Turn on a Korean TV, and you won’t be waiting long before you see a commercial with a Korean man in a relationship with a non-Korean woman. But for a long time, I was only aware of one ever produced with the opposite pairing, which I discussed back when it came out in July last year.
Since then, there has also been at least one music video produced that positively features a Korean woman with non-Korean men (not just the one man in this case!), which you read more about at Mixtapes and Liner Notes and Fanboy vs Fangirlhere, here, and here. But again, there’s many many more with the opposite pairing (see here, here, and here for examples). And as far as I know, no more commercials with Korean women hitting on non-Korean men.
It turns out though, that Lee Hyori (이효리) did so back in 2006 in a commercial for Anycall, a mobile phone brand. I must have seen it a hundred times on TV that year, but only ever the fifteen second version, in which the ethnicity of the lucky gentleman at the end was unclear. I would automatically have assumed he was Korean then, but he’s actually Caucasian (with a hint of Latino?), as you can see at 0:27 in the thirty second version above.
As always, I’d be happy to be proven wrong — again(!) — with any further examples of similar pairings. But I doubt I’ll ever receive enough to challenge this clear discrepancy in the Korean media’s representations of different genders and races, which is why I raise it here.
For any readers further interested in why that discrepancy exists, please read last year’s post for more background and many more links.
Update 1) As soon as I’d packed away my netbook and was walking home, I remembered that there was indeed one more example from last year, a promotional video for the 2010 G-20 Seoul Summit. It features a Korean woman and Caucasian man having a traditional Korean wedding, just like I had (the kiss is just for show though—traditional Korean weddings are really quite sombre affairs!):
Update 2) With thanks to Dan for passing it on, here’s a recent commercial for a smartphone, apparently with screen quality so good you’ll be able to see your foreign boyfriend’s bit on the side reflected in his sunglasses:
Until I saw that, I was wondering if the “positively” in the title was a little redundant. But now it seems more apt than ever!
(For more posts in the Korean Sociological Images series, see here)
With thanks to Shannon Heit for letting me know, this Sunday at Jogyesa Temple in Seoul there will be a free screening of 63 Years On, an award-winning documentary about the Comfort Women (with English subtitles). If you’re interested in attending, please see the press release (an MS Word file) for further details, and note that it actually starts at 2pm, not 3pm as stated in the poster (which I’ve confirmed is a mistake).
What comes to mind when you hear that Korean(?) cosmetic brand Clio (클리오) hosts a biennial Clio Cosmetic Art exhibition? That it sounds more like a brand tie-in than a genuine attempt to encourage original and thought-provoking art? The purist in me couldn’t agree more, especially when you consider that some works in the 4th (2009) and 5th (2011) exhibitions were not just inspired by, but use the very same photos as Clio’s own advertisements, prominently featuring brand endorsers Kim Ha Neul (김하늘) and Lee Hyori (이효리) respectively.
When its at the behest of the advertiser itself, arguably the ensuing pop-art loses its edginess.
But art doesn’t have to be radical to look good. What’s more, when you combine the images with the women themselves, then the juxtapositions are like an intellectual wet dream, the afterglow of which has had me buzzing for the last week.
For which are the more real? The flesh-and-blood women in the Insa Art Center (인사아트센터) in Seoul’s Insa-dong district? Or Ha Neul and Hyori the mass-produced visual commodities, with which we are much more familiar?
But although the pictures did indeed persuade me to take down my handful of books on hyperreality and postmodernism, yet again I rejected them as unnecessarily abstruse, even for a geek like me. Also, Lee Hyori in particular (I’m less familiar with Ha Neul) is actually so down-to-earth and accessible that arguments that she’s merely a media creation can’t be sustained, one positive of Korean celebrity culture that I’ll be discussing in a lengthy post next week soon.
Until then, let me just pass on the art itself here, hoping to inspire more aficionados amongst you.
First, see here for a brief English introduction to the 5th exhibition, then the following graphic about it for a quick snapshot. If there’s anything on it you particularly like, click on the graphic itself to go to the Clio website, then on the specific artwork on the graphic there to get a quick (Korean) bio of the artist.
To any K-pop fans, see if you guess where you’ve seen Mari Kim’s work before:
For many more large and/or high-definition pictures of the art and exhibition hall itself, see here, here, here, or here (beware the automatic music in the last one). My favorite work is easily The Magic (also known as Masic) by Park Dae Cho (박대조) below (the one using the same photo as a Clio advertisement), which you can see a zoomable version of here:
Note though, that it’s actually a color-changing transparency in a light box rather than a static image, like most of Park Dae Cho’s works (which you can see more of on his blog):
That video doesn’t really do justice to it though, as it must really have been quite mesmerizing when viewed close-up. For the best equivalent, click on the following image:
As for those of you that share my love of juxtapositions, alas, there seems to be a conspiracy of exhibition-goers to avoid taking decent pictures of Lee Hyori standing next to this particular artwork in particular, this one always cutting it in half for example, or this one being so much more interested in the contents of Lee Hyori’s dress that he ruined the contrast. But decent, albeit smaller and/or watermarked versions can be seen here, here, or on Park Dae Cho’s blog itself.
Meanwhile, if you haven’t guessed already, Mari Kim (blog; Facebook; Twitter), not to confused with (the also – quite literally – cool) Miru Kim, is the artist behind 2NE1’s (투애니원) I am the Best (내가 제일 잘 나가) album cover, and the Hate Youmusic video:
Finally, unfortunately there was much less interest in the 4th exhibition with Kim Ha Nuel, but Dramabeans does have a good English introduction to it, and again Clio has a snapshot image, although without links to the artists this time:
See here, and here for more pictures of the exhibition, and here and here for more shots of juxtapositions.
What do you think? Please let me know, and I’d very much appreciate it if readers could pass on any more examples of interesting juxtapositions and/or celebrity-related Korean pop-art. I’d be especially interested in anything featuring men, as I’m curious if I’m only interested in the Clio exhibitions because they’re centered around two attractive women. I’m sure that’s not the only reason I like them (what do female readers think of them?), but probably it’s much more important than I’d like to admit!
Update – Sorry for forgetting to mention it in case you wanted to go, but unfortunately the 5th exhibition ended back in May. But see you at the 6th one in 2013! :D
1) Everything You Ever Wanted to Know About Circumcision in Korea
Whether you’re for or against male circumcision, there’s no sugarcoating some shocking facts about the practice in Korea.
First, consider why it is was taken up so enthusiastically after the Korean War. Not so much for its perceived health benefits, but more because it was seen a way to catch up with the medical practices of the developed world (i.e., the U.S.). Indeed, it was done so wholeheartedly that now more than 90% of Korean men between the ages of about 12 and 40 are circumcised, far higher than the U.S. rate.
