C-Pop Going Global to Circumvent Domestic Controls

Chinese companies producing Chinese pop culture (C-Pop) content have increasingly moved their production operations overseas, particularly to countries like Thailand. The move is strategic: it allows these companies to bypass domestic regulations and enables them to tap into new markets.

In 2018, Chinese technology firm Tencent acquired the rights to produce Produce 101. This started a wave of so-called idol survival shows in China, such as Idol Producer, Youth With You, All For One and We Are Young. Produce 101 achieved great success in South Korea due to its aim to debut a girl group with international appeal such as South Korea’s Girls’ Generation. Tencent renamed the show Chuang 创 (“creativity” in Chinese) and started alternating yearly between the genders to debut boy bands and girl groups. Rocket Girls 101 and Into1 are notable examples of groups born from the Chuang series, which later faced disbandment because of regulatory pressures from the Chinese government.

C-pop, particularly idol survival shows, faces a multitude of restrictions under Chinese Communist Party (CCP) regulations. These controls include censorship of content deemed inappropriate or politically sensitive, limitations on portraying certain lifestyles or behaviours, and strict oversight of the production and broadcasting of entertainment content.

One obvious example is the CCP’s crackdown on “sissy men” niangpao (娘炮), a term used derogatorily to describe men with effeminate appearances or behaviours. A 2021 Chinese government directive banned effeminate men from television, reflecting a broader push to promote traditional and masculine ideals. This ban was part of a wider campaign against what the government deemed “unhealthy” pop culture, including idol worship and the perceived influence of Western values.

Another controversial instance was the “milk-pouring incident” during the show Youth with You, where fans poured milk down drains to obtain voting codes. This led to severe backlash and stricter regulations. The CCP’s growing concern over the influence of pop culture on the younger generation has resulted in tighter restrictions. This has caused disruptions in the entertainment industry, including the abrupt cancellation of several popular shows.

Compared to China, Japan and South Korea have faced fewer regulatory hurdles in exporting their pop culture. J-Pop and K-Pop have benefited from environments where government intervention is minimal, allowing for greater creative freedom and experimentation. This lack of stringent controls has enabled J-Pop and K-Pop producers to cultivate content that resonates globally, blending local cultural elements with international appeal. The success of groups like BTS and AKB48 can be attributed to the ability of these producers to innovate without the constant pressure of government oversight.

Chinese companies like Tencent have responded to domestic challenges by relocating C-Pop production overseas, with Thailand being a primary destination. According to Jeff Han, Senior Vice President of Tencent Penguin Pictures, Thailand was chosen as the location for Chuang Asia 2024, since Thailand offers a culturally diverse and tolerant environment, making it easier to produce content that aligns with both local and international markets. Furthermore, Thailand’s expanding online platform market, bolstered by the popularity of Chinese dramas, has made it a crucial location for C-Pop expansion.

In collaboration with local production company Wednesday & Sunday and Chinese company Have Fun Media, Chuang Asia aired on Thai broadcast channel Channel One31. Uncut versions were made available on WeTV, the most-used video streaming platform in Thailand.

Among thousands of worldwide applications, 70 candidates were selected to participate in the show, most of whom have signed with agencies. The age of the 70 trainees ranged from 16 to 26 with their nationalities and past experiences varying significantly. Some Korean and Japanese trainees are still active members of K-pop girl groups. An Indonesian and a Vietnamese trainee were former members of the 48 franchise, a network of Japanese idol groups in their respective countries. Chuang Asia offered them a new platform to shine.

Compared to China, Japan and South Korea have faced fewer regulatory hurdles in exporting their pop culture. J-Pop and K-Pop have benefited from environments where government intervention is minimal, allowing for greater creative freedom and experimentation.

The competition concluded with the Grand Final Stage, where the top nine trainees made their debut as the international girl group Gen1es under Ryce Entertainment, a Chinese record label and entertainment agency co-founded by Jackson Wang, co-producer and lead mentor of Chuang Asia. The group’s contract is set for three years, and they have already released two singles in English.

Some viewers believe that Tencent has elevated the Chinese entertainment sector to new heights, introducing C-pop to an international audience through the Chuang series. However, while relocating production overseas offers some respite from CCP control, it does not fully exempt Chinese companies from adhering to CCP narratives. For example, in the first episode of Chuang Asia, a Taiwanese trainee referred to herself as being from China, reflecting the CCP’s One China policy. This demonstrates that even when operating abroad, Chinese companies must still align with CCP ideologies to keep them in the government’s good books.

A prominent example of the challenges faced by Chinese idols abroad is Jackson Wang’s support for Beijing’s positions on sensitive issues like the Xinjiang cotton boycott and the Hong Kong protests. While Wang’s stance aligns with the CCP’s narrative, it has led to significant backlash from international fans, highlighting the delicate balance Chinese idols must maintain between domestic and international expectations. The controversy underscores the broader dilemma faced by Chinese entertainment companies: expanding their global reach while staying within the bounds of CCP approval.

The initiative to bring C-pop onto the international stage aligns with China’s broader strategy of using entertainment to expand its soft power, mirroring the successful approaches of Japan and South Korea. While K-pop and J-pop have already established substantial global fanbases, China’s soft power has yet to make a significant impact on global pop culture and entertainment industry. As China continues to use entertainment as a tool for soft power, the success of this strategy will depend on its ability to balance political compliance with creative freedom.

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