
‘Street Woman Fighter' goes global
The popular dance competition series "Street Woman Fighter" is back for a third season — this time, with only one Korean team.
"World of Street Woman Fighter," the show's latest iteration, features competition between dance crews from five countries: South Korea's Bumsup, the United States' Motiv, Japan's Osaka Ojo Gang and RHTokyo, New Zealand's Royal Family and Australia's AG Squad.
Series producer Choi Jung-nam said the decision to include crews from other countries was aimed at showcasing more global talent to Korean audiences, building on the success of their introduction in season two.
'When it came to casting global crews for the program, we didn't approach it with the mindset that specific countries had to be represented. We wanted to introduce crews that have a certain level of skill and status, and who could tell compelling stories within the context of our program,' Choi said during a press conference held Tuesday in Gangnam-gu, Seoul.
Due to the diversity of participants this time around, the production team said it is facing new challenges in the editing process to ensure a seamless viewing experience across languages.
'Since we're trying to show viewers the best version of the footage through editing, many translators are involved. Because we're dealing with multiple languages: Korean, English, Japanese and more. It's taking a lot of time to translate. ... Even if there are some rough or imperfect parts, I hope you'll look forward to the dancers' expressions through the language of their bodies.'
Joining the judges' panel this season are three powerful figures from the dance and entertainment industry: JYP Entertainment founder Park Jin-young, Beyonce tour alum Aliyah Janell, and renowned dancer and choreographer Mike Song.
Park, who brings perspectives as a performer and a producer, reflected on his approach to judging for the new season.
'In the past, when I was judging singers, there was some connection to my company, so I had to be careful. But this time, I felt I could speak based on what I saw and felt. Some of the contestants this time are dancers I paid to choreograph for me. So while I'm watching as a fellow dancer, I also naturally see things from the perspective of a K-pop producer who commissions choreography," said Park.
Despite the nation-versus-nation frame of the competition, producer Choi emphasized the broader mission of the show.
'I found myself returning to the original mindset -- rather than thinking about which country to root for, I saw it as a way to introduce international dancers to fans who loved 'Street Woman Fighter' and to help build a fandom for them.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
11 hours ago
- Korea Herald
Harbour City Shopping Mall Unveils Hong Kong's Grandest 50th Anniversary Celebration for My Melody, Kiki & Lala
HONG KONG, Aug. 2, 2025 /PRNewswire/ -- Harbour City, Hong Kong's most iconic shopping mall and tourist destination, has partnered with Sanrio Hong Kong this Summer to host the "My Melody・Kiki & Lala 50th Anniversary Celebration — Summer Matsuri @ Harbour City". From 29 July to 7 September 2025, the mall transforms into a whimsical Japanese summer matsuri, offering a vibrant mix of visual spectacle, interactive experiences, and exclusive merchandise. Located along the world-renowned Victoria Harbour, Harbour City brings the trio's celebratory "Summer Hanabi Festival" to Ocean Terminal Forecourt, inviting visitors into a festive world with a towering 7-meter-tall Japanese styled festival stage, nostalgic game booths, and dazzling LED fireworks that light up the harbourfront sky with My Melody, Kiki & Lala's silhouettes. My Melody appears as a taiko drum master alongside Kiki & Lala in elegant yukata, capturing the charm of a classic Japanese celebration. Beyond the outdoor waterfront festivities, fans can also explore immersive installations at The Ocean Terminal Observatory Deck, that recreate the characters' hometowns in enchanting detail. "Kiki & Lala's Journey in the Star of Compassion" features a giant moon and 3 starlight boats, while "My Melody's Fairytale Forest in Mariland" offers a pastel woodland escape — all set against the stunning backdrop of Hong Kong skyline. The celebration continues with a themed pop-up store offering limited-edition merchandise, and exclusive dining experiences at restaurants of Harbour City. Guests can enjoy My Melody-inspired desserts at Cupping Room and Kiki & Lala-themed afternoon tea set at Lady Nara, complete with charming décor and collectible gifts.