Despite being world-leaders in numbers of procedures performed however, unfortunately Korean doctors are actually woefully ignorant about the practice, as Seamus Walsh explains at Asadal Thought:
What I find truly incredible is that the same misconceptions and outright false beliefs that were held about circumcision in the 50s – effects on sexual performance, prevention of STDs, cleanliness etc – are still so prevalent in Korea today, regardless of the fact that the rest of the developed world has moved on in its attitudes and knowledge, making such beliefs redundant.
Also, one of the journal articles he examines concludes that:
The mistaken and outdated notions of South Korean doctors about circumcision…seem to be a leading contributory factor to the extraordinarily high rate of circumcision [there].
Next, as most English teachers in Korea are probably well aware, Korean parents (painfully) get their sons circumcised in their early-teens rather than as babies. And finally, in what I regard as the most damning indictment of the practice, those parents often do so for no more compelling reason than the fact that all their sons’ friends are getting it done, as surveys of the parents make clear.
Update: By a wonderful coincidence, a related article from the Canadian medical website CMAJ appeared in my Google News Alerts as I was typing the above. Here’s what it says about South Korea:
…South Korea…may be the only country on earth where the majority of men are circumcised but not as infants, and do so for reasons unrelated to health, religion or aesthetics. According to one paper, almost 85% of males 16–39 years old are circumcised in South Korea, the vast majority around the age of 12 (BJUI1999;83:28-33).
No one can say for certain how the country came to embrace circumcision so quickly — the procedure was basically unheard of there in the 1940s — though the prevailing theory is that South Korean men were influenced by circumcised American soldiers during the Korean War in the 1950s. “Within a decade, South Koreans came to believe that practicing circumcision was ‘advanced and modern,’ just like the American soldiers,” US sexologist Robert Francoeur wrote (http://gkorea.nayana.com/s1.html). “If Americans did it, it must be good.”
In the 1960s, South Korea’s doctors made a big push for circumcision, launching a widespread media campaign promoting it as better for hygiene and health. Since then, the practice had become the cultural norm. “Korea has no religious background, it is nevertheless practiced during adolescence, largely initiated by peer pressure,” states the South Korean study. “Therefore, it has partly become a ‘rite of passage’ and is fully integrated into present Korea culture.”
(Taken by a friend of mine at Hongdae Station this summer. Is it still there?)
Just take a little time and browse some K-pop videos on YouTube. Odds are, on at least one video by a boy group, you’re going to see a comment along these lines:”See, this is why K-pop and Korea are superior to America! Because boys can look and act like this and not be accused of being gay!” This is hardly anything to celebrate. In fact, this is precisely the problem. People pretend that homosexuality doesn’t exist. It wouldn’t matter if a boy group member snogged his bandmates in public (ahem, Heechul), because it’s nothing. It’s just fanservice, they’re just close like brothers, is all. No way my oppas are gay! Even if an idol was to stand up on a table and scream at the top of their lungs that they were gay, it would mean nothing. This acceptance of behavior commonly pegged as gay in the West isn’t acceptance at all. It’s discrimination so strong it assumes that homosexuality doesn’t even really exist.
Maybe I’m just prejudiced by coming from New Zealand, where the only time men touch is when they’re fighting or playing rugby, and where if a guy doesn’t don’t like beer, cricket, or rugby then both the men and the women will think he’s gay, but still: I think the physical affection and pink clothes are something to celebrate. Also, please correct me if I wrong, but I’d argue that it’s overwhelmingly foreign audiences that are making such comments about Korean male singers, whereas the question of their sexuality wouldn’t be an issue in Korea itself.
I definitely agree with Megan though, that the corollary of allowing such a wide range of gender-bending (skillfully exploited by G-Dragon [지드래곤] throughout his career; hence the sticker above!) considerably narrows the range of what is regarded as genuinely homosexual behavior, although I think she’s putting it much too strongly when she says that people deny that possibility altogether (despite what the foreign media says, few Koreans now deny that homosexuals exist). Indeed, that that possibility is still very much open is evidenced by so many male celebrities making a lot of homophobic comments recently, lest their clothes and behavior cause people to question their sexual orientation (which to be fair, Megan also discusses).
(Source)
3) Science Blogging at its Finest
Remember last month, when one of my favorite blogs I09told you about a study published in the latest issue of Hormones and Behavior, that concluded that women’s facial features and estrogen levels correlate with their self-reported desire to have children? Since then, two science bloggers wrote even-handed critiques of the study, to which the author of it responded with a blog post of her own.
In short, this was the internet was invented for, and you can read more about those exchanges at a follow-up post at I09here.
4) The More Egalitarian the Society is, the More “Innate” Biological Differences Disappear
Back when I was an undergraduate student, I read The New Sexual Revolution by Robert Poole (1994), which would come to have a big influence on how I viewed the nature/nurture debate regarding differences between the sexes. As the introduction on Amazon explains:
In this controversial study of gender differences, Robert Poole outlines the recent research which has strongly challenged the notion that men and women would be equal if only they were brought up in the same way. The research has revealed that the brains of men and women are different in distinct ways and that it is these differences which account for much of the mental, emotional and psychological variation between the sexes.
To be sure, after four years of writing about gender issues I’m much more in the nurture camp now, and indeed I regularly make arguments about the influence of one’s environment in gender socialization myself. However, I do still think that there are some innate – not learned – differences between the sexes, especially men’s greater hand-eye coordination and spatial ability mentioned in the book’s introduction, which Poole suggested may be why men prefer playing computer games to women.
Then I read on Sociological Images about spatial ability tests given to two tribes in Northern India, the Karbi and the Khasi. As the post explains:
– The Karbi are patrilineal. Only the men own property, and they pass that property to their sons. Males get more education.
– Khasi society is matrilineal. Men turn their earnings over to their wives. Only women own property, which is passed along only to daughters. Males and females have similar levels of education.
And whereas the Karbi men were much better at spatial ability than the women, the difference between the Khasi men and women was negligible.
For sure, it’s just one study, and there are also methodological issues to consider. But if the result holds true, and the relationship can be confirmed by a wide range of other groups, then it will definitely force me to reassess some beliefs about male/female differences I’ve held dear for the last 17 years!
For the last two years, I’ve been referring readers wanting a good quick history of Korean LGBT issues to a paper by Professor Douglas Sanders of the University of British Colombia, a noted author on human rights and LGBT issues, and as it happens also the first openly gay person to speak at the UN. And I still will, but now I’ll also link to this post by Michael Hurt and Josh Forman at Groove Korea, which does a good job of filling in the last two years (and much more).
Well, not quite everything, but I did indeed just get interviewed about blogging by Gwangju Foreign Language Network (광주영어방송), which you’ll be able to listen to here at 6:15pm on Tuesday (I’ll add an MP3 file when it becomes available). It’s very short, but I’d be happy to expand upon anything mentioned in the interview here, or answer any other questions that readers may have.
