BCM241, Media Blog

Contextual Essay: Difference in JYP groups in Kpop

Contents- Introduction, Ethnographic Research, Secondary Sources, Conclusion


My DA on Kpop was inspired by my love with kpop and fascination for how groups promoted themselves. Before I knew of the companies, I had assumed every group was with a different company. I was shocked to find that most groups belonged to a select few companies, and from then I was interested in how the companies differentiated them, either in demographics, design or music. I chose JYP as my focus for this DA as I am most familiar with their groups, and they have the most active roster right now out of the “Big 3”. So, I set out to find what differs each group from each other, using social media.

Ethnographic Resources

For ethnographic resources, the easiest way to collate differences was to go through their social media profiles and see their accounts. I chose Social media accounts because thought it would be a quick and effective way of seeing the difference between each group. Seeing the comment reactions was also a priority, and I aimed to be informed by these comments for my ethnographic research. The groups each have their own social media accounts on Twitter, Instagram and YouTube, which I could use to see differences.

Going on Reddit is where I got my information about people’s thoughts on the Division structure and concerns they had about individual groups. They had more detailed and in-depth discussions than throwaway comments on Twitter

Secondary Resources

For secondary resources, I used a clip of JYP speaking at a conference about the Division structure to inform me. I also got all the album sale and tour information from sites, to add extra detail to the differences in JYP groups. The secondary resources outline the relative popularity of each group and provide a basis of difference between the two groups.

I also used myself as a loose resource, as I have been to two JYP group concerts, Stray Kids and DAY6 and follow the groups casually.


In concluding this DA, I found that Social Media was a boring way to show differences between idol groups. In hindsight, I could have used a different distinctive metric for observation, such as Music Videos, which could showcase the different music and video styles of each group better. In observing social media, I instead found the opposite of difference within groups, I found unity in the company structure. It was only through observing my secondary sources of album sales and tours could we see the difference in groups. The comments for each group were also just people endlessly praising them. It was a missed opportunity to do this DA but not look at their music. Though I was more focused on visual aesthetical differences, I barely found any on social media like I was expecting.

So, I found no significant information to support my difference though the ethnographic research.

Link to Digital Artefact Blog Post-



JYP 2.0

JYP Entertainment (2018). JYP 2.0YouTube. Available at: https://www.youtube.com/watch?v=08257W8sdNs.

Kpop Album Sales

Admin (2020). Big Hit, SM, and JYP – Most Sold Album on Gaon for 2019. [online] Kpopthing. Available at: https://kpopthing.com/bighit-sm-and-jyp-most-selling-album-on-gaon-for-2019/ [Accessed 13 Nov. 2020].

BCM241, Media Blog

Differences in JYP’s Kpop Groups (BCM241 Digital Artefact)

Section 1- Introduction to Kpop

First, I will explain what Kpop is. It is a genre of music from South Korea and has grown into a popular genre over the years. Drawing inspiration from US Pop culture and Japanese Idol groups, South Korea tried their hand at creating a modern musical genre following these trends. It was an eventual success, and today we see the results of Kpop as a soft export, also known as a ‘Hallyu Wave’.

Kpop has done much to distinguish itself from its inspirations, focusing primarily on visual aesthetics of music, like cinematic Music Videos, choreography incorporated into songs, fashion choices and artists picked for how good they look. Many kpop idols are thus stunningly attractive, because Korea also places a high cultural emphasis on looking good, going so far as to require a picture for any job applications.

In Kpop, there are several company conglomerates that control the majority of the kpop scene. These kpop conglomerates are a record label and production house rolled into one. These big companies also take care of housing their idols. The biggest companies currently are SM, YG, and JYP, also colloquially known as the ‘Big 3’

JYP is an idol company created by Park Jin Young. The company has a history of acts such as the Wonder Girls, Rain, 2PM and Miss A. But for this Artefact my focus is going to be on the current JYP line-up, with artists like TWICE, Day6, ITZY, GOT7 and Stray Kids. Each artist is a part of JYP and promote their albums and songs for the company. As the company has complete creative control, they control when they release albums, the choreography and the looks of each idol.

Stray Kids

Section 2 – JYP Divisions and Big 3

A typical Kpop company would have all of its employees work on the material for all groups, and producing the teasers, album covers and marketing together.

