The Grand Narrative

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Yes, the Korean title to the article does indeed say “depraved” oppas, with exactly the same sexual connotations in both languages. But if it’s news of some potential K-pop scandal that drew you here though, then I fear you’ll be disappointed!

Instead, it’s actually about the negatives of the girl-group phenomenon. And rather than by some sleazy tabloid journalist, in fact it’s written by academic Kang In-kyu, who spoke on Korean internet culture at the recent Korea Pop Culture conference at UC Irvine, and which also included Stephen Epstein’s and my own presentation on girl-groups. Sure enough, Kang later refers to – and is clearly influenced by – our work, but he also very much builds upon it, and we’re very happy to learn that the issue is beginning to get an airing in the Korean media.

Practically speaking however, unfortunately the article is also a little long, so I’ve split it into five parts to be put up over the next week or so (please consider this one just the introduction). But for the odd addition of my own words here and here though (indicated by square brackets), I’m afraid that also means I don’t really have the time to work on the style of the translation!

음흉한  ‘오빠들’, 소녀시대에 무슨 짓 한 건가 / What did Depraved Oppas do to Girls’ Generation?

아이돌, 착취사회의 경쾌한 합리화

강인규 기자

Idols, the light-hearted rationalization of an exploitative society.

By Kang In-kyu

(‘순진’, ‘애교’, ‘수줍음’, ‘여림’ 등은 걸그룹의 주된 이미지 전략이다. ‘오빠’로 대표되는 수동적 여성성의 회귀는 무기력해진 남성의 욕망을 드러낸다. 사진은 소녀시대의 ‘오!’ 뮤직비디오의 한 장면)

(Opening image caption: Naivety, aegyo, timidity, fragility, and so on are girl-groups’ main image strategy. This representative Oppa phenomenon reveals men’s desire for a passive, regressive, and powerless women’s sexuality. Photo: scene from music video to Oh!, by Girls’ Generation)

참 이상한 일이었다. 한국 성평등 지수가 세계 최하위 수준이라는 사실을 몰라서가 아니다. 2010년 세계성평등도 조사에서 한국은 134개국 가운데 104위를 했다. 20대 여성 자살률은 경제협력개발기구(OECD) 평균의 두 배가 넘고, 50대 여성 행복지수는 세계에서 가장 낮다. 한국에서 여자로 태어나는 순간 차별과 불행을 피할 수 없다.

Something a little strange happened [recently]. [I mean, it's] not that I didn’t already know that Korea has one of the lowest scores in the world for sexual equality. In 2010 [for instance], a survey found that of 134 countries examined, Korea came in 104th. It also had over twice the OECD average for suicides of 20-something women, and its 50-something women were the unhappiest in the world. Indeed, surely to be born female in Korea means it is impossible to avoid discrimination and bad luck.

그래도 이해할 수 없었다. 별안간 ‘오빠’ 바람이라니. ‘오빠 나 좀 봐’, ‘너무 부끄러워’, ‘몰라몰라’, ‘처음이야’, ‘떨려와요’, ‘동생으로만 생각하진 말아’, ‘난 울지도 몰라’, ‘나는 바본가 봐요’, ‘난 다 믿었어’. 아니, 믿을 사람을 믿어야지, 가정에서는 폭력, 사회에서는 차별을 재생산해 온 오빠를 믿는다니. 이 척박한 야만의 땅에서 한국 여성들은 차별과 고정관념에 맞서 끈질기게 싸워오지 않았던가. 내가 보기에, 이 난데없는 ‘오빠 바람’은 명백한 퇴행이었다.

Still, I didn’t understand. But then suddenly there was this “Oppa craze”. “Oppa, look at me”, “I’m so embarrassed”, “I don’t know, I don’t know”, “This is my first time”, “I’m light-headed”, “Don’t just think of me as a little sister”, “I don’t know if I’ll cry”, “I think I’m so foolish”,”I believe everything”. No, how dare you believe those oppas, who perpetuate sexual discrimination and domestic violence. Haven’t women been struggling tenaciously [for a long time] against prejudice and discrimination in this barren, barbarous land? In my opinion, this sudden Oppa craze is a clear regression.