For anyone that does listen to the interview, here’s the post about criticisms of Korean female – Caucasian male relationships that I mentioned, as it seemed to resonate with a lot of people.
Update – Unfortunately, WordPress.com doesn’t allow me to upload the WMA file that I was sent. Sorry!
Last week, I posted a translation of an article about sexual discrimination in the hiring practices of several major Korean companies, some only hiring one woman for every four men. As a follow-up, here’s a recent interview of a young woman looking for work, to give readers a better sense of what that discrimination means from job-seekers’ perspective. Naturally, the focus is on women, but much of what the interviewee describes applies to men too:
“여자신입사원들은지들이공주인줄알아” / “New female employees all think of themselves as princesses”
“엄마가 없는 형편에 정장 사주면서 꼭 취업하라고 했는데… 엄마 목소리 들으니까 눈물이 나.”
“My mom bought me a suit in our poor circumstances and told me I must get a job…hearing her voice makes me cry.”
13일 저녁 중곡동의 한 포장마차에서 혼자 술을 마시던 김선희(가명?24)씨는 전화기를 부여잡고 울고 있었다. 포장마차 테이블 넘어로 들려오는 그녀의 울음 섞인 대화에 가슴이 저릿해 몰래 엿들었다.
On the evening of the 13th at a food stand in Junggok-dong, Kim Sun-hee (false name, 24), drinking alone, was clutching a phone and crying. Her tearful conversation, audible beyond the food stand table, moved me so I secretly eavesdropped.
김해에서 서울로 상경해 수도권에 있는 사범대를 다니는 김씨는 대학졸업반이다. 그녀의 서울 생활만큼 취업은 녹록지 않았다. 전화 통화를 끝낸 그녀에게 말을 붙여 혼자 술을 마시게 된 사연을 들을 수 있었다.
Kim, who had moved from Gimhae to Seoul and who attends a college of education in the capital area, is a senior. Getting a job is not as easy as her life in Seoul. After she finished her conversation I approached her and heard the story of how she had come to be drinking alone.
“좀 청승맞죠? 근처에 사는데 오늘은 정말 너무 힘들어서 술이라도 안 마시면 화병 날 것 같았어요. 오늘 면접을 5군데 봤어요. 서울 남쪽, 북쪽 할 것 없이 면접보러 다녔어요. 긴장을 풀었다 놓으니까 정말 미치겠더라고요. 나중에는 (면접보면서) 헛소리까지 했어요. 제가 너무 긴장을 해서 눈을 못 마주치니까, 면접관이 사시냐고 물어보더라고요. 아마 떨어지겠죠.”
“Pitiful, aren’t I? I live in the area, and today was so hard, if I don’t at least drink alcohol I think I’ll get sick from repressing anger [hwabyeong]. Today I had 5 interviews. I went around north Seoul, south Seoul, everywhere, to interview. I kept going from nervous to calm, so I thought I’d go crazy. Later (as I was being interviewed) I was even talking nonsense. I was so nervous that I couldn’t make eye contact, so the interviewer asked if I was cross-eyed. I must have failed the interview.”
Image Caption: “하이킥 짧은 다리의 역습” 미 래의 88만원 세대 백진희가 인턴으로 취직을 하기 위해 면접을 보고 있다 /Future 880,000 won generation member Baek Jin-hee is interviewed for an internship in comedy program “High Kick: Short Legs’ Counterattack.”
취업하기위해춤과노래를권유하는사회/ A society that urges singing and dancing to get hired
대기업 인턴, 자격증, 교생실습, 알바까지 그녀의 대학 생활은 ‘낭만’이 아닌 ‘알바와 스펙쌓기’로 채워졌다. 1년의 휴학 기간 조차 그녀에겐 휴식이 아닌 이력서에 채울 경험을 쌓으면서 보냈다. 그렇게 열심히 대학 생활을 한 그녀였지만, 면접에서 쏟아지는 질문들은 그녀를 난처하게 만들었다.
Her university life, with its internship at a large company, certificates, teaching practice, and even part-time work, was filled with “accumulating part-time work and qualifications”, an activity which lacked romance. Even the one-year break she took from university was not a rest, and was spent gaining experiences to fill her resume. Though she had worked so hard during university, the hailstorm of questions at the interview landed her in difficulties.
“오늘 면접 본 회사에서는 대놓고 이런 말을 했어요. 회사는 일을 배우려고 하는 사람을 뽑는 곳이 아니고, 일을 잘 해서 성과를 낼 수 있는 사람을 뽑는다. 당신 같은 사람보다는 잘하는 사람 뽑고 싶다고… 기업은 이윤을 창출하는 곳이니까 안타깝지만 어쩔 수 없죠.”
“At the company where I interviewed today, they said this to my face: this company is not a place that hires people who intend to learn the work, it hires people who do this work well and so get results. We want to hire people who do better than someone like you. A business is a place that creates profit, so though it’s regrettable, it can’t be helped.”
그녀가 면접을 본 외국계 회사 중 한 곳은 면접에 들어가자마자 영어로 질문을 했다고 한다. 자기 소개를 하기 전부터 쏟아지는 영어 질문에 그녀는 적잖게 당황했다고 한다. 심지어 취업상담센터에서는 그녀가 쓴 이력서의 취미란을 ‘춤추기와 노래하기’로 고치라고 권유했다.
She said that at one of the foreign companies at which she interviewed, they started asking her questions in English as soon as she entered the interview [room]. This rain of English questions that came before she introduced herself flustered her more than a little. Furthermore, an employment counseling center urged her to amend her hobbies to “dancing and singing” on the resume she had made.
“지루한 사람으로 보일 수 있겠지만, 제 취미는 진짜 독서랑 요리예요. 그런데 취업상담센터에서는 회사 레크리에이션과 회식자리에서 잘 놀 수 있는 사람을 뽑을 수 있으니까 춤추기, 노래하기로 취미를 바꾸래요. 취업하는데 춤추고 노래까지 불러야 해요?”
“It might make me look boring, but my hobbies really are reading and cooking. But the employment counseling center said companies can choose people who can have fun during company recreation activities and office dinners so I should change my hobbies to dancing and singing. I’m [just] looking for a job – I even have to dance and sing?”
취업준비생들에게 이력서 취미란은 고민되는 항목이다. 평범하게 적으면 불이익을 받을 수도 있고, 막상 돋보이게 적으려고 해도 ‘색다른 취미’란 것이 없기 때문이다. 그래서 남자 취업준비생들 가운데 대부분은 취미란에는 축구와 등산을 적는 이들이 많다.