In 2018, JYP announced that they were changing the structure of their teams, after conducting an ‘experiment’ on TWICE’s management. There were a small team of employees that were dispatched to TWICE so they could streamline the process and focus on groups. Instead of a separate Marketing or Sales Department, they would be added into a ‘Division’ that would work only on one or two groups. According to JYP it was a ‘success’ and they adopted this format for all of their current groups. Instead of one big group, JYP is essentially split into four Divisions, that look after certain artists, and have no overlap. This video is JYP talking about this structure at a presentation.

Division 1 is Stray Kids with 25 staff

Division 2 is GOT7 and ITZY with 23 staff

Division 3 is TWICE with 22 staff

Studio J is Day6 with 19 staff

The divisions also take care of some other acts and individual artists under the company, but these groups are the divisions biggest focus. The Division structure divides JYP from other Kpop companies, as none of them use this structure and JYP is the first to implement something like this. This structure was noted because it plays a big part in the difference of group promotions, as they have different employees that are familiar with the workings of the group they are assigned to.

The current Division Structure and their groups

I looked for people’s reactions online to the Division System and found people dissatisfied, even if most noted it a positive change for kpop on the whole, as it is a more streamlined process. Opinions included were that the company was understaffed for what they do, and thought they were unorganised for large scale activities, and that if they were American, there would be more employees. Division 2 was regarded as being particularly understaffed since they had to deal with two major groups, GOT7 and ITZY. Some were also unhappy with Division 3, saying that the teasers for TWICE’s album release, Fancy, looked bad and amateurish.

The ‘Fancy’ Teaser in question

Especially since Division 3 only has TWICE to look after. They felt that the promotions weren’t utilized properly, such as Vlive, a Korean video streaming service that kpop groups use for interaction or audience interactions like fansigns. Division 4 was regarded as more ‘creative’ and is also a sub-label of JYP. People were also dissatisfied with Studio J, as kpop fans expected more consistent marketing or teasers for a Day6 release. They noticed a difference between Divisions, as some groups get a lot of online promotion and no physical, while other groups get a lot of physical promotion and no online presence. For example, Stray Kids has a lot of YouTube content to explore, while ITZY doesn’t have any of that. They said than from this it seems like the Divisions don’t talk to each other and calculate the best promotional approach. 

Section 3- Kpop and Social Media Accounts

For my ethnographic research, I wanted to see if the social media accounts for each group were different in any way. I summarised my findings with each group and their content.

When I visited TWICE’s Instagram profile, I saw that all the photos were selfies of the members and very well shot. They all had a light pastel aesthetic and were posing happily. They usually had short captions in Korean about their day or thanking ONCE’s (The fanbase for TWICE).

The comments underneath the posts were all overwhelmingly positive. The fans would spam hearts and sparkles. Some comments were in foreign languages like Indonesian and Arabic, and I didn’t see many in Korean. There were a few rude comments to be seen, most amounting to ‘Blackpink is better!”. Blackpink is another girl group made by YG that has four members, and some of their fans take ‘kpop rivalry’ seriously, to the point where Kpop is known for its ‘fanwars’. TWICE’s other social media accounts followed a similar route. Their YouTube is full of music videos, dance practices and content. The comments are all talking about comeback goals and improving streaming numbers, showing how focused Kpop fans can be on numbers and ‘winning’.

GOT7 have social media accounts, the most interesting of which is Twitter. They have the standard promotional material, but the comments are different. The fans are asking JYP for ‘fair treatment’ of the members and have a copy and pasted list of issues they want JYP to address. They are angry about substandard promotion, like not producing enough album prints, and that JYP doesn’t care about their international audience by not providing English translations on GOT7 videos, when other JYP artists usually have subtitles for content. Their other accounts are standard, with Instagram posting selfies and their YouTube having dance practices and music videos.

These were repeated by multiple people underneath GOT7’s Account
This was also repeated

Day6 has the least number of followers out of all of them, and their media accounts are largely the same, with Twitter being promotional content and retweets, and YouTube having music videos. In the comments section in Instagram though, there were quite a few responses asking them to come back to their country. Day6 is known for touring a lot, which is why there are responses asking them to come back.

Stray Kids has a similar vibe to all of the other accounts, on Twitter they have promotional material and retweets, their YouTube has alot of their online content like dance practices, Music Videos and a lot of behind the scenes content, more than other groups. There ae also a lot of foreign comments and memes about the group. There is also a push to stream music so they can get better sales and results.

