yoon Suk-yeol (PPP) have each embraced K-pop–infused events, transforming traditional political rallies into dynamic festivals. According to recent surveys, Lee Jae-myung currently leads with 49% support nationwide, while Yoon trails closely—prompting both camps to innovate new ways of engaging voters.
**Campaigns as Concerts**
The Democratic Party’s “Shouting Korea” team, comprising 48 performers, travels from Seoul to Busan, Incheon to Daegu, staging elaborate choreographed routines set to classic and contemporary pop hits. Party officials describe the team as “a moving concert, designed to bridge the gap between the ballot box and the music stage.” These performances often open with a dozen dancers in synchronized formation, followed by live renditions of iconic tracks by Psy, BTS, and Blackpink.
Yoon Suk-yeol’s People Power Party, meanwhile, has revived retro anthems such as Lee Seung-chul’s Lovable, invoking nostalgia among older voters while repackaging the tunes with modern beats. Campaign manager Kim Moon-soo, who famously integrated pop music into his own successful 2012 run, said: “Music stirs emotions we can’t reach with speeches alone. When Yoon steps onto the stage amid flashing lights and familiar melodies, voters see a relatable, charismatic figure rather than just another politician.”
**Historical Context and Shifting Norms**
This election follows a turbulent period marked by the state of emergency declared in 2022 and the impeachment of a sitting president. Those events have left many citizens, particularly the younger generation, feeling disillusioned. In response, both parties have deliberately shifted tone, presenting lighter, more accessible faces of politics.
Political analysts note that today’s electorate consumes information—and entertainment—across the same digital platforms. Traditional stump speeches and televised debates are now supplemented by viral TikTok challenges and YouTube livestreams featuring cameo performances by K-pop idols. “If you can’t trend, you can’t win,” said Park Min-jun, a Seoul-based commentator on digital politics.
**Voices from the Stage**
K-pop artists themselves have tread carefully around the politicized atmosphere. Lee Chae-yeon of IZ*ONE, asked during a recent interview whether she supports direct engagement, replied: “Am I not in a position to talk politics?” Her wry retort highlights the fine line idols walk between personal expression and fan expectations.
Youngae from GOT7 provided a more pointed reflection on the social climate: “We’re not facing these tough times alone, and I hope we can make changes together.” Fans have amplified these words across social media, interpreting them as a call for solidarity amid economic uncertainty and social division.
**Youth Engagement—A New Battleground**
The 18–29 age group represents roughly one-fifth of the electorate. Recent polling indicates that 62% of first-time voters view campaign events featuring popular culture as “more appealing” than traditional rallies. In response, both parties have allocated significant portions of their budgets to high-production-value events, complete with LED stages, professional choreographers, and free merchandise giveaways.
At a recent DP rally in Daegu, attended by over 10,000 supporters, the Shouting Korea team debuted a mash-up of BTS’s Dynamite and Red Velvet’s Psycho. The crowd swayed in unison, waving LED light sticks. Many attendees said they were drawn not just by policy debates but by the promise of an unforgettable experience. “I came for the dance, stayed for the speech,” said university student Kim Eun-ji. “I’ve never felt this excited about politics before.”
**Measuring Impact**
While it is too soon to quantify the direct electoral impact of K-pop–styled campaigning, early indicators are promising. Social media metrics show campaign videos garnering tens of millions of views, significantly outpacing standard policy announcement clips. Hashtags like #YoonJam and #ShoutForLee have trended nationally, generating hundreds of thousands of posts on Twitter and Instagram.
Financial disclosures reveal that the DP spent approximately ₩5 billion (US $3.8 million) on production costs for their music-centered events, while the PPP allocated ₩4.2 billion (US $3.2 million). Both figures represent a marked increase from the roughly ₩1 billion (US $760,000) each party spent on entertainment in the previous two election cycles combined.
**Criticisms and Cautions**
Despite the spectacle, some political commentators caution that these musical interludes risk overshadowing substantive debate on pressing issues such as housing affordability, economic inequality, and foreign policy. Professor Han Seung-ho of Yonsei University warned, “We must ensure that policy expertise remains at the core. Entertainment should not become a distraction.”
Others argue that the approach democratizes politics by reducing barriers to entry. “When voters see familiar cultural elements integrated into political discourse, they feel that their voices matter,” said Jeong Hye-rin, director of the civic youth organization Tomorrow’s Citizens.
**Looking Ahead**
As South Korea prepares for its election day in mid-2025, the blending of pop culture and politics shows no sign of abating. Both Lee Jae-myung and Yoon Suk-yeol have committed to further K-pop–style events in Busan, Gwangju, and Jeju, promising even grander productions. Whether these tactics will tip the scales remains to be seen, but one thing is certain: the campaign trail has been forever transformed into a stage where the rhythms of K-pop drive the beat of democracy.