What they write down as hobbies on their resume is a cause for worry for job-seekers. That’s because if they write it in an average way, they could be at a disadvantage, but even if they try to write it so that they stand out, they don’t actually have an “unusual hobby.” So among male job-seekers, there are many who write down soccer and hiking as their hobbies. (source, right)
대놓고 신입사원에 대한 험담을 하는 회사도 있었다.
There are companies that badmouth new employees in their presence
“한 회사는 ‘요즘 여자 신입사원들은 뽑아 놓으면 지들이 공주인줄 알아. 밑바닥부터 시작할 생각을 해야지. 어디서 공주 행세야’라고 말하는 회사도 있었어요. 전 공주 소리 들어본 적도 없는데… 그래서 저는 (사장님께) 30분 먼저 출근해서 책상을 닦아 드린다고 말했어요. 책상이 깨끗하면 그 날 하루를 기분 좋게 시작할 수 있으니까요. 은근히 그런 거 바란다니까요. 기업 문화도 문제지만, 이 정도는 각오해야죠.”
“One company said, ‘These days, we hire new female employees and they think of themselves as princesses. They should expect to start at the bottom. Why are they acting like princesses?’ No one’s ever called me a princess … so I said (to the company president) that I would arrive at work 30 minutes early and clean his desk. Because if your desk is clean, you can start the day in a good mood. Because inwardly, that’s what they want. Business culture is also a problem, but you have to be prepared to do that much.”
눈물을 훔치는 그녀의 말 끝에서 안타까운 한숨이 흘러 나왔다. 기자와 김씨의 대화를 듣고 있던 4년차 직장인인 기자의 지인은 “회사는 외국계인데, 사장은 한국 사람이구나”라고 말했다.
As she finished speaking, wiping away tears, she sighed pitifully. An office worker in her 4th-year and acquaintance of this reporter who had been listening to our conversation said, “Ah, so it’s a foreign company, but the boss is Korean.”
화제 전환을 위해 그녀에게 선생님이 될 생각은 없냐고 물었다. 그녀는 실제로 교생실습을 하기도 했으며, 이번 학기를 마치면 교원자격증을 취득한다. 하지만 그녀가 선생님이 되는 길은 멀고도 험한 길이었다.
To change the subject, I asked her if she had thought of becoming a teacher. She had had actual teaching practice, and when she finished this semester she would acquire her teaching certificate [with which she can teach at some private schools and is eligible to take the test to work at public schools]. However, she said the path to becoming a teacher was long and rough.
“선생님 되고 싶죠. 과정이 힘든 것은 견딜 수 있어요. 하지만 대학 졸업 후에도 임용시험 준비한다고 부모님께 손 벌릴 수는 없잖아요. 그리고 사립학교 교사라도 되려면 몇 천만원을 내야 돼요. 저희 집에는 그렇게 큰 돈 없어요. 공립 학교는 준비하는데 몇 년 걸리고, 합격하기 어려워요. 만약 임용 시험에 실패하면 나이 27살에 이력서에 ‘임용 준비’ 이렇게 쓸 수 없잖아요. 그래서 선생님이 되는 것 포기하고, 일반 기업에 취업하려고 하는데 잘 안 되네요.”
“Yeah, I want to be a teacher. I can endure that the process is difficult. But even after graduating university, if I prepare for the [public school] teaching certification test, my parents can’t afford to pay for that. And if I want to become even a private-school teacher, I have to pay tens of millions of won [tens of thousands of dollars]. My family doesn’t have that much money. Preparing for a public school takes a few years, and it’s difficult to pass the test. If I fail the teaching certification test, I can’t put “teaching certification test preparation” on a resume when I’m 27, you know. So I gave up on becoming a teacher and intended to get a job in a regular business, but it’s not going well.”
그녀의유일한소망은 ‘직장인‘ / Her only wish is [to be] an ‘office worker’
“정치권에서 청년들이 취업을 못하는 이유는 열정과 창의력이 없기 때문이래요. 저는 한 직장에서 뼈를 묻을 만큼 열심히 할 자신 있어요. 열정도 있고, 창의력도 있어요. 그런데 취업을 못해요. 돈도 없어요. 이명박 대통령, 나경원 서울시장 후보가 청년들 일자리 만들어 준다고 하잖아요. 그 사람들이 어떻게 청년들 현실을 알아요. 돈 많고, 배부른 사람들인데…(이번 서울시장 재보궐 선거도)말이 아닌 진심으로 청년실업 문제 해결한다고 하면 청년들이 뽑아주겠죠. “
“Political circles say that the reason that young people can’t get jobs is because they have no passion or creativity. I’m confident that I can work hard enough to die at an office. I have passion and creativity. But I can’t get a job. I don’t have money, either. President Lee Myung-bak, the Seoul mayoral candidate Na Gyeong-won, you know they said they would create jobs for young people. How do those people know young people’s reality? They are people who have a lot of money, and whose stomachs are full but… (in this Seoul mayoral re-election too) if they sincerely say that they will solve the youth employment problem, young people will vote for them.”
그녀는 소위 말하는 ‘개념 찬 대학생’이다. 2008년 미국산 쇠고기 수입에 반대하는 촛불집회에 참여하기도 했고, 노무현 전 대통령의 추모식 때 자원봉사를 하기도 했다. 정치에 대한 얘기가 나오자 그녀는 한층 격앙된 목소리로 말을 이어갔다.
She is a so-called “thoughtful university student” [lit. “full of concepts,” but has more to do with being aware of your world and taking care of it].” She participated in the candlelight rallies against importing beef from the United States in 2008, and did volunteer work at former president Roh Moo-hyun’s memorial service. As the topic turned to politics, she went on in an increasingly agitated voice. (source, right)
“(이번 선거는) 꼭 투표할 거예요. 대학생들 중에서 투표 안 하고, 정치에 무관심한 것이 쿨한 줄 착각하는 학생들이 있어요. 사실 정치는 우리 삶과 연관되어 있기 때문에 정치에 무관심하면 나중에 자신한테 돌아와요. 부메랑처럼.”
“(In this election) I will definitely vote. There are some university students who don’t vote, and mistakenly think that not being interested in politics is cool. Actually, because politics is connected to our lives, if you are not interested in that, it will come back on you. Like a boomerang.
