If you’re a Western student of Korean, then probably you’ve experienced the same dilemma I have: you’d like to watch dramas to improve your listening ability and get a handle on everyday language, but are put off by their excessive melodrama, cliches, and often poor quality. Which is not to say that all of them are bad of course, but when you do find one you like, then you can struggle in vain to find Korean subtitles to them. For Korean torrent sites naturally don’t bother to provide them, and Koreans’ rampant illegal downloading means that it’s extremely difficult to find DVDs of Korean dramas (if they even exist).
So, either you have to watch dramas with distracting English subtitles, or struggle to understand the stories with none at all. If only there were some alternate way to study the dialogue in advance, or read it as you go along. Sure, Dramabeans’detailed synopses of each episode of most dramas are very helpful for the gist, but I think I speak for most when I say we’re really after something more akin to transcripts…
Enter “드라마사진만화”, or “드라마영상만화”: a little like manhwa books, but with photo stills from the drama, rather than hand-drawn pictures. Please see Shanna’s post about them at Hangkukdrama and Koreanhere for more information, and which so impressed me that I immediately ordered some for Secret Garden. And you can just imagine how I felt when I read that she’s had some for over 3 years, when this is the first I’ve ever heard of them!
Does anybody else already used them? What did you think?
Here’s my translation of a brief report from Sunday’s 8 News. Unfortunately, SBS is pretty strict about copyright, so I can’t risk uploading the video to Youtube. But it’s readily available at the original link:
‘애인인척‘ 술취한 20대여인옆에앉아성추행 / Drunk man sits next to drunk 20-something, pretends to be lovers, sexually assaults her
Anchor:
지하철에서 옆자리에 잠든 20대 여성을 마치 자신의 여자친구인 양 쓰다듬으며 성추행하던 남성이 붙잡혔습니다. 카메라에 그 모습이 담겼는데요, 정경윤 기자가 보도합니다.
A man has been arrested [in Seoul] for sexually assaulting a 20-something woman sitting next to him on the subway, pretending she was his girlfriend. This scene was recorded on camera. Jeong Gyeong-yoon reports.
Jeong Gyeong-yoon:
지난 20일 새벽, 지하철 전동차에 50대 남자와 20대 여자가 나란히 앉아 있습니다. 여자는 잠들어 있고 옆에 앉은 남자는 마치 연인처럼 행동합니다 10여 분간 껴안고 쓰다듬는 등 신체 접촉을 계속합니다. 하지만 이 남자의 행동을 수상하게 여긴 한 시민에 의해 성추행은 발각됐습니다.
In the early hours of Wednesday the 2oth, a man in his 50s and a women in her 20s were sitting side by side on a subway train. While she was sleeping, the man acted as if they were lovers for about 10 minutes, embracing and caressing her, and continuously touching her body. But this looked a little suspicious to another passenger, through whom this sexual assault was exposed.
[라 모 씨/목격자 : 나이 차이가 많이 나 보이고 수상해서 계속 보는데, 여자를 깨워서 이 남자분 아시냐고 했더니 모른다는 거예요. 바로 남자 멱살을 잡고 끌고 나왔죠.]
(Anonymous) Recorder of video: Because the difference in their ages was so great, it looked a little suspicious to me, so I kept an eye on them. When the woman woke up, I asked if she knew him, and when she replied that she didn’t, I immediately grabbed him by the throat and dragged him off the train.
남자는 현행범으로 경찰에 붙잡혔지만, 술에 취해 기억이 나지 않는다며 혐의를 부인했습니다.
지난 5월에는 심야에 20대 여성이 성추행을 당한 뒤 도망쳤지만 주변 도움을 받지 못해 또 다시 폭행당하는 사건도 있었습니다. 지하철 성범죄 가운데 심야 시간대 발생 비율은 4.1%. 하지만 취객이 많고 주위 도움을 받을 수 없는 경우가 많아 여성들이 느끼는 불안감은 더 큽니다.
The man was arrested by police, but because he was drunk he didn’t remember it, and denied doing it.
In May, there was also a case of a woman who also sexually assaulted [James – presumably on the subway] at about midnight, but when she escaped she was unable to get any help, and so got sexually assaulted again. And the reported cases of women being sexually assaulted on the subway in the late evening have increased 4.1% [James – compared to last year?]. With so many drunk people [men?], and so many cases of no help being available, then women are increasingly anxious.
[장소영/서울 천호동 : 술주정 하시는 분들도 많고, 그런 분들이 다른 여성들한테 해코지 하는 것도 많이 봐서…]
Jang So-yeong, Seoul (Cheon-ho dong) resident: There are many drunk people [men?] around, I’ve seen them treat women badly many times…
늦은 시각 지하철 성범죄가 잇따르자 서울시가 19년 만에 여성전용칸을 부활하겠다는 방침을 밝혔지만, 반응은 신통치 않습니다.
Because there was a succession of sexual crimes on the subway 19 years ago, then back then a special women-only carriage was provided. This idea is being revived, but public reaction has been negative.
[지하철 역무원 : 취약 시간대 별 효과 거두지 못할 것 같아요. 여성 전용칸만 보고 지키는 사람이 없잖아요.]
Subway Worker: I don’t think it will be effective at those late hours when women are most vulnerable. It’s not as if labeling a carriage women only will dissuade people who set out to assault women.
지하철 성범죄는 갈수록 늘고 있지만, 대책은 아직도 미흡합니다.
Day by day, sex crimes on the subway are increasing, but there’s still no satisfactory policy to deal with them.
(영상취재 : 홍종수, 영상편집 : 박선수) 정경윤 rousily@sbs.co.kr / Data Collection: Hong Jong-soo, Editing, Compilation: Park Seon-su. Written by Jeong Gyeong-yoon (end).
Unfortunately that report raises many more questions than answers, but still: kudos to the guy who didn’t just record the scene but actually did something about it as well. And thanks to reader Mallory for passing the report on.
For anyone further interested, see Global Voiceshere for much more on the Korean public reaction’s to the planned women-only subway cars (update: the Marmot’s Holealso has a post on it), or The Three Wise Monkeyshere for some context on the recent increase in sexual crimes in Seoul specifically (including some mention of subways). Or, for more on sexual harassment and sexual assault in general, see my posts in that category, especially this one on groping.
(p.s. If anyone’s curious, some text on the screen said that the incident happened on Line 5)
It’s said that the fashion industry has favored skinnier and skinnier female models over the years because it’s dominated by gay men, right?
But since when are all, or even most gay men attracted to such androgynous figures? In reality, their tastes are just as diverse as heterosexuals’, and you don’t need my own experience of living with gay prostitutes to know that. Or that one’s sexuality doesn’t preclude an aesthetic appreciation of healthy curves either.
On the other hand, it’s also true that there’s a price to be paid for challenging the waiflike norms for models in the fashion industry, the corollary of which would be that it attracts people who share those norms. But how did those norms arise in the first place? And again: why the trend towards thin?
Taking for granted a symbiotic relationship between fashion and consumerism, then a better explanation for both is the constant financial imperative of related cosmetics, clothing, and dieting companies to create false needs in the minds of consumers, all the better to sell new products to them that (supposedly) help them fulfill those needs.
I concede that that may sound simplistic, even conspiratorial. But take the classic Korean example of the “X-line” for instance: a body-shape completely impossible outside of Photoshop, but which creators Amore-Pacific will sell products to help you attain nevertheless, aided by articles like this from the Korea Times that cheerfully reported that the X-line was hugely popular among young Korean women.
Despite the only “evidence” for that coming from Amore-Pacific itself.
Are these women both personification and culmination of the trends mentioned above? It’s certainly tempting to think so (and just between you and me, I do). But it’s also true that while Girl’s Generation, for instance, have indeed endorsed beauty products, even going so far as to prominently display one in a music video, they’ve also endorsed pizzas and fried chicken. So if there is a relationship between those celebrities’ weights and consumerism, in Korea it’s clouded by management companies relying heavily on endorsements – any endorsements – to make profits.
Nor are they often challenged, let alone by celebrities themselves.
Which is why it was so exceptional last week for Uee of After School to not only reveal that she was eating enough, but to also pass on the common-sense that:
Many people starve themselves when they are on a diet, but that doesn’t help. You have to eat well in order to lose weight more easily.
And on that note, hopefully you can appreciate why I felt some context was necessary before passing on the news (UEE EATS FOOD! READ ALL ABOUT IT!). But is she indeed the first celebrity to speak out like that? Or can any readers think of any others? By all means, please prove me wrong!
Update 1 – While she’s not quite as well-known, I forgot about the example set by Koyote’sShin-ji last year (see #7 here).
Update 3 – And to Seri, for mentioning Hwang Jung-eum. She’s not exactly my favorite celebrity, as she’s endorsed Sketcher’s completely useless “Shape-ups”, but I suppose that’s no worse than UEE reveling in the attention given to her “honey thighs”.
Update 4 – YG Entertainment’s exclusive trainer, Hwang Sung Chan, briefly discusses Park Bom’s diet here. While it’s good that he mentions how the media often distorts information about celebrities’ diets, widely reporting that she only ate watermelon rather than a lot of watermelon for instance, unfortunately he doesn’t give any details about what she does eat.