ITZY are the newest JYP group and have the most praise I’ve seen in the comments. On Instagram they post selfies and dancing content. The comments on Instagram are all positive and talking about how they like their singing and dancing. There are also a lot of foreign comments, specifically Arabic. On Twitter they have retweets and promotional content like other groups. Twitter is also known for its ‘fancams’ of idol stars and groups and ITZY is no exception.

While looking through all of JYP’s groups, the formula for each social media was apparent. On Twitter JYP artists only use it for promotional material. There are other kpop artists that don’t use the platform that way, like BTS, and use it to post tweets that they themselves composed. Instagram is also used for selfies a lot of the time. Though most kpop groups do this as it is a format used for pictures and people want to see the idols. Their YouTube is also structured, with music video and dance practice content. This isn’t exclusive to JYP either and most kpop groups follow the same structure with their channels.

What the ethnography of the social media channels has taught me is that kpop groups have a very tight and distinct online presence to appeal to an international audience, such as releasing Music Videos on YouTube and additional content. Most kpop groups promote online in the same way because it is easier for people to access.

Section 4- Kpop and Statistics

List of sales in 2019 on Gaon

In this chart of 2019 of Gaon Physical Album Sales, we can see the distribution for JYP groups and how this correlates with their popularity.

Out of all JYP groups, TWICE is the biggest, being the current ‘nations girl group’ and the highest selling Kpop girl group in 2019. As such, they have the most fans and most sales in JYP. TWICE is a big outlier in kpop, as boy groups are usually a lot more popular than girl groups in terms of sales, occupying 35% of sales.

GOT7 is second on this chart with 31% of sales. As they are the most senior boy group, it makes sense they would be so high. However, they are the oldest JYP group that he has on its current roster, which could contribute to the lack of sales, since the kpop industry move very quickly and new Kpop groups are constantly debuting.

In third, we have the junior boy group Stray Kids, which debuted in February 2018. In only around 2 years they managed to grab 22% of album sales and have a dedicated fanbase. In a far away fourth, we have ITZY, which debuted that year. With only a mini album under their belt for the year, it is impressive they managed to get 5% of the chart and narrowly beat out DAY6. ITZY had an explosive debut in 2019 and hyped comebacks, making them the new ‘it girl’ on the kpop that year. Day6 is the second oldest group on this list, debuting in 2015. Being a band and not marketed as a mass pop sensation, they occupy the niche of a kpop band, attracting fans of rock and other genres. They have steady but small sales.

But the biggest indicator of money is tours. Over the years all the groups have gone on tours, with the most recent tours being Day6’s European Leg of the ‘Gravity’ Tour, ITZY’s Showcase Tour and Stray Kids ‘Unlock’ Tour, which were all done in January 2020. Due to the explosion of popularity in the West of kpop, groups have been touring there more often. Being the biggest group, TWICE got big arenas to perform in, while acts like Day6 got smaller venues of around 8,000 people. JYP aims groups at different demographics and also books different venues according to size.


On the surface of social media, it might seem that they groups have no difference in promotion, with the formula being the same for each group, but it is readily apparent that JYP knows the limits of each group. Each are tailored to a different demographic, with changes in musical style, group members and popularity. They adjust this to what they believe is their audience and then book venues appropriate for that. Day6 is not a huge group, but TWICE is, so it wouldn’t be feasible for them to perform the same venues. Kpop is very structured and so is JYP.

BCM215, Media Blog

Comments Pt.2 Beta BCM215

Breath of the Wild

I commented on Chelsea’s DA about Breath of the Wild. I have played Breath of the Wild and was able to relate to her post of artistic beauty and design significance. I asked Chelsea if she could check out another game called ‘Genshin Impact’, which has a similar art style of lush grass and cel-shaded characters. I drew on Nintendo being a very influential company headed by Miyamoto. In the Week 6 Lecture we hear about how Miyamoto influenced the switch from programming to game designers, who were typically more traditionally trained visual artists. Through all of Nintendo’s games we have seen clear visual influences, especially Breath of the Wild, which Chelsea notes in her DA, and are a staple of Nintendo. Mario, Pikachu and Zelda are all worldwide icons with recognisable designs.

I offered a link to an article comparing Genshin Impact’s design aesthetics to Breath of the Wild’s. I think it was a very useful article, as I have played both games and can definitely see the visual similarities of both games. I learned that even though both games can have a clear visual image, they can still be very different in terms of mechanics and progression. BoTW and Genshin have very different goals in the end.