“서울에서 살기 너무 힘들어요. 전세금, 물가 비싸잖아요. 전 학교 다니면서 생활비를 다 벌어서 썼어요. 아르바이트를 쉰 적이 없었어요. 뭘 하려고 하면 돈이 필요하니까요. 정말 닥치는 대로 일했어요. 사실 대기업 가려는 이유도 돈 때문이잖아요. 연봉은 물론이고, 퇴직금도 두둑하잖아요. 대기업다니는 직장인들은 월급이 스쳐지나간다고 하잖아요. 통장에 찍힌 월급 명세서를 볼 때 유일하게 행복하대요. 제 희망연봉은 2200만 원이에요. 이 정도 (연봉) 못 받으면 서울에서 살기 힘들어요. 근데 대기업은 매번 떨어지니까, 눈을 낮춰서 일반 중소기업이라도 감사하게 생각하고 들어가려고 해요”
Living in Seoul is really hard. Prices and key-money leases are expensive. While going to school I made and spent all of my money for living expenses. I haven’t had a break from doing part time work. Because if I want to do something, I need money. I’ve really done any work I could. Actually, the reason I want to work at a major company is also because of money. Because of the salary, of course, and the pension is also generous. They say that the monthly pay of employees at major companies flashes by [comes regularly]. Their only pleasure is seeing their monthly pay statement stamped in their bankbook. The salary I would like is 22 million won [about 19,800 USD]. If I can’t get that much, living in Seoul will be hard. But because I keep failing to get into a major company, I plan to lower my standards and be thankful for and work at even an average mid-size company.
그녀는 면접관에게 “이 회사에서 뼈를 묻겠다고 말했다”고 했다. 한 직장에서 뼈를 묻을 정도로 오래 일하는 것이 가능하지도 않지만, 안타까운 것은 ‘뼈를 묻는다’는 절박한 표현을 써야하는 우리 사회의 암울한 취업 현실이었다. 안타까운 마음이 들어 그녀에게 ‘꿈’에 대해서 물었다.
She said she told an interviewer, “I will work until I die at this company.” It’s not possible to work at one office so long that you die, but the regrettable thing was the grim employment situation of our society, that must use the desperate expression “die [lit. “bury bones”].” Feeling pity, I asked her about her “dreams.” (source, right)
“취직해서 시집갈 수 있을 정도로 적금 들고, 집에 많지는 않지만 생활비 보내드릴 수 있을 정도로 사는 거예요. 소박하죠. 근데 이 꿈조차 이룰 수 없게 우리 사회가 막막해요. 취업을 하는 것도, 직장에서 안 잘리고 버티는 것도 어렵잖아요. 원래는 꿈이 거창했는데, 사회의 쓴 맛을 보니 소박한 꿈도 쉽지 않은 것을 알게 됐어요.”
“Getting a job so I can save enough money to get married, and living so that I can send money home – not a lot, but living expenses. Simple, aren’t they? But our society, that can’t let me realize even these dreams, puts me at a loss. Getting a job, and then not getting fired and enduring at a workplace are hard. Originally, my dreams were grandiose, but after being taught a bitter lesson by society, I found out that even simple dreams are not easy.
그녀는 1%가 아닌 99%다. 소위 ‘SKY’라는 일류 대학을 졸업하지 않았고, 자녀에게 수십억의 자산을 물려줄 수 있는 부유한 부모님 밑에서 자라지도 않았다. 또한 취업을 통해 ‘신분상승’이 이루어질 것이란 꿈도 꾸지 않는다. 그녀가 유일하게 소망하는 것이 있다면 ‘직장인’이 되는 것이다.
She’s one of the 99%, not the 1%. She didn’t graduate from one of the top-tier “SKY” universities, and she didn’t grow up with wealthy parents who could leave their children inheritances of billions [millions in USD]. Also, she doesn’t dream that, through getting a job, she can become “upwardly mobile.” If there’s one thing she wishes for, it’s becoming an “office worker.”
4년의 서울 생활이 그녀에게 안겨준 것은 학자금의 빚과 사회의 높은 문턱이었다. 한 시간이 조금 넘도록 얘기하면서 그녀는 틈틈이 눈물을 닦았고, 틈틈이 소주 반 잔을 입속에 털어 넣었다. 그리고 혼자 술을 마시던 그녀를 걱정해 한 걸음에 달려온 그녀의 친구 앞에 다시 눈물을 흘렸다.
What four years of life in Seoul have given her are student loan debts and society’s high threshold. While talking for a little over an hour, she wiped away tears from time to time and poured a half-glass of soju past her lips from time to time. Also, she cried again in front of her friend, who had come running without hesitation because of worry over her friend drinking alone.
‘아프니까 청춘이다’라는 말이 있다. 기왕이면 안 아픈 청춘이면 좋으련만, 우리 시대의 청춘 가운데 99%는 현실의 높은 벽에 부딪혀 아프고 절망한다. 20대라면 누구나 잠시 거쳐가는 성장통일까? 아니면 경쟁을 강권하는 우리 사회가 만들어 낸 어쩔 수 없는 아픔일까? 후자라면 ‘어디’를 점령해야 해결될 문제인지 고민해 볼 필요가 있지 않을까? 이런 저런 생각을 하는 동안 그녀는 “다음에 여기서 검은 정장을 입고 혼자서 술을 마시고 있으면 또 면접 떨어진 줄 아세요”라고 말하며 떠났다.
There is a saying [from the title of a recent book]: “Youth is pain [Lit: “it hurts so you are young”].” That said, a youth without pain would be nice, but 99% of our era’s youth are running into the high wall of reality and feeling pain and despair. Is it the fleeting growing pains that anyone in their 20s feels? Is it the unavoidable pain created by a society that compels competition? If it’s the latter, isn’t it necessary to think about where we need to take control of in order to fix this problem? While I was thinking about that, she said, “Next time, if I’m wearing a suit and drinking alone, know that I’ve failed an interview again,” and left. (end)
Update: See I’m no Picassso for an interesting follow-on post.
Pondering questions about excessive photoshopping in ads for a radio interview I’ll be doing next week, yesterday I would have said that Koreans are so accepting, even welcoming of it, that unfortunately little surprises me anymore.
Then I saw the alien that has replaced Lee Da-hae (이다해) on Charm Soju’s (참소주) website…
Update – Thanks to Paul Kerry for drawing my attention to these further examples, also available on the website:
Paul at least has seen them in a restaurant (example here), and Lee Da-hae’s endorsement deal also produced a lot of Korean news reports and blog entries back in September, so they’re certainly out there. Unfortunately though, I’ve been searching in vain for any mention of the Photoshopping in them. As they say, the silence is deafening!
Probably everybody reading knows a Korean person who married someone just one or two months after meeting them. Of the three women I know that did, all enrolled the services of a professional matchmaking marriage agency like Duo (듀오) above to find them, two just the week after they split up with their heartbroken long-term boyfriends.
Needless to say, that sits uncomfortably with modern Western notions of romance and marriage. Yet despite most readers’ distaste, not all such pairings are doomed to loveless failure, and indeed all three of those women I know seem perfectly happy with their new spouses. But what compels such hasty arrangements?