(15 year-old f(x) band member Sulli {최설리} in February 2010 Oh! Boy Magazine; source)
In short, “yes, but…”(!), as I explain in this opinion piece I recently penned for the Korea Herald. It’s pretty faithful to the original, for which I’m grateful, but unfortunately two crucial sentences on boy-bands got edited out at the beginning of paragraph 4. It should read:
This is why this discussion is overwhelmingly about girls. However, owners of boy-bands too have been affected by the ensuing pressure to make them stand out from their competitors. Add in Korea’s notoriously high levels of illegal downloading, ensuring that profits in the Korean music industry are overwhelmingly from concerts and commercial endorsements (and which explains why 75% of Korean commercials feature celebrities), then courting controversy with ever more provocative performances is a no-brainer really.
This translation of part of this Korean article follows directly from Part 1 and Part 2. If you haven’t already, please read those first, as the author didn’t intend for any section to be a stand-alone post:
‘비정규직 세대’의 이중착취 / The Double-Exploitation of the“Irregular Generation”
아이돌 바람을 일으킨 기획사 대표들에게는 몇 가지 공통점이 있다. 스스로 연예계에서 활동하며 발을 넓힌, 중장년층의 남자들이라는 것이다. 이들은 경제위기 이전에 사회에 진출해 상당한 부를 축적한 기성세대면서도, ‘비정규직 세대’와 취향을 공유할 수 있을 만큼 젊은 경우가 대부분이다.
The representatives of management companies that gave rise to the idol boom have many points in common. First, they are middle-aged men who developed their careers within the entertainment world by themselves, before the Asian Financial Crisis. Also, while they are an old generation with accumulated wealth, most are still young enough to share the tastes of the “irregular generation”.
다시 말해, 아이돌 기획자들은 무력한 남성들의 욕망을 이해할 만큼 젊고 영악한 ‘동료 남자’들인 동시에, 이 수요를 가공해 상품으로 내놓을 수 있을 만한 돈과 연줄을 지닌 사람들이다. 반면에 대다수 젊은 세대가 지닌 건 욕망과 (아르바이트로 모았을) ‘미니앨범’을 겨우 살 주머니 푼돈뿐이다.
In other words, management company representatives are young and shrewd enough to understand powerless men’s tastes, and have the money and connections to produce manufactured goods (idols) on demand. On the other hand, the thing which most of the young generation have is desire, but only enough pocket money (or money gained from part-time jobs) to buy mini-albums.
한국의 현재 청소년들은 꿈을 꿀 수 없는 불우한 세대다. 유치원 시절부터 학교, 학원, 과외로 이어지는 가혹한 경쟁체제 속에서 고통 받지만, 이들에게 준비된 미래는 없다. 소수의 ‘좋은’ 대학을 갈 경쟁력은 돈으로 길러지고, 운 좋게 입학 기회를 얻는다 해도 돈 없이는 학교에 다닐 수도 없고, 살인적인 ‘스펙’ 경쟁도 불가능하다. 졸업생을 기다리고 있는 것은 차별, 실업, 비정규직으로 이어지는 잔인한 현실이다.
Korean teenagers now are an generation of misfortune, which can’t have dreams. From when they’re in kindergarten, to attending school, hagwons, and receiving private tutoring, they suffer greatly from the competitive system into which they’re placed, yet despite that have no future to prepare for. They can use money to increase their chances of getting into one of the very few “good” universities, but even if they [are indeed] lucky enough to gain a place to one they may be unable to afford the fees, and [besides which] it would still be impossible to get killer “specs” [James – a good background]. Graduating students now face a merciless reality in which they have nothing but discrimination, unemployment, and/or irregular, unstable work to look forward to.
아이돌 그룹은 이 가엾은 세대에게 두 가지 의미의 ‘위안’을 준다. 하나는 암울한 현실을 잠시 잊을 수 있는 오락이고, 다른 하나는 ‘나도 아이돌이 될 수 있다’는 꿈이다. 하지만 이 ‘위안’은 기획사가 비정규직 세대를 피라미드형 착취구조로 이끄는 미끼에 지나지 않는다. 젊은 세대는 아이돌 음악을 사는 소비자인 동시에, 오디션에 참여해 ‘아이돌 예비군’인 연습생 자리를 채워주는 ‘인력풀’이다.
Idol groups give comfort to this hapless generation in two ways. One, is through giving some pleasure that allows them to forget their miserable reality for a moment, why the other is through fostering the belief that they too can become idols. But this “comfort” is nothing but bait for a pyramidal exploitation structure of them. [As] while the young generation purchase music as consumers, at the same time they also audition to become a labor pool of “idol reserves”.
이들은 기획사에 수익과 인력을 댈 뿐 아니라, 열광과 환호로 아이돌에게 매력적인 지위도 부여한다. 결국 ‘아이돌의 꿈’을 구성하는 부, 인기, 명성은 모두 비정규직 세대 자신들이 공급하는 것이다. 하지만 꿈의 주인공이 되는 것은 오직 기획사를 통해서만 가능하다.
While these idol reserves represent profit and a labor pool to the management companies however, to them themselves they are given an attractive position through widespread public adulation and passion for them. In the end, everything that an idols’ dreams are composed of – wealth, popularity, fame – are things that they provide for themselves. But although they are the central character in their dreams, these are still only possible through management companies.
Caption: 걸그룹 기획사가 가장 중요하게 여기는 것은 의도된 노출에 적합하고 손쉽게 대체될 수 있는 획일화된 신체다.
Image Caption: [When it comes to idols], The most important thing for management companies to consider are standardized bodies suitable for skin exposure and easily replaced (end).
James – My apologies in advance for any mistakes in the translation, which I admit that I (and then my long-suffering wife) struggled with much more than I did the first two parts. Much of my confusion though, stemmed from – to my mind – Kang’s abrupt shift here from talking about the “irregular generation” in the first half of the article (i.e. the target audience of girl groups), to the “young generation” that the girl-group members belong(ed) to in the second half. However, it does serve as a good introduction to Part 4’s discussion of their exploitation with the Korean music industry, which you can find here.
Sorry for the short notice, but I’ve only just found out about it. Still, that might actually be a good thing(!), as like Gomushin Girl put it:
…I’m sure part of the reason lots of expats haven’t heard about it is because the Facebook page and most of the planning has been done by and for Koreans, which is freakin’ awesome.
Indeed. But I’m sure the organizers would still be more than happy for any spectator support and/or even participation by expats, so please contact them via their blog, Facebook page, or Twitter feed if you’re interested (and here’s the Wikipedia page for more about Slutwalk in general). And, with it starting at 4pm in Gwanghwamun, I’m happy to report that I’m actually going to be able to see it myself, as by a great coincidence I’d already just booked KTX tickets to see a friend in Seoul at the very same time and place!^^
This translation of part of this Korean article follows directly from Part 1. If you haven’t already, please read that for the background:
An ‘Oppa Industry’ Founded on Powerless, Frustrated Men’s Desire / 무기력한 남자의 욕망에 기초한 ‘오빠 산업’
‘오빠’ 노래가 최근 처음 등장한 건 아니다. 하지만 여자 가수들이 약속이나 한 듯 동시에 ‘오빠’를 불러대는 모습은 과거에도 보기 드문 장면이었다. 대체 어떤 연유로 ‘오빠 강풍’이 불기 시작했을까?
This is not the first time that there have been Oppa songs. But, just as you’d expect, it was rare to find female singers [actually?] saying the word in past songs. [So] what on Earth was the origin of this Oppa Craze?
물론 ‘오빠’ 소리를 듣고 싶은 남자들이 많기 때문일 것이다. 걸그룹에 열광하는 남자팬들의 다수가 연애조차 하기 힘든 비정규직 세대라는 점을 기억할 필요가 있다. 이들이 걸그룹에 환호하는 이유는 소위 ‘초식남’이 만화주인공과 사랑에 빠지는 이유와 비슷하다. 그들에게 걸그룹은 ‘망가걸’의 실사판인 셈이다.
Of course, the reason is that there are many men that want to be called “Oppa”. We need to remember that the majority of enthusiastic male fans of girl-groups are a generation of men who work hard at irregular, [dead-end] jobs, and [so?] have difficulty even getting a date. The reason they cheer girl-groups is similar to the reason so-called “Herbivore Men” fall in love with the main characters in manhwa comic books: to them, girl groups members are like real-life versions of “Manga Girls”.
James: jumping ahead to a point I’ll make again in the conclusion, things like this mean we should be very wary of such sweeping statements about the demographics of K-pop fans, not least those made by myself. But I do find Kang’s arguments compelling overall.
한국 걸그룹이 외환위기 이후에 등장했다는 사실은 의미심장하다. 특히 한국 경제가 장기침체로 들어선 2000년대 후반 등장한 원더걸스나 소녀시대는 1990년대 후반의 에스이에스(S.E.S.)나 핑클 등의 ‘1세대 걸그룹’과 구별되는 특성을 보인다. 훨씬 어리고, 노출 정도가 크고, 몰개성적이며, ‘리드보컬’ 개념이 매우 약하거나 존재하지 않으며, 대규모 오디션과 ‘연습생’ 제도에 의존한다.
It is telling that Korean girl-groups first appeared after the Asian Financial Crisis of 1997-98. And [in turn] the Wondergirls and Girls’ Generation that appeared in the second half of the 2000s, after years of economic stagnation, can be distinguished from those “First Generation Girl-groups” such as S.E.S. and Fin.K.L. in several ways: they were way too young; they exposed their bodies a great deal more; they were de-indivualized, with the “lead vocal” concept not existing at all; and they depended on intensive audition-processes and practice and training-sessions.