Easter Eggs

I commented on Jono Low’s Beta about Easter Eggs and their history. I commented on how Easter Eggs made parts of the gaming community feel more like a shared space to communicate and become friends. I suggested an article that promoted this viewpoint and wanted him to consider the community around Easter Eggs. There are already several YouTube communities that thousands of people watch and enjoy. Easter Eggs are a part of ‘Participatory Media Culture’, where players actively seek out the details within the game and provides an engaging way to interact with the game through the lens of discovery. I learned that Easter Eggs are an important point of gaming culture.

I wanted to show Jono that some Easter Eggs wouldn’t have been found without a community dedicated to recording and finding them, just as he is doing.

Women in Video Games

Lorena’s DA is about Women in video games and how they are represented. I wrote the comment of being interested in the public responses that she got. I recommended that she check out a general media article about representation in video games. I learned that through her public polls, many people felt ambivalent to gender representation and were happy with what they got. She analysed figures such as Lara Croft and how her design was impractical and servicing male members of the audience. She also noted that Peach was a damsel in distress for her role in Mario. It was also interesting exploring the lack of gender in video games with Animal Crossing, where you don’t have to choose. I also learned that sometimes gender plays a bigger role than I think with stereotypes, like Peach. Some people might unconsciously associate it with women being lesser.

BCM215, Media Blog

BCM215 Beta

My DA has gone through a lot of a change. I started my Digital Artefact as a Witcher 3 Gwent exploration. I enjoyed exploring Gwent and battling people in game, but I had to discard it as it was taking too much time. Gwent was a side quest and the main questline took up too much time to open the area forced me to do main quests. I had also found a new and interesting game to play with in the form of Fall Guys. Each round of Fall Guys was quick and easy, and I was curious about how some aspects worked. Mainly the communication aspects as there was no voice or text chat, only emotes. I also didn’t receive any feedback for my DA Pitch so there is no direction for me to consider since I changed the concept entirely.

My only social media post was a Reddit Post with 4 likes, which you can see here. But there was one comment that said, “Mine too”, meaning that there are other fans of the game that like emoting and communicating with other beans.

 I analysed this Digital Artefact through the framework of communication, especially non-verbal. I was analysing the emotes as a human desire for communication, however limited. I used some journal articles to help me understand this. One article was Supporting visual elements of non-verbal communication in computer game avatars, by Kujanpaa & Manninen. In it they explored Non-verbal communication with online avatars, and Fall Guys is a perfect example of this. Fall Guys uses several non-verbal communication forms, such as Kinesics, which is body gestures and movements. Another article was called Enhancing the Believability of Character Behaviours Using Non-Verbal Cues by Desai & Szafron, who explored background characters and how they can make them distinct by identifying them with non-verbal emotions. It means using physical and visual language to make them distinct. Each of the Fall Guys can have a distinct language based on costume or emote choices.

My Beta Video!

BCM215, Media Blog

The Witcher 3: Exploring Gwent

Amely Koenig's Blog and Art

Pitch video

Gwent is also a separate stand-alone digital card game made in 2018. That is not the version that I am doing, I am only focusing on Gwent inside the Witcher 3, which released in 2015. Gwent was originally intended as a mini card game within the Witcher 3, but they expanded to a digital card game in 2018 after positive reception. The standalone Gwent even has its own single player mode.

There are other mini games in previous Witcher titles, such as Dice Poker, but it relied mostly on luck and the CD Project Red team wanted to push it further for the sequel. Thus Gwent was born. The idea of a card game within a game was nearly shelved several times but made it. There The team had to create most Gwent on their downtime as there wasn’t enough budget and had to get help from other…

View original post 149 more words


BCM 215 Blog Comments

My Comment for Lorena Farrera’s Blog

For Lorena’s woman video game portrayal, I focused on giving her new information, such as an article that talks about masculinity. I also offered some points of contention, such as her using Animal Crossing for her DA, as I felt they weren’t representative of gender. I learned from Lorena’s video that there is a long history of women and men being shafted into traditional gender roles and how that us only starting to change nowadays.

I might have debated about Animal Crossing too much, and should have focused on giving more positive feedback to balance that out. Her DA helped me learn that women in video games is a bigger issue than I thought (I forgot about Tomb Raider).