Also, a confession and a question: the third woman I mentioned was actually a very close Korean friend of mine, but I was so surprised and disappointed with her for getting an arranged marriage that I didn’t try to keep in touch when she moved to a new city afterwards (although we both became much too busy with our respective families anyway). Do you think I was too judgmental? Have any other readers also had their intelligent, confident, ambitious female friends suddenly surprise them with an arranged marriage like that? Did you stay friends afterwards, despite that “traditional” Korean elephant in the room? Please let me know!
2) Korean Gay Community Warns of Assaults on Twitter
According to reports on Twitter there seems to be a group of men in Jongro assaulting gay men at night. See Asian Correspondent for more information.
3) Koreans’ Teeth and Cosmetic Infantilization
Five times a week, I’m greeted with the above advertisement for my workplace as I leave the subway. It may sound a little harsh of me, but every time I see it, I can’t help but ponder why the advertisers didn’t choose a model with nicer teeth (rest assured they look much worse when they’re the size of your palm!).
Possibly, it was felt that a using a “real” person would be more appealing to potential students than an obvious professional model. But on the other hand, good teeth aren’t really a requirement even for Korean celebrities either, as this post by Johnelle at Seoulbeats makes clear. In it, she speculates that good affordable orthodontic treatments weren’t really an option for the current generation of 20 and 30-something celebrities, and/or that they didn’t correct them once the option to do so did become available because crooked teeth are a good sign of being a fabled “natural beauty”, in particular of not having undergone jaw surgery to obtain a V-line.
Without disputing those at all though, the news that some Japanese women are deliberately making their teeth look crooked (known as yaeba) suggests a third, strongly gendered possibility. As explained by Sociological Images (source, right):
Michelle Phan, who blogged about the trend, explained:
It’s not like here, where perfect, straight, picket-fence teeth are considered beautiful. In Japan, in fact, crooked teeth are actually endearing, and it shows that a girl is not perfect. And, in a way, men find that more approachable than someone who is too overly perfect.
Communication Studies professor Dr. Emilie Zaslow had something different to say. She argued that the trend represented a fixation with youth, the sexualization of girls, and pressure on women to infantilize themselves:
…the naturally occurring yaeba is because of delayed baby teeth, or a mouth that’s too small.
In other words, having a crowded mouth makes you look younger, like a girl instead of a woman.
In short, I’d argue that this possibility means that Korean men with crooked teeth are more likely to correct them than Korean women, and indeed that matches my own observations. But although it’s too early for confirmation bias to have an effect here(!), of course that result may simply reflect my being much more interested in women’s mouths than in men’s. So, what are readers’ own observtions? And if there is indeed a gender imbalance, can you think of alternative reasons for why that would be the case?
Related, Leanne of Hello Korea! laments the popularity of “Asian poses”, and how it perpetuates Orientalist stereotypes of childish East Asian poses (including among East Asians themselves). As she writes:
Now, to be fair, your common everyday Korean woman is not posing for a camera all the time, but it’s still disturbing that they do this stuff when a camera gets put in front of their face.
That really struck a chord with me, because, the same day I read that, I happened to be presenting the following video (albeit by an Asian-American I think) to an all-male class of computer-gaming students. Perennially bored and sleepy (the students that is), I thought a cute young woman imitating various feelings would spark some interest in studying English for a change. Indeed, it worked so well, I decided I’d do something similar for my other, mostly female classes…but, tellingly, soon gave up trying to find a cute young guy doing the same sort of video!
4) Korean Attitudes to Women Working While Pregnant
Msleetobe, of On Becoming a Good Korean (Feminist) Wife, discusses her realization that her Korean students and coworkers seem to find pregnant women essentially useless, or at least poor workers. While she is careful to not to generalize from that small group though, she also raises the important point that with so many pregnant women expected – or forced – to resign from their companies (see #2 here), then unfortunately very few Koreans actually get to meet anyone who could challenge that stereotype.
5)Police Arrest Individuals Behind Solbi’s Fake Sex Tape
Finally, it’s not related to Korea sorry, but do let me pass on this excellent In Our Time podcast on Eugène Delacroix’s 1830 painting Liberty Leading the People above, with a lot of discussion of how it has been appropriated as a Feminist symbol ever since. Which is kind of ironic, because as guest Tamar Garb of University College London especially points out, French women had almost all no rights at all at the time, and accordingly the woman depicted was definitely only intended to be an allegorical – and not Feminist – figure.
Women – not men – were fired in droves at the start of the 2008 financial crisis. But was that as outrageously sexist as it sounds?
After all, they were the bulk of irregular workers back then, when Korea had a greater percentage of them than any other OECD country. Insecurity was a given, which is why the status and rights of irregular workers was a big political issue years before the crisis.
In such strained circumstances, it sounds almost churlish of women to complain about that arrangement.
But women were also the first to be fired during the the 1997 Asian Financial Crisis, back when Korea had the smallest number of irregular workers in the OECD. Indeed, it was generally only this newly emerging irregular work that was made available to women – especially mothers – once the Korean economy began to recover, and accordingly the Korean female workforce participation rate has stagnated at the lowest or near-lowest rate in the OECD ever since, and Korea has by far and away the largest gender wage gap.
Considering this, mere economic rationales of why women have again been treated so differently – badly – by employers in the latest financial crisis should be treated with a great deal of suspicion. In particular, they can’t explain why Korean companies are currently hiring roughly only one female graduate for every four male ones, as the following MK article makes clear:
“취업성차별” 여대생들의눈물 / “Sexual discrimination in hiring” [causes] female university students’ tears
31 October 2011
서울 소재 중상위권 대학 졸업반인 이 모씨(25ㆍ여)는 금융권 취업이 목표다. 그는 지난 7월부터 2개월간 한 증권회사 지점에서 인턴사원으로 일하며 우수한 평가를 받아 정규직 전환 1순위로 꼽혔다. 하지만 결과는 실패였다.
The goal of one Ms. Lee (25), member of the graduating class of an upper-mid-level Seoul university, is to get a job in finance. Starting last July, she did a two-month internship at a branch of a securities company, where her superb evaluations caused her to be considered the top choice to be given a permanent position. However, she was unsuccessful.
며 칠 후 이씨는 상사에게서 충격적인 말까지 들었다. “미안하지만 본부에서 남자만 뽑으라는 지시가 내려와 어쩔 수 없었다”는 것. 이씨는 “각 지점에서 매긴 인턴 성적은 여성이 훨씬 높았는데도 당시 정규직으로 입사한 여성은 단 한 명도 없었다”며 “다른 이유도 아니고 ‘여자’라서 꿈이 무너졌다고 생각하니 억울하다”고 토로했다.
