A statement released by HYBE x Geffen, the company who own the global pop girl group Katseye, expressed that member Manon Bannerman would be taking a “temporary hiatus” to focus on her health. Almost instantly, Bannerman clarified that she was in fact healthy, and alluded to something larger at play, thanking the fans for standing by her. Were these statements contradictory? By saying she was “taking care of herself,” was Manon referencing her mental health, or was something more sinister occurring? Conspiracies spiralled, with some arguing that this was — as indeed stated — surely a “temporary” situation. However, overall public opinion seemed to settle on the idea that this was a systemic issue; an example of a longstanding problem surrounding black female members of girl groups.
From the offset, Manon’s experience with the girl group involved a level of adversity. The documentary, Pop Star Academy: KATSEYE, detailing the formation of the group, showcased an environment where Manon was isolated from the group due to tensions surrounding her work ethic, with her being labelled “lazy”. Manon was one of the only girls without formal training, and also explained that she had taken time off when sick, noting the cultural difference between work life balance in Switzerland, where she is from, as compared to the US, stating that “in Switzerland, if you’re sick, you take a day off.” Once Manon made the group, fans noted several instances where she was absent from certain appearances and performances and frequently blocked in choreography. Whilst criticism of work ethic is valid in a highly competitive environment, it is hard not to look back at all of these situations and ask what was occurring behind the scenes, to ask why production used the narrative of a black girl being displayed as “lazy” when ill, and when there is a longstanding history of discrimination within not only pop girl groups but K-Pop at large.
Many black members of girl groups, from Little Mix’s Leigh-Anne to Fifth Harmony’s Normani, to The Pussycat Doll’s Melody Thornton, have issued public messages of support to Manon, with Thornton posting a picture of Manon with the caption, “We see you”. Her Instagram has been flooded with supportive messages from black female singers, artists and performers, from SZA to Tiffany Haddish commenting over the last few days. There seems to be an implicit understanding by black women within the industry of what is occurring, that this is a deeper issue, and indicative of the abuse and sidelining of black women in music. Manon herself appears to be calling for fans to see beneath the veneer, liking an article from The Cut about the mistreatment of black girl group members. All of these members have previously noted their experiences dealing with racism, isolation, and the feeling that they couldn’t work hard enough to get ahead and be perceived similarly to their white peers. Manon herself said in an interview with The Cut that “Being called lazy, especially as a Black girl, is not fair,” as “Now I feel like I always need to put in extra work to prove something, even though I really don’t.”
Furthermore, we have to consider what this means for the global group. Temporary hiatus’ within pop groups, at large, mainly turn into permanent absences, and these can consequently signal an end point for groups. From Zayn leaving One Direction to Camilla Cabello leaving Fifth Harmony, these exits can lead others within to begin to consider solo careers, or the group can simply become less appealing to fans. Fans have taken to social media calling for a boycott of the group over Manon’s hiatus, and scrutinising interviews to look for evidence of tension and difficult dynamics within the group. How will the group move forward? Will they be able to fairly address fan concerns surrounding discriminatory treatment? Can there be a Katseye without Manon if the hiatus is revealed not to be “temporary”? Their upcoming Coachella performance will be an indication, hopefully in time for Manon to make a return, and if not, we will see what transpires next.
“Katseye at Wango Tango 2025 (cropped)” by Warmtoned is licensed under CC BY 4.0.