James: Matt at Gusts of Popular Feeling has two great posts on the differences between the two generations of girl-groups here and here, and Mellowyel at Mixtapes and Liner Notes has an equally interesting post here that deals with those and other differences, including less stress on vocals by later groups. But while I certainly agree with all those differences, and would be the first to admit that many girl-group members are essentially faceless and interchangeable to all but their most ardent fans, nevertheless I think saying that they’re “de-individualized” puts it a little too strongly, masking an important point. Specifically, consider what Philip Vannini and Scott Myers wrote about manufactured Western bands a decade ago (in “Crazy About You: Reflections on the Meanings of Contemporary Teen Pop Music”, Electronic Journal of Sociology, available online here):
Producers’ control extends from songwriting to image-packaging and personality development. Any boy-band act is put together to appeal to various personalities and life outlooks of fans as each band includes a member portrayed as cute and sweet, one funny, one good-looking and mysterious, one creative and goofy, one talented and motivated, one dark and tough, and such. Bands are created with the consumers’ demand in mind…
Then compare what allkpop wrote about Korean girl-groups last year (the first source I could find sorry!):
Osen recently pointed out that cute members of female groups tend to generate widespread interest and bump up a group’s popularity singlehandedly. Every member has their own individual role in the group, and every group has a member in charge of being the ‘cute’ one. In Korea, fans call this certain member “Kui-yo-mi (귀요미),” meaning “the girl with the cute image (귀여운 이미지를 가진 이).” This member is in charge of garnering fanboy love with her cute/lovable/girly charm, which will result in a bigger fanbase for the group. In this report, Osen identified four girl group members that fit this role.
So sure, while many girl-groups are large, and some are getting larger all the time, who’s who in them does still have some relevance. (AKB48 they ain’t!)
Back to the article:
Caption: 한국 걸그룹은 ‘망가걸’의 실사판 이미지에 가깝다. 리본, 분홍, 천진한 표정이 드러내는 유아적 여성 이미지와 검은 눈썹에 금발을 한 인물의 탈국적성 등은 일본 만화캐릭터에서 보편적으로 발견되는 특성이다.
Caption: Korea girl-group members are close to being real-life Manga Girls. There’s the ribbon; the pink; and the naive, innocent expression, which combine to give an infantile image. Add black eyeliner and blond hair, and you’re left with an figure devoid of ethnicity, i.e. the universal Japanese manhwa character.
나머지는 ‘세대착취’ 부분에서 자세히 다루기로 하고, 우선 ‘어린 나이’와 ‘노출’에 대해 살펴보도록 하자. ‘롤리타 콤플렉스’라 불리는 소아성애는 약화된 남성성과 관련이 있다. 경제적 능력이 남성 권력의 토대인 가부장제 사회에서 경제력의 상실은 곧 남성성의 상실을 의미하게 된다.
I will talk more about the exploitation of this generation in detail later [in Parts 3-5]. First, let’s examine the issue of exposing the bodies of young people. [In short], there is a relationship between this pedophilia called the “Lolita Complex” and weakened male sexuality. And in a patriarchal society based on economic ability and male power, accordingly the loss of economic power equates with a weakening of male sexuality.
한국경제가 장기침체에 들어서며 어린 ‘2세대 걸그룹’이 등장했듯, 일본 역시 1980년대 경기침체를 겪으면서 ‘로리콘(ロリコン) 캐릭터’가 급부상했다. 한국 걸그룹과 일본의 ‘로리콘 캐릭터’의 속성은 동일하다. ‘어린 얼굴에 성인의 몸을 가진, 위협적이지 않은 성적 대상’이다. 약화된 남성들에게 성숙하고 당당한 여성은 감당할 수 없는 위협이기 때문이다.
When the Korean economy entered a period of long-term stagnation, the second generation of girl groups-appeared. Likewise, Japan also went through a period of long-term economic stagnation in the 1980s, and “Lolicon” characters quickly appeared. Korean girl-group [members] share many characteristics of these Lolicon characters. With childlike faces with adult bodies, they are non-threatening sex-objects. Because to weakened men, mature and confident women are too threatening.
<게으름뱅이 정신분석>의 저자 기시다 슈도 비슷한 맥락에서 성범죄를 분석한다. 그에 따르면, 성범죄자는 남성성이 넘치는 사람들이 아니다. 이들은 정상적인 교류상황에서는 성능력을 발휘할 수 없는 ‘고자’ 혹은 ‘불능남’이기 때문에, 여성을 위협해 무기력한 상태로 만들거나 아예 저항 능력이 없는 연소자나 장애인을 택해 범죄를 벌인다는 것이다.
Syu Kishida, author of “A Psychoanalysis of Lazy Bastards”, made similar lines of connection with sex-criminals. According to him [her?], sexual criminals are not [exactly] men overflowing with male sexuality. [Rather], because they are “eunuchs” or impotent men who can’t develop sexual ability through normal [life and] interaction, they prefer to threaten or make women powerless, or choose to commit sexual crimes against the young or disabled because those groups are unable to reject them.
스티븐 엡스타인과 제임스 턴블이 잘 정리했듯, 한국 걸그룹은 ‘순진’, ‘애교’, ‘수줍음’, ‘수동성’, ‘도발’ 등의 특성을 갖는다. 얼핏 보면 ‘순진’, ‘수줍음,’ ‘수동성’은 ‘(성적) 도발’과 대치되는 듯 보이지만, 사실은 모두 ‘도발’을 위한 장치일 뿐이다. 무기력한 남성을 도발하기 위해서는 순진하고, 여리고, 수동적인 여성 이미지가 필요하기 때문이다.
Stephen Epstein and James Turnbull summarized this well. Korean girl-groups’ shared characteristics are naivety, aegyo, shyness, passivity and sexual provocation. While at a glance those first personality traits seem to contradict the last, in fact all are simply a device for sexual provocation. To powerless men, a naive, weak, and passive image of women is required for this.
한국에 등장한 ‘꽃미남’, ‘화장하는 남자’, ‘초식남’은 일본이 앞서 경험한 현상이다. 그렇다면 한국 걸그룹이 해외에서 얻는 인기는 경기침체로 인한 ‘롤리타 콤플렉스’ 및 일본 ‘로리콘 캐릭터’의 보편화와 떼어 생각하기 어렵다.
Trends for men that have emerged in Korea, like “Flower-Beautiful-Men” (Kkotminam), “Cosmetics-wearing Men”, and “Herbivore Men” are all things that Japan has also experienced. On that basis, it’s very difficult not to think that there’s something in common with the popularity Korean girl-groups are gaining overseas [Japan surely?] and the popularity of the Lolita Complex and Lolicon characters there that arose with long-term economic stagnation (end).
James: I think Kang’s central point about the economic and consequent cultural parallels between Japan and Korea is valid, and that it’s certainly true that some Japanese men’s liking of the Lolita Complex and Lolicon characters would predispose them to also liking Korean girl-groups. But with this final paragraph, I think he extrapolates a little too much, for two or three reasons (source, right):
1) There are huge differences between Japanese Herbivore men and Korean Kkotminam (I’ve never heard of “Cosmetics-Wearing Men”), the latter of which would by no means be considered powerless. But I concede that Kang may simply have been pointing out yet more similarities with Japan here, rather than making a connection to those particular groups of men and male fans of Lolicon and Korean girl-groups per se.
2) More to the point then, has any actual research been done to confirm these alleged tastes in Lolicon and so on of Japanese male fans of Korean girl-groups? (While it does makes sense, like I said we should be very wary of taking it as a given, particularly considering the next point)
Which again demonstrates the need for more research into the demographics of Japanese K-pop fandom. Or perhaps it has already been done, and readers can point me in its direction? (Hint hint)^^ Meanwhile, see Part 3 on The “Irregular Generation’s” Double-Exploitation / ‘비정규직 세대’의 이중착취 to continue the discussion!
Caption: 일본 ‘로리콘’ 캐릭터. 1980년대 일본 경제침체가 심화되면서 ‘위협적이지 않은’ 어린 소녀를 성적 대상화하는 현상이 두드러졌다. ‘롤리타 콤플렉스’는 무기력한 남성의 정체성을 반영한다. 외환위기 이후 등장한 한국의 걸그룹 현상도 같은 맥락으로 볼 수 있다.
Caption: Japanese “Lolicon” characters. With the deepening economic stagnation in Japan in the 1980s [1990s?], the sexual objectification of unthreatening young girls became noticeable. This Lolita Complex reflected the identity of powerless men, as does the rise of Korean girl-groups.
If so, then let me direct you to an interview I gave last week for Deutschlandradio, on the economic factors behind the sexualization of minors in K-pop (I’m on at about 3:05).
Meanwhile, English speakers never fear(!), for I should have a newspaper article on the same subject coming out either this week or the next. And Part 2 of my translation of the “What did Depraved Oppas do to Girls’ Generation” article will be up tomorrow.
Update – With special thanks to Curtis for translating it, here is the short article that accompanied the radio report:
Economic Factors: Girlbands
Report by Malte Kollenberg and Fabian Kretschmer
(Girl- and boybands are an important part of the economy in South Korea. Source: plynoi)
South Korean boy- and girlbands are also internationally successful. A general music- and dance-style concept is created and from this concept a look is agreed upon. To acheive this look, the young band members go under the knife ever more frequently.