A few days later, Ms. Lee even heard these shocking words from her superior: “I’m sorry, but we got instructions from headquarters to only hire men, so there’s nothing I could do.” Ms. Lee revealed, “Though at each branch, the ranked interns’ marks were much higher for women, at that time there was not a single woman among those hired as permanent employees. I think my dream was crushed for no other reason than that I’m a woman, and it’s not fair.” (source, right)
극심한 취업난 속에서 여대생들이 취업 문턱에서 좌절하며 눈물 짓고 있다. 여성 고학력화로 곳곳에서 여풍(女風)이 불고 있지만 채용시장에선 남성 지원자를 선호하는 성(性) 차별이 심각한 것으로 확인됐다.
Amid severe unemployment, female university students at the threshold of getting jobs are being frustrated and shedding tears. Through women’s increased high levels of education, “female wind” is blowing [female influence is making an impact] everywhere, but it has been confirmed that, in the job market, sexual discrimination in favor of male applicants is serious.
지 난달 31일 매일경제신문이 국내 10대 기업을 대상으로 지난해 대졸 신입 공채 합격자 남녀 비율을 조사한 결과 여성은 신입사원 10명 중 1~2명꼴로 나타났다. 여성 신입사원 비율을 평균 내보니 18.5%로 20%를 채 넘지 않았다.
On Oct. 31, the results of an investigation by the Maeil Kyungjae newspaper into the gender ratios of new university graduates hired by 10 major domestic companies last year found that women made up 1 or 2 of every 10 hires. They averaged the percentages of new female employees and found it was 18.5%, not even 20%.
기업별로 보면 롯데그룹이 27.5%로 가장 높았고, LG와 SK는 20%, GS는 18%, 한화는 17.1%였다. 현대ㆍ기아차는 10% 후반대로 나타났으며 현대중공업이 9.7%로 대졸 여성 신입직원 비율이 낮았다.
Broken down by company, Lotte Group was the highest at 27.5%, LG and SK were at 20%, GS was at 18%, and Hanhwa was at 17.1%. Hyundai Kia Motors was in the high teens, and Hyundai Heavy Industries had the lowest percentage of women among the recent university graduates they hired, at 9.7%.
최 근 대학생들 사이에 큰 인기를 끌고 있는 두산그룹 기업 이미지 광고 ‘사람이 미래다’에는 취업을 준비하는 여대생이 자주 등장하지만 해당 기업에 여자 신입사원 비중은 18.8%로 매우 낮은 것으로 알려졌다. 두산 관계자는 “업무 특성상 남자 비율이 압도적으로 높아 여성 신입사원 비중이 낮은 편”이라고 말했다. 한진은 대한항공 등 일부 계열사로 공개 범위를 제한했고, 삼성은 공개 자체를 거부했다.
Female college students looking for employment often appear in the corporate image advertisements of Doosan Group, which is gaining popularity among current university students, but it has become known that the ratio of female new employees at this company, at 18.8%, is very low. A Doosan official said, “The nature of this business is [requires] an overwhelmingly high percentage of men and so a pretty low ratio of women.” Hanjin limited the range [of information] made public to some subsidiaries like Korean Air, and Samsung refused to release any information.
통계청에 따르면 지난해 여성 대졸자는 27만1773명으로 남성 대졸자(26만8223명)를 10년 만에 처음 앞질렀다. 하지만 대졸 여성 실업자 수는 14만2000명으로 관련 통계 조사를 시작한 후 사상 최고치를 기록했다.
According to the National Statistical Office, the number of female university graduates last year, at 271,773, outstripped that of male graduates (268,223) for the first time in 10 years. However, the number of female graduates who were unemployed was 142,000, the highest on record.
결국 기업들이 여성 인재를 적극 채용할 수 있는 제도적 기반 마련에 미흡하다는 지적이 나오고 있다. 전문가들은 섬세함과 부드러움, 배려심, 소통 능력 등 여성만이 가진 강점에 주목해 기업이 경영전략 차원에서 인식을 바꿔야 한다고 강조했다. 김왕배 연세대 사회학과 교수는 “후기 산업사회로 넘어오면서 남성성을 상징하는 ‘하드웨어 소사이어티’보다 섬세함으로 대변되는 ‘소프트웨어 소사이어티’가 부각되고 있다”며 “소비자 욕구를 잘 잡아내는 기업이 살아남기 때문에 여성 인력 장점을 극대화할 필요가 있다”고 설명했다.
In the end, it is being noted that there is a lack of arrangements for institutional groundwork from which businesses can actively hire talented women. Experts have emphasized that businesses need to take notice of strengths that only women possess, like delicacy, softness, thoughtfulness, and communicative ability and so change their perceptions at the level of corporate strategy. Kim Wang-bae, a sociology professor at Yonsei University, explained, “As we become a post-industrial society, ‘software society,’ which represents delicacy, is becoming emphasized over ‘hardware society,’ which symbolizes masculinity. Because businesses that excel at capturing consumer demands survive, it is necessary to maximize the strengths of female personnel.” (end)
As always, news like this strongly challenges narratives of a glorious future of Korean grrrl power that pervade the English language media about Korea (see here for a discussion of the above video for instance). But I confess that I was still shocked at the figures above, although perhaps I shouldn’t have been when even an implicit advocate of women’s rights like Professor Kim Wang-bae above subscribes to the same delicate women / tough men worldview that Doosan Group does!
As you’ll recall from last month’s article, about the Ministry of Health and Welfare (보건복지부; MOHW) once defining single mothers as having “low levels of education [and] impulsive sexual drives”, I promised to find out how recently that had been posted on the Ministry’s website, speculating that it was sometime within, say, the last decade or so.
You can imagine my surprise then, when Seunghee Han of the Korean Unwed Mothers Support Network (한국미혼모지원네트워크; KUMSN) informed me that wasn’t removed until as recently as May 2010. This was in response to Executive Director Heejung Kwon posting the definition on the Missmammamia (미스맘마미아) website, which prompted many mothers to write directly to the Ministry to complain.
Unfortunately however, the definition that has replaced it is also a little problematic, implying that most Korean single mothers are in their teens. Whereas that is certainly true of most Western countries though, and – if the 2008 Drama Little Mom Scandal (리틀맘 스캔들) above is any guide – may also be the Korean public’s perception, the reality is that most are in their late-twenties or early-thirties, as the following post on the KUMSN website makes clear:
(For a good introductory article to the plight of single mothers in Korea, see the New York Timeshere)
건강길라잡이사이트문제있습니다 / A Problem with the Health Guide Website
건강길라잡이는 보건복지가족부와 건강증진사업지원단에서 운영 중인 국민 모두의 건강증진을 위한 건강증진사업 홈페이지입니다. 그런데 여기에 쓰인 미혼모의 정의는 이상합니다.
The “Health Guide” is a website jointly run by the MOHW and the Management Center for Health Promotion for the public health of all citizens. However, the definition of single mothers on it is strange.
합법적이고 정당한 결혼절차 없이 임신중이거나 출산한 여자를 미혼모라고 정의내리고 있는데 마치 미혼 임신, 출산을 하면 모두 불법을 저지르고 있는 범죄인으로 여기고 있는 것 같습니다.
