| |

BTS, Grammys, Asian American Advocacy and the Fight for Global Viewership

A few years ago, during a conversation about the representation of Asian Americans in the U.S. entertainment industry, a non-Asian colleague casually responded with, “Well, there’s Kurosawa.”

Akira Kurosawa was a Japanese film director. Jon M. Chu is an Asian American film director. The conflation of Asian and Asian American identity is a complicated topic, even for Asian Americans, varying greatly by generation; immigrants might feel closer to their country of origin, whereas first-, second- and third-generation Americans (and later) might identify more as Asian American, Japanese American, Korean American, etc., or in some cases, just American.

BTS’s decision this week to decline submitting their album ARIRANG for Grammy consideration reminded me of this complexity. There were Asian Americans who had worked hard to help create the controversial “Best Asian Pop Music Performance” category1, seemingly in line with the Asian American advocacy framework which has historically sought inclusivity and equity within U.S. institutions traditionally dominated by white leadership. (The pan-Asian “Asian American” term was created in 1968 in the context of collective political action.2)

To advance equity, some U.S. institutions created targeted pathways which functioned as de facto separate lanes: race-conscious admission processes, scholarships, category-based recognition and more. The lanes made sense when access was blocked or limited.

However, these same lanes could become barriers if they harden into permanent structures, keeping the population compartmentalized. As a young student, I remember feeling both grateful and conflicted when I was offered a race-based scholarship, grateful for the opportunity but conflicted because it didn’t quite feel like integration.

The needs of Asian artists who have already reached global status without special recognition from U.S. institutions are very different. Internationally, we are in the transnational market-driven system, facilitated by online media activity which crosses borders at lightning speed.

The Grammy Awards were a powerful U.S.-centric award platform, serving as a default global standard until the early 2000s. Today, in a decentralized, post-major-label world, and facing serious viewership decline,3 the platform is being reconfigured as a global media product under extreme financial pressure. The new contract binds the Grammys in an unprecedented 10-year global deal for it to be exclusively simulcast on ABC, Hulu, and Disney+ beginning in 2027.4 In order to reach global audiences, the broadcasters will need relevant content. That means programming and categories that reflect non-U.S. markets and artists who already command global attention. The creation of the ill-defined “Best Asian Pop Music Performance” category would have benefited from professionals with a stronger grasp of today’s global landscape.

What happens when non-U.S. artists command larger global streaming numbers and stadium tours than many domestic nominees? BTS declining to submit their album for Grammy consideration can be a moment for us to look at where we are today and how far we’ve come. It’s a celebration of artists finding different paths towards global reach.

  1. Five new categories and rule updates take effect for 2027 Grammys® | Grammy. (2026, June 16). Grammy. https://www.grammy.com/news/2027-grammys-new-categories-rule-updates/ ↩︎
  2. Kambhampaty, A. P. (2026, May 11). In 1968, these activists coined the term ’Asian American’—And helped shape decades of advocacy. TIME. https://time.com/5837805/asian-american-history/ ↩︎
  3. Koblin, J. (2026, February 4). Grammy Awards audience declines by a million viewers. The New York Times. https://www.nytimes.com/2026/02/03/business/media/grammy-awards-ratings-audience.html ↩︎
  4. DISNEY TO BECOME NEW HOME OF THE GRAMMYS® UNDER 10-YEAR GLOBAL DEAL WITH THE RECORDING ACADEMY® | Grammy. (2024, November 20). Grammy. https://www.grammy.com/news/disney-to-become-home-of-the-grammys-10-year-global-deal/ ↩︎

Similar Posts

  • 友人の辻田希世子さんが本を出しました!

    35年来の友人、辻田希世子さんが本を出しました!希世子はヴェネツィアで、私はパリと東京で、人生の最も多感な時期を過ごしました。友達歴35年以上。彼女の文章を読むと、あの頃の自分達を思い出します。現在は二人とも母親兼社会人としてセカンドキャリアを歩んでいますが、あの時間があって今がある。たくさん笑いましたが、限りなく切なかったことも。懐かしく思い出します。北村京子 「ヴェネツィアの家族」(社会評論社)カーニバル、お針子、映画祭、そして家族…。記憶の引き出しにしまってあった面影たちが、ある日心の扉を静かにたたく。海の都ヴェネツィアで、かつて時を共にした人たちへの追想と愛惜。喜びと哀しみが今新しくよみがえってくる。アマゾンからのご購入はこちらから。https://www.amazon.co.jp/ヴェネツィアの家族-辻田希世子/dp/4784513892 著者 辻田希世子(つじたきよこ)1965年、大阪生まれ。上智大学外国語学部比較文化学科卒業。広告代理店にてコピーライターとして働いた後、1995年、イタリアへ留学。ヴェネツィアに移住し、ライターをしながら、ヴェネツィア大学、ボローニャ大学で日本語を教える。元イタリア記者協会会員。2007 年、日本に帰国。2019 年にHP トリリンガル・マム https://trilingual-mom.com を開設、イタリアおよび英語に関するエッセーと情報を発信している。翻訳書に「くろいちょうちょ」(講談社)。

  • |

    How Do We Find Music?

    (This is Part I of the three-part series on music discovery. Part II is How Do We Find Music? (2025 version) and Part III is How Do We Find Music? (Outside of the U.S. version).) How do we find music? Recommendations from friends? Movies? Video games? Algorithm? Music is everywhere. But when 120,000 tracks are…