Pop music in South Korea is a major economic factor for the country. In 2009 the industry earned 30 million dollars, and according to government statistics, this number doubled in 2010. The most important market is the country itself, but Japan and the USA are also markets of interest. Korea’s largest record label, S.M. Entertainment, currently tours around the world with different bands in a Global-Audition-Tour.
Lavish Choreography
Girl- and boybands who present lavish choreography in large shows are typical for K-Pop – for example, the 13-member boyband Super Junior and Wondergirls. As is usual in the international music market, the bands are cast, and the musical style and looks of the artists are decided by the record label. Plastic surgery is generally accepted by South Korean society and is a standard in K-pop. From this arise greatly deliberated and perfectly coordinated images.
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 a recent Korea Pop Culture conference at UC Irvine, which also included Stephen Epstein’s and my own presentation on girl-groups. Sure enough, Kang later refers to — and is clearly heavily 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 groups’ 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.
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.
In a nutshell, because there’s not enough of them with the same level of education, as this comprehensive report from the Joongang Daily makes clear. Call it a side-effect of the number of women in universities doubling over the last 10 years (at least in Seoul).
Lest foreign readers also give up on ever finding a Korean man though, I’m No Picasso (posting at Ask a Korean!) has a lot of sage advice on how to do so, and then Suzy Chung at The Korea Blog provides a rundown of all the coupley things you have to in Korea do once you’re successful.
For those not in Korea, please consult Ask a Korean! again, who also has twoposts on interracial dating from an American perspective.
2) Sexual assault on the rise in Seoul
For the details, see The Three Wise Monkeyshere, to which Michael Hurt of Scribblings of the Metropoliticanadds that it’s good that the Korean press is finally noticing. Unfortunately however, the news from Asian Correspondent that police harassment of a sexual harassment victim drove her to attempt suicide isn’t a good sign, nor that a rape victim successfully did so after being insulted by the judge (although this latter may actually be a fabrication by the Korean media).
3) Finally, a female singer for my daughters look up to!
Like Busan Haps says, what’s not to like about Velvet Geena, and I’ll direct you to her interview there post haste.
After you’ve read that, contrast the role model one of Korea’s “official” female idols is providing, which apparently involves starving oneself:
4) Korea’s skincare obsession
Hey, I’ve said it myself many times myself, but then I’m a fat, bald, white guy that doesn’t exactly scream “skincare expert” to most. Hearing it from an actual model though, then I think I can now rest my case(!):
Growing up in Sweden, I have learned that the best way to take care of your skin is to eat healthy food, drink a lot of water, not to smoke or drink too much alcohol, and to protect your skin from too much sun. Even if it’s good to use moisturizer and other sorts of skin care products, that’s not the most important thing. Furthermore, how your skin changes with age also has to do with genetics, and that you cannot control.
In Korea, and I don’t quite know why that is, people seem to think that the most important thing is to use the right skin care products…
As you probably know, I’ve written a lot about abortion in Korea, particularly the Lee Myung-bak administration’s decision to criminalizeit in order to raise Korea’s world-low birthrate (yes, really). But still, nothing compares to Melissa Salvatore’s description of going through the process of getting one here:
This is a story of my experience with abortion as an expat in Busan, South Korea. I understand this is a controversial issue, and I am neither trying to encourage nor discourage abortion to other women. I simply want to use my story as an example of having this experience here and to provide other women with options and resources available to them. It is said that abortion is one of the loneliest experiences a woman can ever go through. I want women here to know that they are not alone, and have support.
7) Actress’s support draws public attention to female laborer’s fight
Likewise something that deserves to be much better known (source, right):
Actress Kim Yoh-jin’s open support of a female labor activist is drawing fresh public attention on the otherwise unnoticed struggle the laborer stages on a 35-meter-high crane in a shipyard in the southeastern part of the country.
Kim’s appeal for the union member is pitting netizens and civic groups against the police and management of the company.
The 39-year-old actress is making headlines almost daily as she is not only actively expressing her opinions through Twitter on a number of sensitive social issues but by actually visiting strike locations where various struggles are taking place as well.
Read the rest at the Korea Timeshere, and kudos to Kim Rahn for drawing attention to it.
Update 1: For further information and updates, see the Three Wise Monkeyshere.
Update 2: Evan Ramstad provides an alternative, much less positive view of the protest here.
In [the June 4] edition of OhmyNews.com, Michael Hurt…contributed an excellent piece (titled “‘Korean Beauty’ Wins International Competition Only To Be Cast Aside By Korea”) on Mini Han (한민희), who won the 2010 Miss Internaional Queen pageant. He uses the pageant to raise awareness about the still widely held attitude of prejudice and fear regarding non-heteronormative sexual identity in Korea.
Speaking of Michael, let me pass on a belated congratulations for the launching of the Yahae! fashion magazine!
Okay, maybe not you specifically! But to anyone that did, let me point them in the direction of 유♥웃’s boyfriend’s friend’s first sexual experience.
Update: With thanks, here and here are more examples passed on to me by From Noona With Love.
10) Yonsei University students on sex and the media
Last but not least, the English-language Korean blogosphere can never have enough input from Koreans themselves. See here, here, and here for their opinions on sex stereotypes in the Korean media; the media’s effects on women’s body images; and overlooked sexism in the media respectively!
It’s a strange feeling, being disappointed by the release of a 2NE1 music video.
Perhaps the closest analogy would be a few weeks after you first leave home, when the excitement of non-stop partying wears off. Suddenly, you realize that it’s up to you to do the housework, take care of yourself, and somehow pay the bills. Maybe even—heaven forbid—go to bed at 10 like your parents did.
Likewise, Areia’s trance remixes of Follow Me (날 따라 해봐요) and especially Can’t Nobody are how I personally came to love 2NE1, and they’re such epics that I couldn’t help but be taken along for the ride. But, once the magic had worn off a little, I had to admit that their music videos made little sense really, placing the onus on YG Entertainment to produce something more original and coherent this time.
And in the same style as the above image, the teasers did make me hopeful, especially given the constant delays to its release. Like Ashley at Seoulbeats said:
Is it too much to hope for an entirely animated MV with with the girls clearing out a warehouse, Tomb Raider style? They’ve got guns!
But instead we got a veritable smorgasbord of images and props again:
Let’s see… CL the boxer (or wrestler, take your pick) and the mental patient in a straightjacket and later on with a kitten that looks suspiciously like one of my kittens; Bom in skintight leather and studs rocking the dominatrix look with a poodle; Dara in a sports car and later with a hat with two ice creams in metal; Minzi in armor (which reminds me of Joan of Arc) who shows off her nifty dance moves…and all the girls with guns shooting glass. Nice!
What can I say? Well, nothing much but yeah, the world is theirs to conquer.
Much as I’d like to deconstruct Bom’s BDSM side then, or ponder the symbolism of CL stroking her pussy, the incoherence of the video defies such efforts, so I’ll wisely just concentrate on the lyrics here. But don’t get me wrong: disappointment at missed opportunities aside, the video is still very addictive(!), and I love the song itself so much that it’s no less than my second ever MP3 purchase! (600won/US$0.55 from Naver, if you’re curious)
Update – My First Love Story puts my love-hate relationship with the video very well:
“I Am The Best” is the title of the new 2NE1 single. Fitting, as 2NE1 may in fact be the best girl group in the world at this very moment. And this is taking into account that the above video is rather typical 2NE1. It’s flashy, sleek, and professional, but it’s not like we haven’t seen this type of look-book video from them time and again. Thankfully, a typical 2NE1 video is still worlds better than an amazing video by approximately 99% of other girl groups in the game right now.
Update 2 – And Subi at Seoulbeats discusses the question of if this music video means that 2NE1 is really as original and unique as they seem.
You follow behind me, but I look ahead and race forward
I jump around on the table you sit at, I don’t care
If you touch me you won’t be able to bear it
Someone stop me before I go crazy
I’m surprised to learn that this is actually only the second 2NE1 song I’ve translated on the blog, and so will try to speed up the other 2 or 3 almost-completed ones I have floating around on my hard drive somewhere. Until then, please take my word for it that the brevity of their lyrics tends to belie their vagueness and contradictions, and in particular that subjects and objects are so often omitted in this song that—lest they make the translation unreadable—I decided to forgo all the extra square brackets to indicate my guesses (but I think I’ve got most of them right!).
That caveat aside, in line 4 “killing hot” is my wife’s literal translation, but which I’m sure you can make more natural-sounding in English (“looks to die for”? “looks that kill”?). Likewise, I thought the “a little” (좀) detracted from, maybe even flatly contradicted the point that she was very attractive, but as it’s in the original Korean then there you have it.
Fortunately the rest is just a matter of getting the dictionary out, as is the next verse, so I’ll pass it on without comment. But as always, please feel free to ask any questions about anything I don’t cover (and I’ll add my explanations in the corresponding sections of the post).
