International Journal of Advanced Culture Technology Vol.9 No.3 253-258 (2021) DOI https://doi.org/10.17703/IJACT.2021.9.3.253 Potential Crisis and Opportunity in the K-pop Choreography Copyright Joy Kim Prof., Dept. of Performing Arts, Dong-A Institute of Media and Arts, Korea hjkim@dima.ac.kr Abstract This study aims to expose the potential dangers of K-pop through the past and present of K-pop choreography copyrights and to suggest the need to secure digital choreography copyrights for the sustainability of K-pop considering national responsibility. As the content industry quickly sought countermeasures to digital transformation, such as the launch of K-pop platforms and the evolution of OMO (Online Merges with Offline) media commerce in response to changes in the industrial environment due to COVID-19, the annual export of the domestic content industry increased by 6.3% compared to the previous year. Accordingly, our copyright does not require that works be fixed in tangibles, as in Japan and Germany, on the basis of entrusting each country's legislation to determine whether to require fixation on choreographed works. On the other hand, the United States, France and the United Kingdom are demanding that it be fixed. Although choreography is at the center of K-pop and the value and influence of K-pop videos including cover dance through new media are discussed from various perspectives, copyright on choreography that needs to be resolved in business platforms for K-pop scalability The fact that there is such a big difference in problem perception is an area where we must not lose our vigilance. As the development of today's technology, the method of fixing a choreography looks very easy as an image, but at the same time can be stolen very quickly. Therefore, compared to overseas cases, it is urgent to improve the difference in perception of copyright registration for K-pop choreography and to supplement the system include the NFT. Keywords: Metaverse, K-pop, NFT, Choreography copyrights, Dance 1. INTRODUCTION Gangnam Style’s global success in 2012 was heavily dependent on YouTube. Without the influence of YouTube, Gangnam Style could have not be known to the world so widely and so fast. Not only the famous music video, but reaction videos by various audiences and diverse kinds of parody and remake videos of Gangnam Style also strengthened its popularity. Actually, before Gangnam Style phenomenon, global K-Pop audiences have enjoyed K-Pop through uploading, watching, and making comments on reaction videos and cover dance videos in YouTube[1]. Just as K-pop is expanded through K-pop music video images, prosumers' voluntary aura creation through related video content grows along with the new media image. K-pop Culture is like air, an atmosphere that includes both creators and audiences, interacts with and awakens cultural potential. If you want to discuss the sustainability of K-pop in consideration of national responsibility, through the past and present of K-pop choreography copyright the potential dangers of K-pop should not be overlooked. The flow of popular culture is constantly changing, and the center of popular music, especially the pop market, continues to change centered on the United States, Japan, and Korea. There are studies on copyright recognition and protection measures for Korean popular music and dance[2], IJACT 21-9-32 Manuscript received: August 31, 2021 / revised: September 6, 2021 / accepted: September 9, 2021 Corresponding Author: hjkim@dima.ac.kr Tel: +82-31-670-6618, Fax: +82-31-670-6619 Assistant Professor, Dept. of Arts, Dong-A Institute Media and Arts, Korea