What was long seen as the domain of singers now increasingly includes actors who sing on screen in dramas and films, especially as original soundtracks and film music are consumed worldwide through OTT services and streaming platforms.
As songs from dramas and movies travel across borders, the work and rights of actors who perform those songs are drawing new attention. What was once treated as a directing device or fan service is increasingly viewed as standalone music content, and more actors are recognizing themselves as performers as well as actors.
The shift is reflected in new members joining the Korea Music Performers Association, led by Chairman Lee Jung-hyun. Actor Shin Hyun-joon recently joined after releasing the album with Jung Joon-ho. He also drew attention last year when he sang the OST with fans at a fan meeting in Peru.
Actor Byun Woo-seok, who played top star Ryu Sun-jae in tvN’s 2024 hit drama and sang the OST himself, has also become a member.
Since last year, actors including Choo Young-woo, Lee Sun-bin, Jung Hae-in, Kim Min-seok and Cynthia have joined after performing songs in dramas and films. Industry officials say the trend reflects an evolving K-content business structure in which “performance” released through official recordings is increasingly treated as a specialized field and a right that deserves protection, regardless of how central music is to an actor’s career.
“K-dramas and films’ global success is also raising the value and impact of OSTs,” said Kim Seung-min, the association’s executive director. “An actor’s song is no longer a simple add-on. It is independent content and an area of rights that must be protected. The recent expansion of our membership spectrum clearly shows this change.”
Actors who join can receive neighboring-rights royalties and broadcast compensation for OSTs, insert songs and theme music they performed. Tracking and claiming usage across broadcasters, streaming services, IPTV and overseas platforms is, in practice, nearly impossible for individuals. The association manages domestic and international usage on performers’ behalf and handles rights administration.
The association also pursues retroactive payments for past uses that occurred before membership, through negotiations with businesses, providing tangible benefits even to actors who participated in OSTs for works aired long ago.
It also cites as a strength its 36 years of negotiating experience at home and abroad, which it uses to collect additional neighboring-rights royalties that individual performers may struggle to claim. Music-use revenue generated on YouTube, global OTT services and overseas streaming platforms is managed through reciprocal agreements with foreign performers’ organizations, the association said.
* This article has been translated by AI.
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