옷장을 열어 가장 상큼한 옷을 걸치고
거울에 비친 내 얼굴을 꼼꼼히 살피고
지금은 여덟 시 약속시간은 여덟 시 반
도도한 걸음으로 나선 이 밤
내가 제일 잘 나가 (x4)
I open my wardrobe and throw on my sweetest clothes, then
meticulously inspect my face shining in the mirror
Now it’s 8, my appointment is at half past
I leave this night with a proud, arrogant step
I am the best (x4)
내가 봐도 내가 좀 끝내주잖아
네가 나라도 이 몸이 부럽잖아
남자들은 날 돌아보고 여자들은 따라해
내가 앉은 이 자리를 매일 넘봐 피곤해
선수인척 폼만 잡는 어리버리한 Playa
넌 바람 빠진 타이어처럼 보기 좋게 차여
어떤 비교도 난 거부해 이건 겸손한 얘기
가치를 논하자면 나는 Billion dollar baby
뭘 쫌 아는 사람들은 다 알아서 알아봐
아무나 잡고 물어봐 누가 제일 잘 나가?
내가 제일 잘 나가 (x4)
Whoever sees me thinks my look is the end
Even if you were me, you would be envious of my body
Men turn their heads and look at me, women follow me
I am tired of people trying to take my place [as number one] everyday
A stupid, naive playa who only poses like one
Like a tire that’s had it’s air let out, you look well rejected
I don’t accept some comparison, this is my modest story
If you planned to guess my worth, then I’m a billion dollar baby
People who know about stuff, recognize all this by themselves
Grab anyone and ask: who is the best?
Lulled into a false sense of security by the previous verses, this one frankly had me wanting to rip my hair out. Fortunately, I don’t actually have any, but you get the idea!
In line 1, as you can probably guess “my look is the end” is a literal translation, but note that it means exactly the same thing as “I’m a little killing hot” in the corresponding line in Verse 1.
If you’re confused by line 2, because you think that if you were one of the 2NE1 members then surely you wouldn’t be jealous of their body because it was now yours, then you’re not alone. So please don’t shoot the messenger!
In line 3, don’t misread the “돌아보다” like I originally did: it’s not “돌보다”, which means “to look after”.
Line 4 is literally “athlete-pretend-form/pose[only]-grab[that]-stupid/naive-playa”…after reading which I seriously began to despair. But my wife telling me that “선수” (athlete) also means “playa” in many contexts helped, and our final “a stupid, naive playa who only poses like one” does make some sense: the guy referred to is a poser rather than a genuine playa perhaps?
Line 7 would be better translated to “Nobody compares to me” in English, but what’s up there is closer to the original Korean. No, I don’t think that that’s a “modest story” either.
Line 9 I couldn’t make any head or tail of, and so the translation is entirely my wife’s. I throw myself on the mercy of the court!
In compensation for the difficulty I had with all that though, fortunately the song is already almost over:
누가? 네가 나보다 더 잘 나가?
No no no no!
Na na na na! (x4)
Bam Ratatata Tatatatata (x4)
Oh my god
Who? You are better than me?
No no no no!
Na na na na! (x4)
Bam Ratatata Tatatatata (x4)
Oh my god
And on that note, apologies for the slight delay with this post. But for my severest critics demanding to get involved however, then it would have been up several hours ago:
Why open a post about music with a mascara ad? Good question, to which the simple answer would be that Girls on Top came out nearly 6 years ago, and high-quality, eye-catching images of BoA from back then are hard to find. But also, serendipitously, it helps focus our minds on just how unconventional the song is.
In particular, ponder how “sexy” she appears in it. With her exposed navel; navel piercing; hand thrust in jeans; tight clothes; confident gaze at the viewer; hole in her clothes deliberately revealing her chest; and long windswept hair, then she’s every inch the sexually-empowered and assertive female, or at least modern advertising’s definition of one.
But still, that slight bodycant does look a little awkward. And with her head raised back, accentuated by the BDSM-like clothing that covers her neck, then surely I’m not the only one reminded of poses you usually only see done by porn stars?
And just how sexy do those porn stars themselves feel doing them? Take Alex Arden for instance, a former Penthouse “Pet of the Month” (July 2001, if you’re curious):
When you get yourself into the really contortionist position that you’ve got to hold up and your back hurts and you’ve got to suck in your stomach, you’ve got to stick your hips out, you’ve got to arch your back and you’ve got to stick your butt out all at the same time and suck in and hold your breath, you don’t feel sexy. You feel pain. And you feel like you want to kill [the photographer].
Like Ariel Levy says in Female Chauvinist Pigs: Women and the Rise of Raunch Culture, from which that was taken (p. 42), “if sexy means passionate or invested in one’s own fantasies and sexual proclivities, then the pictorials [in Penthouse] don’t quite do it.” Nor, I’d wager, that ad.
Now compare the back and front covers of BoA’s Girls on Topalbum from 2005:
BoA reinvented her image on her fourth Korean album, My Name (2004); she left the “cute” and “youthful” style that had characterized previous years and presented herself as “sexy” and “sultry”.[7][19] The album was the beginning of a foray into the Chinese market and contained two songs sung in Mandarin Chinese.[19] The sales of BoA’s Korean albums began to decline: the album sold 191,000 units and became the eleventh-best-selling South Korean album of the year.[20] Her fifth Korean album, Girls on Top, continued her image change. The album portrayed the singer as more “mature and self-confident” and was a “declaration of war on male chauvinism”; the “bohemian” look of the cover photograph represented “freedom and depth”, while music videos and album photographs that portrayed BoA in traditional Korean dress brought the “idea of Korean womanhood” into her music. The album also continued BoA’s foray into the Chinese market and, like the previous album, contained Mandarin Chinese songs.[21] The album sold less than the previous album; it was the fourteenth-best-selling record of the year in South Korea with 113,000 units sold.[22]
Granted, the album covers don’t set out to present a sexy image of BoA per se. But if one considers the subjects themselves feeling sexy to be essential to them looking attractive (and hey, it’s important enough to affect the way women rate men at least), then those covers win by default (my weakness for smouldering stares notwithstanding).
Which leads me to the song itself, which I chose to look at because a reader sent me the following intriguing email:
…I have been following your girl group lyric translations but there’s one song I am really curious about, mostly because I’d like to know if it’s as overtly feminist as I suspect it is…
…It’s not only the gold lamé and skull ring that’s tough but the part at the end where she fake kicks her male dancers into submission in a Take Back the Night inspired bit of of pop choreography. I know you’re focusing mostly on girl groups, but I think this one’s interesting in the context of K-pop because it seems to fall outside the two ever present concepts of “sexy” and “cute.” I have tried to find the lyrics in English but most of them are poorly done. What I’ve gleaned so far is that she may be talking about the myriad conflicting expectations a modern girl must fulfill and might even be bemoaning the constant pressure to embody male views of sexiness (!). Or it could be a girl power-lite anthem conceived by greedy business men; but either way I’d like to hear your views.
Whereas the concept of “cute” really needs no explanation, it’s the mascara ad that helped me realize what version of “sexy” BoA might have been trying to avoid – and challenge – in Girls on Top (although I beg to differ on that being a “male view of [female] sexiness,” and would argue that it’s more a media one). Certainly the choreography and costumes give that impression:
As do the lyrics in this English version, although unfortunately they don’t at all match the Korean ones (and, call me picky, but that picture of her is actually from 2010!):
Or at least, what I think the Korean ones are. Maybe I’m just rusty, as it’s been 2 months since I last translated any song lyrics, but even my wife and sister-in-law really struggled with understanding some of these ones, let alone with what they might be in English. I apologize in advance for the numerous mistakes then, and would really appreciate any corrections:
모든게 나에게 여자가 여자다운 것을 강요해
날 바라보는 네 야릇한 시선들이 난 싫어
(약한 여자 사랑에 약한 여자)
내게 강요하지마 틀에 갇혀버릴 내가 아닌 걸
(내뜻대로) 전부 나의 뜻대로
Everything forces me to be feminine
I hate your strange stares as you gaze at me
(A woman that goes crazy in love, a woman that goes crazy in love)
Line 1 is literally “everything-to me-woman-womanly-thing-force”, which hopefully gives you an inkling of how open to interpretation these song lyrics are. Next, in line 2, “야릇하다” means “odd; queer; strange; peculiar; curious; mysterious” according to my electronic dictionary, but I’d be interested in hearing from someone who gets much more everyday speaking practice than me (probably most of you!) if it has connotations of “sleazy” or something like that, which sounds more appropriate for the song. Either way, in line 3 by “crazy in love” I mean someone who gets distracted and/or can’t think straight when in love rather than being deeply in love, and finally in line 4 “틀” is technically a “frame” that she’s confined to, but – after being distracted by the “think outside of the box” idiom for a while – I think “cage” works better in English.
Two things in this verse, I couldn’t have understood without a native speaker to help. The first in line 1 – “나는 나인걸”, literally “I am myself” – probably because my Korean isn’t remotely as good as I like to think, but “넘어가다” in line 2 has no less than 11 meanings, only the last of which “be swallowed; be choked down; be taken/got down; be drunk in” sounds remotely like the “let go [take/endure it]” that my wife said it means.
Yeah, I liked the “get it up” too, a barb very appropriate for the tone of this song, but the level of the Konglish in the rest of the song means it’s probably accidental. And any humor I found in it was soon ruined by trying to figure out those god-awful opening couple of lines, which I wish I’d realized much earlier (and have consequently presented as) were actually just the one.