(James – With thanks to the reader that made it and passed it on to me, above is a collection of segments from various girl-groups’ songs that show just how common the phrase “I don’t know” really is.  Also, he poses the interesting question of if it’s usually the designated cute and innocent members that actually sing it)

대체 언제부터 오빠가 이렇게 믿음직스런 존재가 됐을까? 한국여성의전화 2009년 조사에 따르면, 데이트를 해 본 젊은 여학생 중 78%가 정서적 폭력을 경험한다. 결혼 후에는 절반이 남편, 즉 ‘옛 오빠’가 휘두르는 폭력과 학대를 겪는다는 게 2011년 여성가족부 ‘가정폭력실태조사’ 결과다(한국 남성이 아내에게 폭력을 행사하는 비율은 영국이나 일본의 다섯 배가 넘는다). 직장에서도 남성에 비해 38%나 적은 보수를 받아, OECD 평균 임금격차의 두 배를 훌쩍 넘는다(‘언니’들이 이런 차별을 지지하는 경우는 많지 않다). 복고가 유행하더니, 젊은 여성세대가 전통적인 ‘의존형’으로 회귀하기라도 한 것일까?

Since when (and how on Earth) did oppas suddenly become so trustworthy? According to a telephone survey of Korean women in 2009, of young [university?] students who had dated 78% had experienced emotional abuse. Also, according to the results of a 2011 “Domestic Violence Status Survey” by the Ministry of Gender Equality and Family (MOGEF),  half of husbands had inflicted violence or abuse [on their wives] (this rate is 5 times higher those of Japan or the United Kingdom). And in the workplace too, women receive 38% lower wages then men, a gap more than twice as large as the OECD average (there are not many “Onnis” that support this!).

This trend of going back to the past, isn’t it just a regression, making a whole generation of young women dependent?

착각하지 말자. ‘오빠’ 바람이 보여주는 건 아저씨들의 욕망일 뿐이다. 어린 소녀들을 고용해 ‘오빠’ 노래를 부르게 하는 기획사 대표들 대다수가 남자고, 이 노래를 쓴 사람들 역시 예외 없이 남자다. 원더걸스의 대표곡 ‘텔미’와 ‘노바디’는 박진영이 곡과 가사를 썼고, 소녀시대의 히트곡 ‘소원을 말해봐,’ ‘오!’, ‘지(GEE)’, ‘훗’의 가사를 쓴 것도 유영진, 김정배, 김영후, 안명원/김영득, 이현규 등 모두 남자다.

Let’s not have any illusions here: the oppa craze just shows men’s desire. And [indeed], most of the entertainment company representatives who hire young girls to sing these oppa songs are men, as are – without exception – the writers. For instance, the iconic Wondergirls’ songs Tell Me and Nobody were written by JYP, and Girls’ Genertation’s hits Tell Me Your Wish, Oh!, Gee, and Hoot were written by Yu Yeong-jin, Kim Jeong-bae, Kim Yeong-woo, An Myeong-won, Kim Yeong-duk, and Lee Hyeon-gyu, who are all men.

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물론 남자들이 여자 가수의 곡을 쓰는 경우는 흔하다. 여기서 지적하고 싶은 것은, 걸그룹이 외치는 ‘오빠’가 ‘동생’들의 욕망과 아무런 관계가 없다는 것이다. 그들은 중년 남자들이 쓴 남성적 욕망을 립싱크하고 있을 뿐이다. 하긴, 오빠만큼 오빠의 욕망을 잘 아는 사람이 또 있겠는가. 머리만한 리본을 달고 손으로 하트를 그리는, 얼굴은 아이고 몸은 어른인 반인반수 아니, ‘애교 소녀’. 남자들의 욕망은 이렇게 단순하다.

[But] of course, it’s not uncommon for men to write the lyrics to female singers’ songs. What I want to point out is that when girl-group members cry out “Oppa”, it has nothing to do with being a little sister; it is simply lip-synching men’s desire, as written by middle-aged men. [After all], nobody knows oppas’ desire better than oppas. And when girl-group members wear ribbons as big as their head, draw hearts with their hands, and have childlike-faces but the bodies of women, they are not some half girl-half women creature but instead “Aegyo Girl”. Men’s desires are that simple.

(걸그룹 기획사는 어린 멤버들의 신체를 거리낌 없이 사물화한다. ‘지(GEE)’ 뮤직비디오에서 소녀시대 멤버들은 쇼윈도의 마네킹으로 등장한다. 남자 출연자는 이 ‘인형들’을 보고, 만지고, 원하는 방식으로 재배치한다)

(Image caption above: Girl-group entertainment companies have no scruples about objectifying members’ bodies. Here in the music video to Gee, the members appear as mannequins in a shop window, while a male performer looks at them as if they were dolls, and moves them around and touches them however he wishes)

James – And on that note, Part 2 on An ‘Oppa Industry’ Founded on Powerless, Frustrated Men’s Desire / 무기력한 남자의 욕망에 기초한 ‘오빠 산업’  can be found here.