move by taemin was one of the greatest artistic projects ever undertaken for a single song. he filmed not one but three versions of the music video, with a different combination of dancers each time, in order to show the depth of the dance and how it changes in meaning when performed differently. the dance and the outfits defy gender roles, and the atmosphere that the soaking rain creates complements the aura of the song perfectly. the song itself has the sexiest beat and a synth that contrasts beautifully with taemin’s voice. in this essay i will discuss move’s groundbreaking artistry and its many layers as a thought-provoking piece.
each mv version is strikingly different from the others. the first is formatted as a short film centered around the dance, where the rain plays an essential role in telling the story. in the introduction, we look through the eyes of static-marred security cameras, which represent the false view we have of ourselves and others. later, we see intermittent clips of taemin in a glittering mask, while surrounded by people with glitching, censored faces, again highlighting the disparity between our true inner selves and our potentially flashy outer image. although this difference may be harmless, it can often be detrimental to our relationships. this then raises the question: how far is too much? in that particular scene, taemin alternates between shots of the mask on and off, perhaps indicating that it is unhealthy to keep up pretenses all the time. finally, the symbolism is rounded out by the inclusion of the rain: as the mv continues, we understand that the rain has the capability to wash away false appearances. at the end of the video, we see taemin walking away, alone, underneath the rain; the other dancers have disappeared, leaving only him and his newly-bared self.
the second version is titled “solo version”, which may seem slightly ironic, because taemin has backup dancers. however, this is simply a way to show that, even surrounded by people, we may still be alone. the outfits further this idea: the backup dancers are all wearing nearly identical outfits, while taemin wears a complementary but noticeably different ensemble. this version, then, is focusing on how the false images we construct for ourselves negatively affects our relationships with the people we interact with. if we construct a different version of ourselves for other people, there may not be a true connection. however, sometimes it is impossible to completely eliminate these differences; different occasions of course call for different demeanors and possibly personalities. an obvious instance is how we carry ourselves in a work environment versus at home. in this case, it may even be necessary to put on a new persona, in order to maintain professionalism. this is why taemin’s backup dancers have the exact same moves as taemin himself: he is not completely detached from himself and others, despite putting up a defensive mask. lastly, at the end we again see taemin alone in the rain, now free to be himself, whoever that may be.
in the third version, taemin embodies femininity while his partner koharu represents a more masculine side of the dance. the traditional gender roles of dance are swapped, as can also be seen in taemin’s sheer/provocative outfits. this version deals with how the self is not simply one part; the two dancers have extremely similar routines, and yet perform it completely differently. furthermore, as the video progresses and the rain continues to fall, the two parts separate into complementary, but very different ideas. such is how the mind works, with conflicting ideas intertwining to form a larger, complete self. this may be connected to the project as a whole: each of the versions carries its own meaning, and when taken together, form a new, all-encompassing entity. the end of this version is different from the other two, because it highlights a completely different aspect of the self. instead of taemin ending alone, the two dancers pull away at the very last second. this represents how, when an idea has been realized, the self decomposes into its separate parts again, leaving an emptiness behind where the cooperation once was.
the song itself is full of symbolism, but the most prominent theme is the idea that our natural self is perfect without alteration. this idea can be seen throughout the lyrics, and goes hand in hand with the videos. for instance, taemin tells his audience not to worry about smudged makeup or wrinkled shirts, “because we’re perfect just the way we are”. the addressee seems to be worried about their appearance while dancing, but taemin assures them that their unaltered self is more than enough. he is encouraging both the dancer and the general audience to concern themselves less on how they look to outsiders, and instead focus on their inner beauty. too much worrying about what other people think of us and our appearance is extremely unhealthy, and while it is fine to some extent to change how we act around certain people, it is essential that we do not lose sight of our true self.
pulsating beat and lovely vocals aside, move is truly an artistic and philosophical masterpiece. the different versions, as well as the lyrics, each have their own peculiarities that contribute to the overarching idea of what it means to be yourself. its impact can be seen throughout the industry, both in terms of reach and influence: it is difficult to name a single artist or group who has not covered the dance or song in some form, and it has encouraged many artists to break gender roles in their own work. it is also important to note that its writer and arranger, curtis richa, is a black man, which is uncommon in the kpop industry. with move, taemin has pushed the limits of his art form and gone further than any other artist before him.