In a nutshell, they say “sexy-quiet/calm-eternally-one-man only-know-boredom/weariness-that-directly-illusion-all-man’s-affair/interest”. After half an hour’s discussion between my wife, sister-in-law, and I (and – for good measure – my daughters trying to get us to talk about farting instead), we think that “The boring notion [that women] want forever to be with only one sexy, quiet man is a direct illusion that all men are under” is what is meant, but accept that – repeated distracting farting sounds aside – it doesn’t really make sense in the context of the song, and so are more than open to alternatives.
Meanwhile, it’s my significant other that says that “말이 되지 않잖아” means “doesn’t make sense”. And on that note – lest we’ve made mistakes with those also – that from “Get it up” to the final “맞게” was originally 3 lines, but I’ve rearranged them so that they make sense for you at least!
Next is the chorus again, then the next verse. But I don’t think there’s really anything to explain in it, although I’m quite happy to if anyone wants me to:
Spoken with the confidence of someone with 2 bilingual speakers helping him, but that was refreshingly easy!
First, in line 1 I wrote “say/think” because which one it is isn’t actually mentioned in the indirect speech (there’s nothing after “법칙이라고”). Then in line 3, “웃기시네” is slang for “Yeah, right” (with or without the “아주”), and finally in line 5 “눈이 멀어” literally means “eyes far”, but combined with “[something]에” then it means “only have eyes for [something]”.
Again I got a little distracted by the first line, originally thinking it was an allusion to Mao-Zedong’s quote that “women hold up half the sky”, but apart from that then there’s not much of note language-wise there. And with just the chorus after that, then now it’s time to ponder the original question of whether BoA is “talking about the myriad conflicting expectations a modern girl must fulfill, [maybe even] bemoaning the constant pressure to embody male views of sexiness”, or if the song is merely “a girl power-lite anthem conceived by greedy business men”?
What do you think?
The cynic in me says the latter, as it’s just too incoherent to justify the former, no matter how much I’d like to. But some things may well be be lost in translation, and as this is in fact the very first song of BoA’s I’ve ever really listened to — let alone translated — then I’ll give her the benefit of the doubt. Indeed, although frankly I don’t particularly like it, it’s definitely piqued my interest in both the development of her image over the last 10 years, especially in her American debut with Eat You Up in 2008 (covered extensively in “Playing the Race and Sexuality Cards in the Transnational Pop Game: Korean Music Videos for the US Market” by Eun-Young Jung in Journal of Popular Music Studies Volume 22, Issue 2, pages 219–236, June 2010; email me for a copy), and also in how female singers and girl groups use sexuality to rebrand themselves (and for more on that, see “‘What’s Your Definition of Dirty, Baby?’: Sex in Music Video” by Andsager, J. & Roe, K. in Sexuality and Culture, 2003, Vol 7; PART 3, pages 79-97; again, email me for a copy).
So, needless to say, I’ll be covering some more BoA songs this summer!^^
Of the two, Ariel Levy’s Female Chauvinist Pigs (2005) is by far the easier to read, taking just the trip home to finish. Feeling much more like a expanded version of the New Yorker article it was based on than a real in-depth examination of the subject though, unfortunately it has little that wasn’t much more thoroughly covered later in The Lolita Effect (2008) and Guyland (2008), and is not readily applicable to Korea. However, it will still be – ahem – a goldmine for pithy quotes, and for 16,500 won (US$15.19) a good choice for those who’ve never read a feminist text before.
In contrast, Maria Buszek’s Pin-Up Grrrls (2006) is a daunting 444 page tome, which in hindsight I am not surprised to have found second-hand for a mere 15,500 won (US$14.27): the cover and frequent photographs belie its rigorous academic approach. Moreover, as Korea lacks a tradition of pin-up girls (although perhaps it does still have a “pin-up culture” nonetheless?), then you’d think that it would be even less helpful than Levy’s book for gaining insights into Korean gender issues and popular culture.
But, reading the introduction in the bookstore, I was already intrigued as soon as page 4:
Contrary to the popular belief – held by many within, outside of, and even against the movement – that a “feminist pin-up” is an oxymoron, it is no more so than “feminist painting” of “feminist sculpture,” or “feminist porn” for that matter” these are all media and genres historically used and appreciated primarily by men, about which nothing is inherently sexist, but which have all been both kept from women and used to create images that inscribe, normalize, or bolster notion of women as inferior to men. While this fact has been recognized by many feminist thinkers – indeed, many such media and genres have been avoided by certain feminist artists for these very reasons – few would deny that the same have been and may be strategically used by women to subvert the sexism with which they have historically been associated. Yet the pin-up – because of its simultaneous ubiquity and invisibility, prurient appeal and prudery, artistry and commercialism – has not been so readily granted a feminist interpretation. The genre is a slippery one: it doesn’t represent sex so much as suggest it, and these politely suggestive qualities have as a result always lent it to a commercial culture of which feminists have justifiably been wary for its need to cultivate the kind of desire and dissatisfaction that leads to consumption.
And on my way to the checkout by page 6:
Freuh has articulated this desire succinctly in her writing on the relevance of sexuality to the feminist movement: “As long as I am an erotic subject, I am not averse to being an erotic object.” The problem with this conflation of subject/object is in constructing and representing a feminist identity that is both subversive and alluring….As Bell Hooks puts this conundrum: “It is has been a simply task for women to describe and criticize negative aspects of sexuality as it has been socially constructed in sexist society; to expose male objectification and dehumanization of women; to denounce rape, pornography, sexualized violence, incest etc. It has been a far more difficult task for women to envision new sexual paradigms to change the norms of sexuality.”
While acknowledging that it may indeed be a false dichotomy, nevertheless I too have long maintained that women being sexual objects in the media doesn’t necessarily preclude the models concerned from also being sexual subjects. But still, I simply had no idea how subversive pin-ups could be, or how, often used by the models for their own ends, they could indeed include flaunting their own sexuality.
In that vein, as Korean society continues to grapple with the issue of the increasingsexualization of young women and especially teenage girls in the media, it’s going to be very helpful to have examples of genuinely sexually-empowering images of women to inform critiques of that trend, or at least the intellectual tools to help better understand what constitutes such. Because frankly, for me personally it’s high time to move beyond simply repeatedly pointing out that what is often touted as female empowerment is in fact frequently forced upon unwilling participants, but without ever actually elaborating on what would be a positive alternative.
Meanwhile, has anybody already read either book, or any others by the same authors? Or do you already have some of your own ideas for images of women you’d like to see more of in the Korean media? For a quick introduction to my own thoughts, please see from slide #97 onwards in the lecture!
With apologies to the guinea pigs that were the first to receive it, but I’m constantly updating my public lecture on gender and Korean advertising as I get more practice with it—and indeed I’ve just realized I’ve been making a big oversight by not mentioning Koreans’ exceptionally tolerant attitudes towards photoshopping in it previously. Deciding to remedy that in the latest version then, naturally I decided to include one of the most notorious recent examples: singer G.Na‘s ubiquitous advertisements for “Juvis Professional Diet“, which I discussed here. Surely, I thought, there was no greater demonstration than making such an attractive woman look like a virtual alien (or at least her legs).
Then I opened today’s paper…
If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)
1) Because one can never talk too much about Playboy…
Admittedly it’s only tangentially related to Korea, but then Playboy bunny ears were very popular with Korean women last summer, and then in January you also had American film critic Roger Ebert criticizing Korean groups for not really understanding all the Playboy references they were using. So, it was really interesting to hear just this podcast from the British sociology program Thinking Allowed (previously mentioned here), which in its own words says:
Carrie Pitzulo, the author of a new history of Playboy claims it has “a surprisingly strong record of support for women’s rights and the modernisation of sexual and gender roles”. Are Bunny Girls and Playmates of the Month really allies of the feminist cause? [Host] Laurie is joined by the author Carrie Pitzulo and the sociologist Angela McRobbie to discuss the secret and surprises of the bunny brand.
Continuing with the tangents, I’ve ironically become much more interested in Western pop-culture since presenting at the Korean Pop Culture Conference 2011 in LA last month, and so on Gord Sellar’s recommendation have just ordered Strange Days Indeed: The Golden Age of Paranoia by Francis Wheen, on “general culture across the Anglophone world in the 1970s”. To any 30-somethings like myself especially, who were too young to really know anything about that decade, it sounds like riveting reading (and it would be good to hear our parents’ takes on it too).
2) The pitfalls of being pregnant in Korea
Any other “Western” women with Korean husbands get stared at by old men? More so than before they were pregnant that is? Shotgun Korea is about to explode, in more ways than one!^^
Update: Shotgun Korea also has a post on a strange virus that seems to be killing pregnant women in Korea.
(Source: Sinfest, one of my favorite comics. Hope that was okay!)
3) Funny or offensive? Sports show asks why Korean women are good at golf
Judge for yourself at CNNgo. Not being a golf fan, then normally I wouldn’t pay much attention to this sort of thing, but Rachael Miyung Joo of Middlebury College piqued my interest in them with her presentation Traveling Ladies: Korean Female Athletes and Global Korea at the Korean Popular Culture conference. A quick excerpt from the abstract:
…Within the context of U.S. nationalist discourses, Korean female athletes exist as a “yellow peril” threat to the elite white traditions of professional golf. The extraordinary growth of Korean and Korean Americans within the Ladies Professional Golf Association have produced racist responses to Korean golfers including an attempt to institute an English Only policy in the league. Nevertheless, the LPGA has grown due to the celebrity of Korean golfers, and their impact on the growth of the LPGA has translated into policies that work to get all female golfers to emphasize female charm for the pleasure of male fans. Furthermore, hypersexualized Korean female golfers work to assuage anxieties around lesbianism in professional women’s sport…
Read the rest here. Unfortunately there’s not much information about it, but I’m also looking forward to her book Transnational Sport: Gender, Athletes, and the Making of Global Korea that’s coming out sometime this year.
