"No THAAD Ban," Yet K-pop Still Prohibited... The Great Wall Remains High

Guidelines Ban Dual-Nationality Singers and Korean-Language Performances
Chinese Tourist Arrivals Up 13.9% in H1... Korean Performances Remain at 'Zero'
October APEC Summit Seen as Watershed for Normalizing Cultural Exchange

The article content is not directly related. The photo shows the K-pop group Blackswan, composed entirely of foreign members, performing at the Waterbomb Hainan event. Photo by DR Music

Will the day come when K-pop resonates once again across China? As the Asia-Pacific Economic Cooperation (APEC) summit scheduled for October in Gyeongju emerges as a critical turning point for the normalization of Korea-China cultural exchange, there is growing consensus that the government's role is more crucial than ever. According to documents obtained and interviews conducted by this publication on September 15, China has issued concrete guidelines this year, including bans on Korean-language performances and restrictions on dual-nationality singers. Although the Chinese government continues to claim that "there is no THAAD ban," invisible barriers such as language, visas, and venue reservations persist in practice.

Foreigners or foreign performing groups wishing to hold concerts in China must comply with local regulations. Under the "Regulations on the Administration of Commercial Performances" and "Guidelines for Short-Term Commercial Performances by Foreigners," they must obtain approval from the authorities. Since the deployment of THAAD in 2016, it has been consistently pointed out that these rules are applied particularly strictly to Korea. At the time, Chinese media outlet Chuanmei Quan reported that the core elements of the THAAD ban included prohibiting Korean idol concerts with over 10,000 attendees and banning Korean celebrities from appearing in dramas broadcast in China.

Korean-Language Performances Banned, Visas Denied= Currently, China is effectively prohibiting performances of songs in Korean. One concert official stated, "Even at fan meetings, singing songs in Korean is not allowed, and even birthday songs are subject to restrictions." In principle, China has strict regulations on lyrics, requiring review and approval before performances can take place. However, since most K-pop lyrics are subject to restrictions, it is realistically difficult to pass the revision and approval process.

Singers and staff must obtain a performance visa (Z visa or short-term performance L visa) to enter China, and securing a performance permit is a prerequisite. Even for stays of less than 90 days, both the public security bureau and cultural authorities must conduct dual reviews, and in recent years, approvals for Koreans have been extremely rare. Some agencies have suffered losses after spending on airfare and accommodation, only to be notified of denial just before the performance. One official confessed, "Despite extensive preparations, the concert was canceled and we lost our investment."

The venue reservation process also differs from Korea. In Korea, venues are booked first, followed by the licensing process, but in China, without public security approval, it is impossible to even sign a venue contract. Venue operators will only consider the reservation after the permit is submitted, and the nationality of performers, lineup, setlist, and concert scale are all subject to review. In the industry, the saying "no permit, no venue" has become common.

Nationality regulations have also been tightened. Korean nationals are effectively banned from performing, and even dual nationals face restrictions. Concerts featuring only overseas artists inevitably lack the scale and appeal of those with Korean performers. A representative from a major agency said, "Small-scale concerts featuring artists with overseas fandoms are possible, but joint concerts including Korean national idols are repeatedly rejected."

The Invisible Wall: When Will It End?= The prolonged THAAD ban has also led to an increase in broker scams. Some brokers have pocketed deposits by promising performance permits and then providing unauthorized documents, or concerts have been canceled on the day due to on-site crackdowns. In 2017, a local agent presented a false approval letter during an idol group fan meeting, absconded with the deposit, and disappeared. There have also been cases where indie musician tours, prepared through unqualified agencies, were canceled due to public security crackdowns.

Industry players are responding by partnering with local conglomerates or establishing local subsidiaries. During concert preparations, they develop plan B and plan C for each city and venue, and at the contract stage, they specify refund clauses and insurance to minimize risks. Some agencies work with local partners on safety management and venue reservation procedures.

A representative involved in a recent attempt to hold a concert in China said, "To make a concert happen, you need at least six months to a year of preparation, and if you neglect even one requirement from the authorities, it is difficult to obtain approval." He added, "Many domestic agencies are unfamiliar with the Chinese administrative structure. Even a single mistake in a document format or file name can result in rejection, and even after resubmission, approval is not guaranteed." Another industry official pointed out, "Chinese Ministry of Culture regulations and local policies are constantly changing. Unless we acknowledge these invisible barriers and develop response strategies, entry into the Chinese market will continue to fail."

APEC: A Watershed for Cultural Exchange= The APEC summit in Gyeongju this October is considered the most significant turning point for the normalization of Korea-China cultural exchange. With the likelihood of Chinese President Xi Jinping visiting Korea increasing, there is growing momentum within political and cultural circles for making cultural issues a key agenda item in the upcoming summit diplomacy. The industry agrees that the government must dismantle barriers that are insurmountable for the private sector.

Boy group Epex announced in May that they would hold the first solo concert by a Korean artist in China in nine years since the 2016 THAAD restrictions, but it was ultimately canceled. Photo by C9 Entertainment

Unlike the recovery in tourism, content exchange has virtually come to a halt. According to the Korea Tourism Organization, the number of Chinese tourists visiting Korea in the first half of this year was 2.53 million, up 13.9% from the previous year. However, during the same period, the number of Korean performances and broadcasts scheduled in China was close to zero. Experts point out, "Tourism can be unlocked through individual consumption, but content is tied to a state-level approval system. Without government diplomacy, balanced exchange is impossible."

The 2026 budget for strengthening overseas bases is set at 259.7 billion won, but items related to China are virtually empty. Industry insiders express concern, saying, "China-related projects are missing from the budget, and unless the government makes a strategic decision, long-term investment by private companies will be difficult." Representatives from the broadcasting and performance sectors also note, "China continues to conduct invisible reviews," and are calling for institutional trust to be established through summit diplomacy.

A concert agency official commented, "China claims there is no THAAD ban, but real barriers do exist. Unless the government removes obstacles that the private sector cannot overcome, uncertainty will only grow." Cultural critic Kim Heonsik also emphasized, "China has a structure that allows it to strengthen regulations at any time. The cultural agenda must be clearly addressed in summit diplomacy so that Korean companies can invest with confidence."

This content was produced with the assistance of AI translation services.