Dancer Leejung noted that perceptions of dancers and dance have changed significantly since 'Street Woman Fighter.'
Leejung held an interview regarding the conclusion of Mnet's 'World of Street Woman Fighter' (hereafter, WSWF) at a café in Yongsan, Seoul, on the 24th.
WSWF is the third season of Mnet's mega hit 'Street Woman Fighter.' It concluded on the 22nd after airing for nine episodes, garnering intense interest as a 'national competition' featuring six crews from five countries, including Korea, New Zealand, the United States, Japan, and Australia.
With seven consecutive weeks at the top of the non-drama sector's popularity rankings in TV-OTT, WSWF has generated daily buzz. Through mega crew missions that encapsulate the identity of each participating country, it showcased a level of artistry never seen before, soaring in both domestic and international popularity rankings, adequately showcasing its global dance syndrome.
Leejung has proven her capabilities as an exceptional choreographer beyond just being a dancer. During the 'Global Artist Performance Mission,' she directly handled choreography, showcasing her creative ideas and directing skills, and elevated K-dance's status with her confident stage presence that did not waver even before world-class dancers. Leejung's performance transcended simple dance, being regarded as a high-quality piece of work that left a profound impression on audiences worldwide.
Now 26 years old, and the youngest and center of BUMSUP, how did Leejung start dancing? She said, "I grew up listening to songs by Girls' Generation and Wonder Girls as a K-pop kid. During talent shows, I went on stage at a friend's suggestion, and the moment I heard the intro of 'Tell Me' by Wonder Girls, I felt, 'I was born to do this' and 'this will become my job.' Since then, there hasn't been a moment when I didn't want to dance."
Leejung remains unchanged since her certainty as an elementary school student. She said, "I've never wanted to give up dancing. Dance is, to me, not just an art or genre or job; it is something that keeps me alive and 'saves' me. Therefore, I hope to continue without giving up, and I have not had a moment where I've wanted to give up. Dance makes me so happy. What does a life without happiness mean? Without dance, I wouldn't have been happy, and it allows me to feel alive beyond happiness."
Leejung gained attention through 'Street Woman Fighter,' which aired four years ago. As the interest in dancers surged, perceptions of dance and dancers began to shift. Leejung is leading the 'dance syndrome' at the center of cultural advancement.
Leejung said, "Although four years have passed, nothing has changed. While the career created through this great opportunity is mine, I feel it isn't solely mine. The socially changed aspects are the perception, culture, and awareness of the profession of dancer. Previously, dance was something only shared and loved by professionals, but now, many people who are not pursuing it as a profession love dance. I felt this a lot after 'Street Woman Fighter.' Now, people are curious about who created the choreography and what Leejung's next steps will be, which is a tremendous reversal. What I felt through WSWF is that so many people have watched it. Beyond sensationalism, discussing what constitutes a better piece of work itself is a dream and a miracle."
She continued, "I am incredibly grateful, and I'm lucky to be active during this phenomenon. Dance is a marginalized culture, something that's shared among us where a single video wouldn't even get 10,000 views; after gaining attention with 'Street Woman Fighter,' while receiving public votes, views and 'likes' have become essential. It's frustrating that despite recording millions of views and 'likes,' they are lower than other teams. At times, I think, 'In the past, it didn't even get 10,000 views, and now it's getting millions, and I am still upset.' Also, I am so thankful that people share and discuss dance. Discussing something outside my field consumes immense energy. I appreciate that so many people do that."
While perceptions of dancers have changed, there are still quite a few who look at them negatively and leave malicious comments. How does Leejung, as a dancer who is also an entertainer due to her appearances on broadcasts—what is called a 'celebrity-like' individual—feel? She said, "It would be a lie to say I didn't struggle with such reactions early on, but now it's fine. I am genuinely grateful for those who recognize my work, and as for excessive negative comments, it's fine as long as I don't see them. There are so many supporters that a few negative comments do not bother me, but I hope many people love not just me but also the dancers who appeared on 'Street Woman Fighter' and those who didn't."
Leejung highlighted that while the industry's treatment has improved significantly, there are still areas that require advancement. She stated, "In my growth as a dancer, meeting 'Street Woman Fighter' has given me experiences I couldn't have had before. It's difficult to say the industry has improved more than before, but when I search my name on portal sites, the fact that 'dancer' appears as my occupation indicates that treatment has changed. Having my name included in promotional articles during collaborations and being credited as a creator are things that I believe show improved treatment. I would cautiously like to say that creators' rights should improve further. I enjoy many benefits, but not everyone does. I'm not representing the industry or am a representative, but if I can contribute to a day when all creators can be recognized for their rights, that would be wonderful. I hope creators can enjoy their rights beyond just monetary issues."
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