Kids singing and dancing? In America it brings to mind shows like Ellen, Little Big Shots, and America's Got Talent. Most people see it as temporary entertainment, not as a career for children. Which is somewhat odd, as there are loads of child actors. Japan on the other hand has had many successful child, teen, and young adult artists. That's not to say America is doing something wrong. It's just a difference in culture.
My first introduction to Hello! Project that I can recall started with clicking on the music video to Berryz Koubou's "Piriri to Yukou". I was fascinated by these eight little girls dressed up in colorful outfits, singing and dancing together, in an actual legit music video! At the time, the group's average age was less than 12 years old! I went on to follow Berryz Koubou through the years, all the way to their indefinite hiatus in 2015.
I was only able to be with them for 6 of their 11 years, but they were a big influence on my music tastes and I'll always treasure the connection I had with the members and their music. At the time I had never come across anything like these singing kids. I immediately wanted more, and Hello! Project delivered. I don't recall the exact order that I discovered groups in, but I know °C-ute ("Tokaikko Junjou") and Buono ("Honto no Jibun") were soon after Berryz Koubou. Then I got full swing into Morning Musume ("Nanchatte Renai"), and that is a whole other story.
Something that comes up in regards to groups in Japan and Korea from foreigners and non-fans is the questioning of individual creativity and contribution. What I mean by that is whether or not the artists are involved in the writing process, choreography creation, the themes and ideas behind singles, etc. Some people have expressed surprise, confusion, and sometimes dissatisfaction when they learn that the majority of the content is created and managed by the company, not the artists themselves.
This doesn't make them robots or puppets, it doesn't make them naive or fake, it doesn't mean they have no emotion or connection to the music and lyrics. They have enormous pressure just with constant singing and dancing training, shooting music videos, keeping up on school work, performing concerts, public speaking, staying healthy, and more! They fully dedicate themselves, and we're going to drag them down for not having the natural skill, available time, nor opportunity from the company to create everything they sing and dance? Come on.
From what I've found, there are more Korean groups that have a hand in writing lyrics or music than Japanese groups. (The majority of bands, with instruments, write their own content.) The main exception is Stray Kids. They are an 8 member Korean group that write the lyrics, create the music track, and produce at least 80% of their content. However, I can enjoy groups that don't have a direct hand in the music creation process separately and just as much Stray Kids.
There is so much to the idol world. It is impossible to "sum it up" accurately. I am honestly amazed by the level of dedication and talent. By the strength of friendship, teamwork, and family. It warms my heart. Makes me laugh, dance, cry, and feel so much. Will we ever see young American idol groups created and rise to fame in the US? Doubtful.
Without diving too deep into things, I believe that many Americans would see the training, schedules, and stress of being a young idol too much for children. They would see the CEOs, trainers, and managers as too harsh. While in Japan, a certain level of hard work is silently expected in just about everything, child or not. These kids know what they are signing up for when they become a trainee or audition for a reality show that will produce an idol group. Again, that's not a stab at us Americans being lazy. It's years and years of culture, tradition, work ethic, and social norms in Asian countries impacting and shaping their entertainment industry.
If you, your parents, or someone you know was into country music at all in the early 2000s then you are familiar with Billy Gilman. Aside from The Jackson 5 and various Disney stars, he is one of the only American child singers that I am familiar with that has released multiple songs and albums. So there have been successful child singers in the US, just not many or at least not many that are majorly recognized off YouTube. Even if you turned around and threw some other successful names at me, it's still vastly different to the idol world of Japan.
Another difference is in the entertainment companies behind groups, especially in Japan and Korea. I have no clue what companies or labels major American singers are signed to and/or work with to produce their music. It's probably mentioned now and then, it's noted on their album somewhere, listed in the music video credits, etc. But in Japan and Korea it is very much known, noted, and advertised what company/label you are with.
And outside of the big labels and more known companies, there are endless amounts of indie idol groups that have local followings, focus on small venue concerts, make low-key music videos, and never "make it big". It can be bittersweet discovering these groups, often they have already disbanded by the time you find them. Other times you join in and love them for a while before they slowly fade out of activity. The best thing is when a indie group you follow makes it big, like PASSPO☆.
In the end, it's all part of the journey. You take the good with the sad. You love them regardless of any flaws. You live vicariously through them. You delight in the unity, the harmony; the beauty of melodies that are adorably, fiercely, and tearfully poured from their souls with thankfulness. Language has never been a barrier for me. It is an inspiration.
In conclusion, Japan has the market on child and young adult idol groups and soloists. They've had it for about 20 years. The average age of idol groups in 2020 is no longer quite so low, but still many girls dream of joining a company and debuting. Chase your dreams, minna-san!
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