My comment for Jono Low’s Blog

Jono had an interesting premise with Easter Eggs. I gave him an article about game delveopers and how hard it was to fit them into the actual game. I tried to offer points he might not have thought about, such as a generation of people knowing what an Easter egg is. it was fascinating knowing how far back Easter eggs go in videogames.

I think my suggestions were useful, but I could have been more specific about my comments and in-depth about my reasonings. I also repeat myself sometimes.

My comment for Ashlan Rose’s Blog

This was interesting to comment on since Ashlan wasn’t familiar with video games. I asked her what her focus was going to be. Did she want to focus on one thing or everything? Since marketing is different depending on platform. I gave her an article that would focus on statistics, since she comes from a marketing background, and I thought it would be useful.

I could have asked less questions in my blog post, I feel like I was also quite repetitive here. After looking at her DA, I saw that she was organised and her organisation made me feel more confident about outlining my own DA.

BCM241, Media Blog

BCM 241 Pitch: Exploring Kpop

My Kpop Pitch

JYP is one of the ‘Big 3’ companies in Kpop, the others being SM and YG. They are the biggest Kpop companies with revenue and groups.

Kpop is part of the Hallyu Wave, exporting Korean popular culture overseas. This is aided by better communication, such as internet and mobile phones. This has allowed Kpop to be one of the biggest ‘soft exports’ out of South Korea, and inciting interest in people coming here.

Social Media sites such as YouTube are crucial for this spread, as it allowed Kpop to be viewed freely, rather than traditional mediums like TV. Kpop also has very concept driven and visually stimulating music videos that are entertaining to watch. Combine this with the use of choreography in a song (called a ‘point dance’) and you have an interesting format for a visual as well as an audio hook.

Kpop has spread far with this method, with people resharing these catching videos and gathering a large fanbase. Kpop also has organised ‘official’ fanbases, called “Fan Clubs” where people can pay for membership and get perks in fansigns, and get access to their ‘fancafes’, which is where members post and talk. Another big part in drawing fans to this medium is ‘fandom names’. Each group has an official fanbase name, for example Twice fans are called Onces (like ‘this only happens once’), Day6 fans are called MyDays and Stray Kids fans are called Stays. Not to mention lightsticks, which are personalised sticks for each group. All of this allows fans to become loyal to their group and create strong fanbases.


Ahn, P. (2017). YouTube is Taking K-Pop GlobalPatty Ahn / University of California San Diego – Flow. [online] Flow. Available at: https://www.flowjournal.org/2017/11/youtube-is-taking-k-pop-global/.


The Witcher 3: Exploring Gwent

Pitch video

Gwent is also a separate stand-alone digital card game made in 2018. That is not the version that I am doing, I am only focusing on Gwent inside the Witcher 3, which released in 2015. Gwent was originally intended as a mini card game within the Witcher 3, but they expanded to a digital card game in 2018 after positive reception. The standalone Gwent even has its own single player mode.

There are other mini games in previous Witcher titles, such as Dice Poker, but it relied mostly on luck and the CD Project Red team wanted to push it further for the sequel. Thus Gwent was born. The idea of a card game within a game was nearly shelved several times but made it. There The team had to create most Gwent on their downtime as there wasn’t enough budget and had to get help from other departments as well.

Gwent almost didn’t make it into the final game of The Witcher 3. The creators, Rafal Jaki and Damien Monnier, among others, had prototype versions of the game had to be more ‘fun’ to play. They had a rule that said, “If you have to explain it twice, it’s probably too complicated’. Gwent was set up with card management in mind, as there are limited cards to use in each round. There are also specific side quests within the Witcher 3 that can lead to high ranking cards, but most are merchants around the landscape that you can face at any time.


YouTube. 2020. Why Gwent Almost Didn’t Make It Into The Witcher 3 – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=QfM9UiQB-ic. [Accessed 08 September 2020].

pcgamer. 2020. The making of Gwent: Page 2 | PC Gamer. [ONLINE] Available at: https://www.pcgamer.com/au/the-making-of-gwent/2/. [Accessed 08 September 2020].