4) Reading the Lolita Effect in South Korea, Part 5
Or rather, the news that Girl’s Day (걸스데이) recently performed in costumes so high that their panties were exposed could easily have been the next post in that series (one member only turns 17 tomorrow). But I don’t really have anything to add to what Michael Hurt says at Yahae! about it except to say that, unfortunately, I feel somewhat vindicated by it(!):
…this is a bridge too far. The skirts have now come up above the panties. I mean, I know that competition from the many girl groups that now exist must force some serious marketing decisions such as the one to make underage girls truss around in skirts that don’t cover their jibblies, but you gotta draw a line somewhere!
See Part 2 for more on the issues raised by performers dancing and/or dressing in sexual ways when the age of consent is as low as 13.
6) Foreign children sexually and physically abused at Haeundae Beach
See Koreabridge for the details. Also, while I’m always prepared to give the police the benefit of the doubt considering how the Korean media will simply make up stories about their incompetence, they do indeed seem to have acted extremely unprofessionally in their handling of this case.
7) Corporate life in Korea
…is no picnic for women, who tend to be lower on the totem-pole, but it’s important to remember that it can be pretty bad for men too. See theseposts by I’m No Picasso and New Yorker in Seoul for some first-hand experiences.
8) I like big butts and I can not lie…
Usually I’m loathe to quote entire posts, but then everyone on Tumblr is doing it so I can too. Here then, are some very wise words from American actress Tina Fey (found via Hot Yellow Fellows):
But I think the first real change in women’s body image came when J.Lo turned it butt-style. That was the first time that having a large-scale situation in the back was part of mainstream American beauty. Girls wanted butts now. Men were free to admit that they had always enjoyed them. And then, what felt like moments later, boom—Beyoncé brought the leg meat. A back porch and thick muscular legs were now widely admired. And from that day forward, women embraced their diversity and realized that all shapes and sizes are beautiful. Ah ha ha. No. I’m totally messing with you. All Beyonce and J.Lo have done is add to the laundry list of attributes women must have to qualify as beautiful. Now every girl is expected to have Caucasian blue eyes, full Spanish lips, a classic button nose, hairless Asian skin with a California tan, a Jamaican dance hall ass, long Swedish legs, small Japanese feet, the abs of a lesbian gym owner, the hips of a nine-year-old boy, the arms of Michelle Obama, and doll tits.
Much the same can be said of Korean women of course, but with an important possible exception: the doll-tits. Not because Korean women tend to be less busty than their Western counterparts though, but rather because there seems to be a genuine taboo against breast exposure which even the Korean media is wary of. Lest that sound simply absurd however, then consider the case of G.Na (지나), whose – to put it bluntly – most marketable assets seem strangely underplayed by the otherwise extremely exploitative and objectifying Korean music industry.
9) “Secret (시크릿) will show off their innocent and cute selves with a sexy and powerful dance in Japan through Madonna“
As it turns out, that was a mistranslation of the original Korean – “청순과 귀여움은 물론 섹시미와 파워풀한 댄스를 모두 겸비한 시크릿은 일본 시장에서도 충분히 통할 수 있다는 전망이다” – by Koreaboo, and something like “They’lll show off an innocent and cute image of course, but combine it with sexiness and powerful dancing” would be much more accurate. But the Korean media does indeed say such things all the time, which speaks volumes about how female sexuality is presented by Korean girl-groups, and of course the sentance still remains a bit of an oxymoron (but kudos to Koreaboo for at least providing a link to the original article to check, unlike – grrr – allkpop).
For more on that, see, well, just about all of this blog(!), but if you’re after something more specific then this and this recent post at SeoulBeats are good introductions (and for some background to the latter, see here).
10) Essential reading on Korean Feminism
Even if I’m No Picasso hadn’t *cough* praised this blog in it, I’d still describe this as one of the best posts I’ve ever read on the subject (or technically speaking, English discussions of the subject). And it behooves me to say that I have certainly been (and probably still occasionally am) guilty of discussing Korean women, feminism, and/or gender issues through an overly generalizing, patronizing, and – for want of a better word – Orientalist lens, and so this post of hers will seriously provide a checklist for me for maybe years to come! (And Roboseyo’spost on “Mansplaining” is very helpful too).
Apologies for the slow posting everyone: it’s been a very busy end to the semester, and then I caught a bad cold over the long weekend. Hopefully I should be writing again by tomorrow, but in the meantime I thought readers might be interested in a book I’ve just ordered: Cinderella Ate My Daughter, by Peggy Orenstein.
Like Reading the Lolita Effect by M. Gigi Durham, intellectually-speaking it’s going to very interesting applying it to the Korean context. But with my 5 year-old daughter expressing a desire to be a princess literally every day though, and having constant fights because she always wants to wear her most “princessy” clothes, then this time round I have much more practical and immediate concerns that I hope the book can help me with!
Anybody else read it, and/or have similar problems with their aspiring little princesses? So far, my wife and I have had the most success with persuading her to become a strong confident queen instead!
Call me paranoid, but usually I quickly turn the page when I see newspaper ads like this on my commute. After all, as the only foreigner, I’ll already be the only guy on the subway carriage red-faced and sweating at this time of year. And I don’t want to fulfill stereotypes of oversexed Western males by blatantly staring at singer G.Na‘s legs either.
But, dammit, there’s something wrong with them here. Rather than hearing me harp on about unnecessary photoshopping though, it was with great relief that I found some rare critical Korean commentary on this ad. Or at least, so I thought before I began translating properly…
지나 신이내린 몸매, 포토샵을 거부한 아찔한 비주얼 G.Na’s God-given Body Doesn’t Need Photoshop
활발한 활동을 하고 있는 가수 지나가 하루가 다르게 예뻐지는 모습을 보이고 있습니다. 원조 베이글녀 이제니도 안 부러울 정도의 글래머스한 몸매를 가진 지나는 신세경에 이어 가장 매력적인 여성에 속하기도 한데요. 여기에 타고난 가창력은 더욱더 지나를 빛나게 하는 부분이 아닐까 합니다.
G.Na, a very active singer, is becoming prettier every day. Counted as one of the most attractive women [in Korea?] after Shin Se-kyung, with her glamorous body she has no need to be jealous of original Bagel Girl Jenny Lee. Add the singing ability she was born with too, and she shines all the more.
[James – for what a “Bagel Girl” is, see here. Also, bear in mind that “glamorous” actually means “voluptuous” in Korean. And say “Jeena”, not “Jee-en-ay” like I first did!]
현재는 인기를 끌었던 Black & White 활동을 마치고 자신의 가창력을 그대로 보여줄 수 있는 후속곡 ‘벌써 보고 싶어’로 활동 중인데요. 역시 댄스곡이나 발라드 곡 모두를 다 완벽히 소화해 내는 지나의 모습을 보면 정말 뛰어난 솔로 가스로서 능력을 타고난 가수가 아닐까 생각합니다. 그리고 이런 인기 덕분인지 지나는 프로농구 챔피언결정전 5차전에까지 초청받아 시구하는 등 나날이 달라지는 위상을 실감하고 있습니다.
Having just finished the song Black and White [above], which is gathering a lot of popularity, G.Na is continuing to demonstrate her singing ability with her next song, I Already Miss You. Able to adopt [new] styles like dance and ballad music perfectly, if you see [hear?] her you will have no doubt that she was destined to become a brilliant solo singer. Indeed, because of her popularity she was even invited to make the ceremonial opening pitch at a pro-baseball championship game [below], and her image is soaring.
그런데 이런 지나가 최근에 가장 완벽한 몸매를 드러낸 모습이 있어 화제가 되었죠. 그것도 무보정 몸매로 있는 그대로의 환상적인 모습을 보여줘 감탄사를 연발하게 만들었습니다. 이 사진은 일명 직찍 사진으로 광고촬영 중에 지나의 모습을 그대로 담아 낸 사진인데요. 지나의 완벽한 몸매에 정말 감탄사가 절로 나올 정도로 아찔함을 주는 모습이라고 할 수 있습니다.
By the way, showing her most perfect body has become a bit of an issue, right? So perfect that it needs no corrections, seeing her fantasy-like body makes people exclaim in rapid succession. And indeed in this everyday, unaltered picture of her doing her advertisement photoshoot, we just see her appearance how it is. But her body is so perfect and mesmerizing that she makes people automatically exclaim.
하지만, 이런 지나의 무보정 사진과 과연 정식으로 광고에 사용된 사진이 얼마나 다를까 궁금해지는데요. 최근에 지나의 모습이 공개되었는데 역시나 별반 다를 것 없는 모습에 또 한 번 놀라게 되고 말았습니다. 정말 포토샵을 거부한 몸매라고 받게 할 수 없는데요. 워낙 타고난 몸매 종결자이다 보니 실제로 쓰인 광고 사진과 별반 다를 게 없더군요.
But I was curious as to how much the photos used in the advertisement differed from the untouched ones. And again I was surprised at how they’re not particularly different…surely this can be called a body that rejects photoshop? As she was born with this “terminator” body, the final picture actually used in the advertisement doesn’t really have any differences.