Korea Herald
20 hours ago
- Korea Herald
Is K-pop's global strategy backfiring? As popularity up abroad, domestic interest wanes
Absence of breakout rookie girl groups and weakening domestic fandom raise concerns for K-pop's future at home Despite chart-topping hits on Billboard and sold-out world tours across the US, Europe and Southeast Asia, K-pop's grip on its home turf appears to be slipping. Industry experts are sounding the alarm over a growing disconnect between the genre's global success and its dwindling influence at home — particularly as the domestic fanbase, once the engine of the K-pop phenomenon, shows signs of fatigue. At the heart of the issue is a conspicuous absence of breakthrough rookie girl groups in the first half of 2025. These groups have historically driven fandom growth and revitalized the market, but this year's lineup failed to deliver the same impact. Data released in the Circle Chart's 2025 Mid-Year Report backs this up. Total digital music consumption for the top 400 songs fell by 6.4 percent year-on-year and compared to the genre's 2019 peak, it has plunged by a staggering 49.7 percent. Meanwhile, physical album sales — a metric typically bolstered by passionate fans — also dropped by 9 percent, totaling 42.4 million units, down from 46.7 million the year before. The number of albums surpassing 1 million units in sales fell from nine to seven, and not a single release managed to exceed 3 million — a feat achieved by Seventeen just a year ago. These numbers suggest stagnation, or even a decline, in the size and spending power of domestic fandoms. Kim Jin-woo, a data journalist at Circle Chart, noted a sharp drop in girl group dominance in the domestic market. 'In the first half of 2024, NewJeans held the top spot in market share and five girl groups were in the top 10. This year, only aespa, Ive and NewJeans made the cut,' Kim said. Kim also cited growing listener fatigue stemming from similar-sounding concepts and English-heavy lyrics aimed at overseas audiences — part of a broader 'de-K-pop' strategy that may be alienating local fans. 'Many groups now focus on global accessibility, often gravitating toward a narrow range of genres and English lyrics,' Kim said. 'This might attract international listeners but has started to exhaust interest at home.' Music critic Lim Hee-yun also pointed out that shifting media consumption habits have weakened the dominance of idol groups. 'With music increasingly consumed through self-produced content, fan platforms and social media, fandoms are less concentrated,' he said. 'Idols used to dominate the charts thanks to mass fan activity, but that's no longer the case. In contrast, solo artists are resonating more with casual listeners.' The Top 10 of the 2025 mid-year digital chart paints a telling picture: Solo acts like Woodz with 'Drowning' at No. 1, Hwang Garam with 'I Am a Firefly' at No. 3 and Jo Jazz with 'Don't You Know' at No. 7 — none of whom enjoy major global recognition — significantly outperformed their idol group counterparts. Seven of the Top 10 artists were solo performers, leaving aespa, Ive and Boynextdoor as the only groups in the Top 10. Lim added that while idol tracks are 'fun and powerful,' they often lack emotional depth. 'Ballads or rock-inflected songs with strong melodic structure and individual expression are better suited for immersive listening,' he said. Industry officials warn that this trend raises serious questions about the sustainability of K-pop's current trajectory. A sluggish domestic market could eventually undermine the health of the entire ecosystem. 'As K-pop pursued global mainstream appeal, the music took on a more (Western) pop-oriented flavor — but unless you're on the level of BTS' Jungkook, that strategy rarely pays off,' an entertainment official said. 'Even with its global expansion, K-pop remains confined to a subculture category rather than breaking into the true global mainstream.' jaaykim@


Korea Herald
a day ago
- Korea Herald
'Baby Shark' Pinkfong eyes management buyout alongside IPO: reports
The Pinkfong Company, creator of the global children's sensation "Baby Shark," is reportedly pursuing a management buyout in parallel with its planned market debut, according to industry sources on Friday. In May, the company filed for a preliminary review to list on the Kosdaq, marking a renewed push for an initial public offering six years after it first floated the idea in 2019. Multiple industry reports suggest that Pinkfong is in talks with potential buyers regarding a management sale. According to Maeil Business Newspaper, the deal may involve major shareholder stakes, with a potential price tag in the hundreds of billions of won. Major shareholders include CEO Kim Min-seok with an 18.44 percent stake, Editorial Samsung with 16.77 percent and telecom giant KT holding 9.1 percent. Editorial Samsung is Pinkfong's parent company, and Kim is the son of Editorial Samsung CEO Kim Jin-yong. Founded in 2010 as an entertainment subsidiary producing animations, songs and films, Pinkfong shot to global fame in 2016 with its breakout hit "Baby Shark." The song and its accompanying video became a viral sensation among children worldwide, with "Baby Shark Dance" holding the title of YouTube's most-viewed video at over 16 billion views to date. The company was once valued at over 1 trillion won ($714 million) during its Series B funding round in 2021, reportedly becoming the first Korean content firm to achieve unicorn status. However, its valuation is believed to have declined in recent years amid weakening performance. Annual revenue dropped from 117 billion won in 2022 to 94.6 billion won in 2023, with operating profit swinging from 3.7 billion won to a 3.2 billion won loss. Earnings recovered in 2024, with revenue rising to 97.3 billion won and operating profit rebounding to 18.8 billion won. Pinkfong recently opened its fifth overseas subsidiary in Japan and is expanding its global footprint while growing its YouTube consulting and intellectual property businesses. The company's flagship YouTube channel has racked up 51.3 billion cumulative views and boasts 82.6 million subscribers. Its content is now available in 25 languages across 244 countries.