Background Research and Ethical Issues with Kpop

As my media niche is Kpop and how groups in JYP are promoted, I needed a kpop article. For background research I am going to be using this article by Minjeong Kim et al. This article will help contextualise the promotions of kpop and the social media. This academic article is a great cross section for what I hope to accomplish, only on a smaller scale. The academic article used twitter for their research and collected tweets with the hashtag #kpop to collect their data. Their methodology is very similar to what I want to achieve in this subject. However, this was about comparing global twitter networks, whereas mine focuses on a particular kpop group. This article helps with my primary research and how to make it more in depth It will help me analyse my Digital Artefact by setting times to look at feeds such as “looked at #itzy for 30 minutes’ and summarise findings from there. The journal Article also has a Node Network that they used, and while I can’t use it for my project as it involves connecting accounts together and revealing what or who they are connected to, I can get some inspiration from it and make something similar.

Ethical issues that can arise from this research are-

Reading and using tweets or social media that are not my own. For this assignment I can’t use other people’s tweets as it would be a breach of privacy without any consent. I can only summarise and give my opinions on what I felt the comment was about.

Another ethical issue that can arise from being on the internet is getting involved with comments or tweets, by deliberatively inciting conflict to put a certain line of thinking in my research. My involvement should be observatory only and to not cross an ethical line with comments.

Kpop is also an industry with a long list of ethical issues that can overlap with social media, and a big one pertaining to my topic is fansites. Fansites, to explain in simpler terms, are fans of a specific person in a kpop group,that follow them around with a DSL Camera and take photographs of them. Fansites are also not ‘sites’, they are just a person with a twitter account that only upload pictures of a certain member.

While there are fansites that are respectful and only take photos at concerts from the crowd, there are also many other fansites that are blacklisted by companies by being too invasive either by following them at airports or going to all of their events. There was even a fansite that attended all the stops of love yourself tour that BTS went to.

Examples of ‘fansites’, lots of people taking photos

I would also recommend this video by DKDKTV, who went to a Kpop event, and recounted their experiences with fans, starting at 39:09

Relevant content starts at 39:09, where they discuss fan culture and fansites

Other issues to touch on-

‘Sasaeng’ fans. These are possessive and fanatical, gong as far to stalk their idol and trade information on idols private lives. Some even leak out phone number details or addresses.

‘Fanservice’ in Vlive by streaming live video from a phone to make it seem more intimate, and while not a bad concept, can contribute to sasaeng culture.


Media Niche- Kpop in JYP

My media niche is kpop, and I wanted to explore how kpop groups promote themselves online. I want to know how different groups within the same company can differ in promotion methods. The online promotions include social media posts, such as M/V Teasers, Photo Teasers and Group Teasers. These are usually posted on Twitter and Instagram, with YouTube being used for M/V Teasers. Kpop groups will typically release various teasers to gain attention before release. But this strategy can vary wildly between groups, even within the same company. I will be observing and analysing JYP and their artists, TWICE, GOT7, DAY6, STRAY KIDS and ITZY.

Exploring the social media that they use, like YouTube, Twitter, Instagram and VLive will help me collect data. As well as looking at album and merchandise sales will provide an interesting look into the management of kpop groups.

JYPE’s artists are aimed at slightly different demographics and I wanted to know if that had an effect on promotion. Is this more favourable to popular groups like TWICE?

My goal with this media niche is to show how well of an oiled machine kpop is, and how different it is to the western concept of ‘promoting’. This is aimed at non-kpop fans that have no experience with how a kpop promotional period works. I would like them to take an interest in how different kpop is from the American promotions.

This is more of a cross-section of how typical Korean idol promotions work, as the ‘Big 3’ (SM, JYP and YG) typically have a set promotion period. I won’t do any large outliers like BTS because since they are so popular, their promotional strategy has varied.

My research plan-

I will gather this information by looking though social media each week and seeing what each group is targeted towards. Do they have positive comments? Negative? What are their posts designed to look like artistically? How often do they interact with the commenters?

After doing this, I will sum it up into a short blog post about my findings for each week and then consolidate that into one large blog post at the end of this subject for my DA, outlining the differences and nuances between each kpop group and how they are treated for promotions.


Week 3- Research history of JYPE

Week 4- Look at TWICE with promotions (Social Media- Fan interactions, frequency/ length of post/videos, likes etc.)

Week 5- Look at GOT7 with promotions

Week 6- Look at DAY6 with promotions

Week 7- Look at STRAY KIDS with promotions

Week 8- Look at ITZY with promotions

Week 9- Evaluate the use of VLive (Kpop streaming and the comments underneath as well as views)

Week 10- Evaluate Western promotions in comparison (Ariana Grande etc.)

Week 11- Compare all JYP groups and summarise promotions + differences from the west