BY
Glenda Chong

Editorial Admin

Hype Issue #60

Published on

December 13,

2024

Dance crew 6IX giving their all on stage at K-POP ALL IN 2024. Photo by Glenda Chong.

The *SCAPE Ground Theatre was still, save for the low murmur of voices as attendees shuffled in. But when the screen on stage flashed a bright orange and blue and the first beat of a K-pop track blasted through the speakers, the crowd’s energy flipped “ON”  like a switch. 

This was K-POP ALL IN 2024, also known as KAI, an annual year-end party that brings K-pop enthusiasts together for a night of community and celebration. KAI’s theme this year, “TIME K-APSULE” invites both performers and attendees to honour iconic K-pop classics and artists that have shaped the genre’s past and spotlight the fresh energy of today’s favourites. 

Dance crew Onhit Dance covering K-pop girl group GFRIEND’s hit MAGO. Photo by Glenda Chong.

As a K-pop fan myself, KAI wasn’t my first rodeo when it comes to *SCAPE’s K-pop-themed events. However, going to such an event alone was a first so I was just a touch anxious as to whether I would feel out of place.

Despite my nerves, I milled around the booths just behind the audience seating area before the show began. Aside from the performances, I was pleased to see that there were plenty of booths selling K-pop official and fan-made merchandise. From fan art to collectible photo cards and K-pop albums, it was a collector’s dream. The one booth that drew me in almost instantly, though,  was by the NUS Korean Cultural Interest Group (KCIG) from the National University of Singapore (NUS). 

As part of their efforts to raise funds for their annual K-pop dance production, the interest group had gotten a booth at KAI to sell not just unique merchandise such as shirts they designed, but even experiences like a “deco booth” and a photo-taking area. That extra effort really made their booth stand out from the other booths that were only selling ‘merch’.

The booth embodied connection through its “deco booth”, where K-pop fans could personalise photocard sleeves with decorative elements. Though typically a solo activity, many did it with friends, turning the booth into a vibrant hub of shared creativity and enthusiasm.

While you can say that the heart of Singapore’s K-pop scene lies in the music and the performances, this energy and sense of community extends beyond the stage. I got to chat with KCIG members, Abigail Tan and Wong Yan Rou, who were running KCIG’s booth, and I could feel how their interest group and booth are a microcosm of the wider K-pop community. The booth was more than just a fundraising opportunity, and their interest group isn’t just a place to explore Korean culture. Both allowed like-minded individuals to bond and be part of a bigger community.

The writer decorated their own photocard sleeve to join in on the fun. Photo by Glenda Chong.

And as for KCIG, its inclusivity is its hallmark. According to Yan Rou and Abigail, no auditions are required to join KCIG as “everyone” is welcome to “be part of the community,” which they believe makes KCIG highly welcoming. As such, in Yan Rou’s words, members “stay for a long time.” And just as KCIG brings people interested in Korean culture together, KAI does the same, which they can feel and see with their own eyes on a greater scale.

“Our efforts are ultimately school-level… but when we come out to events like this [KAI], we’ll be able to see the whole Singapore community,” Yan Rou said. “You’ll be able to see the people in this community, so I think it helps that you can build connections and make friends along the way.”

Wong Yan Rou (left) and Abigail Tan (right) posing in KCIG’s photo-taking area. Photo by Glenda Chong.

Just as we wrapped up our chat, the MCs’ voices cut through the music to announce the first few performers of the night. As I rushed to take my front row “seat” which was a spot on the ground I reserved with my belongings, the first act’s first performer, Justin Padayao took the stage. 

When it comes to events like this, one might assume most audiences come to only support their performing friends. However, this assumption was quickly turned on its head when Justin experienced technical faults. Encouraging cheers rang from all four corners, giving him the much-needed boost to start again and hit all the right notes of “Into the New World”, the debut single of K-pop girl group Girls’ Generation. With its resolute lyrics, this timeless track is known for being a symbolic anthem of solidarity associated with South Korea’s protest culture.

Justin Padayao performed a soulful ballad version of K-pop girl group Girls’ Generation’s Into the New World. Photo by Glenda Chong.

That unity could be felt in the crowd, as we sang harmoniously to the song’s fully-Korean lines and used our phones’ flashlights to act as ‘lightsticks’, an essential part of showing support in K-pop culture. Throughout the rest of the first act’s performances, the energy never died down. When the first act ended and the following acts’ performers took over, it only continued to skyrocket. Other than solo acts, plenty of dance crews also performed, and one I had been keeping my eye on finally took the spotlight.

Named CODE:US, the all-female team danced with fierce precision to another Girls’ Generation classic, this time “The Boys”. Except, keeping in line with KAI 2024’s theme, the team danced to a cover of “The Boys” by K-pop group Kep1er who debuted years after Girls’ Generation did, which made for a perfect blend of the past and present.

Dance crew CODE:US performing on stage. Photo by Glenda Chong.

Having gotten to chat with CODE:US themselves, it seems that their choice to perform Kep1er’s version of “The Boys” was intentional, as it was the version they resonated with most despite multiple other covers being available. According to member Jing Yun, 19, she’s inspired by K-pop artists like ATEEZ’s San and aespa’s Karina as their powerful performances conveyed their emotions to their audiences. 

“Whenever I perform, I do hope I can deliver the same type of feelings that the [K-pop artists] do, where they can just enjoy the stage with no regrets while also delivering something memorable to the audience and myself.” She said. And she and CODE:US definitely delivered, as the crowd and I could really feel their passion. 

While I was impressed by every performance, what struck me the most was the diversity of performers. From fathers and working adults to youths as young as 14, KAI was not just a talent showcase; the performers and this year’s theme [TIME K-APSULE] were a testament to K-pop’s enduring ability to unite generations of fans and how the passion for it spans all walks of life.

A member of a dance crew carrying his child who had been watching the team perform from behind the stage curtain after their performance. Photo by Glenda Chong.

As the final performances wrapped up, the night was still young as the space transformed for KAI’s final staple event, K-pop Random Play Dance (KRPD). It was a fitting end to the night, as this was where you could truly witness the community’s unity. In true KRPD fashion, everyone, both performers and audience members alike, came together to dance to K-pop hits both old and new.

Team CODE:US posing for a photo before K-POP ALL IN 2024 began. Photo courtesy of CODE:US.

“[We are] just glad that this community allows us all to be open and enjoy what we like together without being shamed or judged.” CODE:US mentioned. Reflecting on this, I couldn’t help but think of what a powerful reminder this was of what events like KAI represent: a chance to connect with and celebrate something larger than ourselves.