Why I’m Entering the Grammys’ New Asian Pop Category Despite the Backlash (Guest Column)

When the Recording Academy introduced the Best Asian Pop Music Performance category, I was taken aback by the criticism it received. The organization seemed to be acknowledging lesser-known music, languages, and cultures in the American music scene; why would that be a problem? After further investigation into the concerns raised, I began to grasp the perspective of some Asian artists and fans.

The creation of a separate category raises questions regarding whether it truly benefits those artists or merely reinforces an expectation for them to stay within that category. While I do acknowledge that the language requirement and selection process might not be ideal, I chose to enter the competition nonetheless. My entry is not an endorsement of every aspect of the category, but rather a recognition of an opportunity for discovery.

As a member of the Recording Academy, I envision listening to entries from various Asian artists and potentially discovering new genres and styles that I have not been exposed to before. Some critics seem to focus solely on the presence of well-known Asian superstars, neglecting the broader spectrum of Asian pop music. This category could offer an invaluable platform for independent artists working in Mandarin, Japanese, or Korean, granting them the attention of thousands of music professionals who might not otherwise hear their work.

Nevertheless, I believe that Asian artists should continue competing in all other categories as well. An Asian artist deserves recognition in record of the year, song of the year, and album of the year. Establishing a category specifically for Asian-language music should not be interpreted as a means to exclude those artists from the rest of the music world.