[James – “Terminator”, as in a person, is some new Korean slang. I think by itself it means someone is so good that he or she is the final, “terminating” word on the issue. Update: with thanks to Milton at The Marmot’s Hole, a much better explanation is that “In slang, a 종결자 is some who is the absolute best at something. You can affix it to other words besides 몸매, like 색시종결자 In this case, it means that G.Na has the absolute best body.”]
일단 왼쪽 사진은 포토샵을 하지 않은 지나의 몸매 그대로 모습이고 오른쪽이 최종 사진 보정을 해서 공개된 사진 컷입니다. 보여지는 표정의 각도가 조금은 다른 스타일이지만 무보정 상태의 지나와 보정 상태의 지나가 별반 다를 게 없는 것을 확연히 느낄 수 있는데요. 왜 지나의 몸매가 찬사를 받는지 알 수 있는 부분이 아닐까 합니다.
On the right is a untouched picture of G.Na, on the left is the final one that was released, with photoshop corrections. The angle and her expression are a little different, but otherwise I get a definite feeling that there was little photoshopping done. Now we see why G.Na receives such praise for her body.
그러나 지나는 광고 촬영 외에는 주로 이런 스타일의 옷은 잘 입고 다니질 않죠. 몸매가 뛰어나지만, 사람들이 색안경을 끼고 몸으로만 승부한다는 비난을 하기 때문에 많은 상처를 받았기 때문인데요. 최근에 오락프로나 다른 방송에 나오는 지나의 모습을 보면 상체를 거의 노출한 적이 없을 정도입니다. 그래서 말이지만 지나가 글래머스한 몸매를 가지고 있다고 해서 왜 비난을 하는 일은 그만두었으면 하는데요. 이번 가창력도 어느 정도 인정받은 가수이기 때문에 이제는 실력으로 승부하는 지나의 모습으로 바라봐 주었으면 좋겠다는 생각입니다.
By the way, with the exception of this advertisement photoshoot, G.Na doesn’t really wear these kinds of clothes. Her body is amazing, but she has been hurt by many people having a prejudice about it, thinking that that is all she is good for. Because of this, whenever she appears on comedy shows or other programs, she always wears clothes that cover most of her upper body. So, I wish people would stop criticizing her for having a glamorous body, and think that as her singing abilities have been acknowledged, people should respect her as a singer (end).
Writing ability aside, the author does have a point about the Korean media’sobsession with G.Na’s breasts. Indeed, it strongly reminds me of journalist Amanda Hess’s classic article With Great Cleavage Comes Great Responsibility, in which she argues that ultimately it’s not really busty women’s clothes that people have a problem with. Rather, it’s large breasts themselves that are somehow considered “indecent”.
On the other hand, I beg to differ on the relative lack of photoshopping by Juvis (see here for a close-up of the last image if you’re still not convinced yourself). It speaks volumes about Koreans’ attitudes to photoshop, I’m tempted to say, that someone would consider that to be a sign of an attractive body, rather than simply one that required no photoshopping at all. Fortunately for such (over)generalizations however, actually many Korean netizens agree with me, or at least on G.Na and this particular photoshoot.
Meanwhile, does anybody else recall this ad from Juvis that I wrote about 2 years ago?
To those that still maintain I’m reading too much into things, I now rest my case!
Update: As a commenter on blogger Michael Hurt’s Facebook pointed out, the ad above is actually about:
…a special treatment program to fix bowed legs. The girl who endorses [it] was famous for her bowed legs as much as her pretty face, but seems ok now due to the treament. Many Korean girls are interested in this kind of program thank to the ‘girl group’ phenomenon since few years ago.
Technically speaking then, the ad isn’t advocating excessively skinny legs. On the other hand though, it’s hardly discouraging them either, and Juvis has a strong track record of doing so in other ads too. (Like the one with G.Na.)
Apologies for the slow posting and unanswered emails everyone, but as this post goes up I’ll be en route to the Korean Pop Culture Conference 2011 at the University of California, and preparing for the trip has taken a lot more work than I expected. But I’ll be back and blogging by Wednesday next week, and so until then I thought you might be interested in the abstract of co-author Stephen Epstein’s and my presentation topic, which – assuming no disasters – is likely to become a chapter in the forthcoming book The Korean Popular Culture Reader by Duke University Press:
Girls’ Generation? Gender, (Dis)Empowerment and K-pop
“The hottest phrase in Korea nowadays is undeniably ‘girl group.’ But girl group fever is more than just a trend: it’s symbolic of a cultural era that is embracing the expulsion of authoritarian ideology.” So reads the content blurb for a story on the rise of girl groups in the March 2010 issue of Korea, a public relations magazine published under the auspices of the Korean Culture and Information Service. Nonetheless, despite official, top-down promotion and cheerful assertions that this phenomenon is a liberating pop movement, a reading of the lyrics and visual codes of the music videos of popular contemporary Korea girl groups raises serious questions about the empowering nature of “Girl Group Fever.” In this paper, we will engage in a close analysis of the music and videos of groups such as the Wonder Girls, Girls’ Generation, KARA, T-ara and the discourse that has surrounded their rise to popularity in South Korea in order to deconstruct the notion that contemporary consumer society is making a radical break from more traditional, deeply embedded power structures.
We will argue that a set of recurrent tropes in the studied media and marketing presentation of Korean girl groups undercuts claims to a progressive ethos. In particular, as we hope to demonstrate, girl group videos and lyrics often fall into one of three categories: first of all, while girl group singers can express desire in potentially empowering fashion, the viewer is generally constructed as male, and expression of desire is accompanied by a coyness and feigned innocence that returns power to men (Girls’ Generation’s “Gee” and “Oh”; T-ara’s “Like the First Time”; KARA’s “Mister”). A second set of songs and videos suggests exertion of female power, but influence is wielded through recourse to the overwhelming force of feminine sexuality that either embarrasses (After School’s “AH!”, which adds the tease of a forbidden relationship between teacher and student) or renders males helpless in its midst (The Wonder Girls “So Hot”) and thus projects the message that narcissistic desirability is the route to redress power imbalance. Finally, a number of songs have lyrical and video narratives that depict female solidarity in wreaking revenge on callous boyfriends or threatening men (2NE1’s “I Don’t Care”, The Wonder Girls’ “Irony and “Tell Me”, the latter of which has lyrics that are at odds with its visual narrative), but in doing so continue to foster the discourse of a battle between the sexes. As we will show, in noteworthy contrast to J-pop girl group videos from the dominant entertainment group Hello! Project, which emphasize the expression of youthful energy without reference to a validating or polarizing male presence, Korean popular music’s engagement with larger discursive structures has yet to break free of ideologies that pit male and female against one another (end).
(Source: Screen Capture, “Magic Station”, Asahi-TV, 15 October 2010)
Update: Very much the lens through which I’ve been writing about Korean music for the last few months, nevertheless I should really have stressed that the abstract was written almost a year ago, and indeed developments in K-pop and J-pop since then have rendered much of it out of date, let alone the opinions of my co-author and myself growing and changing as we deepened the extent of our research. Also, word limits for the paper precluded necessary related discussions of boy-bands and J-pop, with 8000 words unfortunately barely being enough to even begin to scratch the surface of the subject.
Unfortunately then, in hindsight the abstract isn’t actually a very good guide to our current opinions on the subject and/or what we’ll be presenting on Friday(!), so please understand why it’s necessary to close this post to further comments. Instead, for now at least please accept the abstract simply as something to hopefully get you thinking about possible common themes in K-pop and why they exist, and if it becomes possible then I will definitely (re)open the discussion at a later date.
Finally, my special apologies to those who already commented, and frankly I didn’t expect such a wealth of expertise to be brought to bear on the abstract so quickly!
Hey, I get it, I really do: ads that make men want the girl, can make women want to be that girl.
Hence the memorable things Lee Hyori did with a hose for Vidal Sassoon back in 2007 for instance. Or indeed this ad, which, despite the English copy, actually says that “the lunch for amazing women has started”, and then proceeds to do no more to sell to said amazing women than simply plonking Kim Sa-rang (김사랑) with a smouldering gaze on it, flanked by Lee Tae-im (이태임) with textbook hair-preening and hand on hip.
Surely there’s no doubt in anyone’s mind that, although being aimed at women, it’s still squarely aimed at a male gaze?
But if that’s what so bugged me about it, then critically analyzing ads would only ever be an exercise in frustration. And I’m not even against gendered marketing per se either: despite the vast majority of it having no biological basis, and also serving to create and/or reinforcing existing gender stereotypes, admittedly it does sometimes have a genuine financial logic.
Rather, it’s the sheer laziness of this ad that gets me: was this really the best T.G.I. Friday’s could have come up with to get women to eat more steak?
Also, it’s amazing how unnatural the ad suddenly appears if you mentally replace the copy with “amazing men” instead (let alone considering how the ensuing male models would pose). When I did so myself, it really hit me just how much gendered marketing is actually aimed only at women, and how many normative advertising categorizations of female consumers (e.g. Alpha Girls, Omega Girls, Gold Misses etc.) completely lack any male equivalents.
Which is an unfortunate association I now have with T.G.I. Friday’s I guess. But then they’re the ones that came up with such a lame ad!
(Source)
The Grand Narrative 