According to the definition, single mothers are women who are pregnant or who have given birth who have not gone through the legal and proper marriage procedures. Put this way, it sounds like all unmarried pregnant women or mothers have committed some sort of crime!
그리고 기본적으로 미혼모를 대부분 10대라 여기고 있습니다. 그러나 2010년 조사한 바로는 한 지역사회에 있는 미혼모의 경우, 평균 나이는 20대 후반 30대초반이라는 결과도 있었습니다.
Also, it basically says that most single mothers are in their teens, whereas according to the results of a survey of single mothers in one local area [James – unnamed] in 2010, most were in their late-twenties or early-thirties.
국민들의 건강을 증진하기 위해 유익한 정보를 제공하는 사이트에서도 이런 잘못된 정보를 제공하기 때문에 미혼모들에 대한 사회적인 인식이 더디게 바뀌고 있습니다. 잘못된 정보는 정정되어야 합니다.
Because there is wrong information even in a guide aimed at promoting citizens’ health, the public perception of single mothers is slow to change. This wrong information needs to be corrected.
And here is the section of the guide/website referred to:
10대임신과미혼모 / Teen Pregnancy and Single Mothers
미혼모 : 합법적이고 정당한 결혼절차 없이 임신중이거나 출산한 여자.
Single Mother: A pregnant woman or mother who has not gone through the correct and proper marriage procedures.
산업화 도시화 과정, 성에 대한 가치관이나 태도의 변화, 이성교재의 범위가 늘어남에 따라 미혼모의 수가 계속적으로 증가. 미혼모 중 약 25%는 10대.
Because of industrialization and urbanization, people’s sense of values about and attitudes towards sex are changing, and more people [James – I think it means unmarried people] are having sexual relationships. Accordingly, the number of single mothers is rising, and roughly 25% of those are in their teens.
(James – Before you quite rightly point out that 25% isn’t “most” single mothers, the guide contradicts itself just two lines further down)
미혼모에 대한 정확한 통계는 없으나 전국 출산력 조사결과 18~34세 미만의 미혼여성들 중 3.4%가 임신의 경험이 있는 것으로 추정.
While it is difficult to get accurate statistics about single mothers, based on the results of a national birthrate survey [James – unnamed] it is estimated that 3.4% of single women aged between 18 and under 34 have had the experience of being pregnant (source, right).
미혼모는 대부분 10대 임신으로 교육적 경제적 정도가 낮아 충분한 건강관리를 받을 수 없으며 부모로서의 발달과업을 달성할 수 없다.
As most single mothers are teenagers, with inadequate access to healthcare and low levels of education and earning ability, then they can not really succeed as parents.
신체적인 미숙과 영양부족으로 유산, 조산, 저체중아 출산 등 고위험 임산부와 고위험 태아 및 신생아가 된다.
Teenagers that are not fully physically developed, and/or are malnourished, are at high risk of having miscarriages, premature births, underweight children, and/or complications during their pregnancy.
미혼인 여성이 임신을 하면 임신한 결과를 인공유산과 분만 중 어느 쪽을 선택할 것인지를 결정해야 하고 분만을 할 경우는 자신이 키울 것인지 입양을 시킬 것인지를 결정해야 한다.
If a single woman becomes pregnant, her two options are having an abortion or delivering the baby. If she chooses the latter, then she has to decide if she will raise it herself or offer it for adoption.
우리나라의 경우 84.8%가 인공유산, 분만은 15.2%(김승권, 1992)
In Korea, 84.8% of women in such a situation choose to have an abortion, and 15.2% choose to deliver it. (Kim Sung-gwon, 1992)
Apologies for not being able to find the title of the book referred to for the last figure, but I’m afraid I’ll have to recover from the shock of seeing a 19 year-old source used before I start looking. Moreover, combine that with the sloppily-written, contradictory, and incorrect information provided earlier, then frankly – and ironically – it’s only as I type this that I realize how bad things must be for single mothers here.
Sure, call me melodramatic, and/or reading too much into what is most likely simply a hastily-written piece of work, but recall that it comes from an organization presumably charged with supporting single mothers, promoting their rights, and trying to overcome stereotypes. Yet if that’s the best that it can do, then I shudder to think of how other organizations and segments of society treat them, with the sterling exception of the KUMSN.
But to end on a lighter note: has anybody seen Little Mom Scandal, and/or know how sympathetic it was to single mothers? Please let me know!
(Thanks to Seunghee Han of the KUMSN for the information. And also to Marilyn for putting me in touch with her, and again for translating October’s much longer article!)
For those of you unaware of the latest storm in a K-pop teacup, Yoona (임유나) and Taeyeon (김태연) of Girls’ Generation (소녀시대) were heavily criticized by netizens last week for appearing tired and bored in an American MTV interview. But while that may well have been “unprofessional” of them though, Chloe of Seoulbeats points out that women tend to be called out on it much more than men, with the rudeness and unprofessionalism of Heechul (김희철) of Super Junior (슈퍼쥬니어) in particular usually simply dismissed as good harmless fun instead.
2) Why the Huge Disparity in Korean Rape Sentences?
I’ve never read Stars and Stripes before, naturally assuming it to be a little partisan. But if the following article is any guide, I’ve been misjudging it:
From a distance, it appears a travesty of justice has occurred.
In hearings held just 12 days apart in the same courtroom, the same three-judge Uijeongbu District Court panel sentenced a Korean man in his 20s to 3.5 years in prison for the rape of a U.S. soldier in her late teens, and sentenced a U.S. soldier in his 20s to 10 years in prison for the rape of a Korean girl in her late teens.
The disparity in prison terms prompted a flurry of emails and Internet message board posts suggesting that the soldier-rapist was unfairly punished for his crimes and that the Korean man who raped the female service member was given a relatively light sentence because the Korean judges were biased toward their countrymen or against the U.S. military.
But a closer look at the situation reveals that while some believe publicity surrounding the soldier’s rape of the Korean teenager might have played a role in the disparity, there were a number of other factors that could explain why one rapist was sentenced to almost three times as much prison time.
IN LATE September, the South Korean arm of IBM, an American computing multinational, put out an advertisement soliciting applicants for a round of job vacancies. The text was standard fare in every aspect except one: sexual minorities—gays, lesbians, bisexuals, and transgendered people—were to be given “extra points” in the screening process, according to Asia Kyeongjae, a South Korean financial newspaper.
Such a policy might raise eyebrows in many places….
But later:
IBM Korea thus looked to be at the cutting edge of South Korean social change. However, the firm is now backtracking and has changed the wording of its original advertisement. Public-relations staff say there was a misunderstanding and that the firm simply wants to offer equal opportunities to all.
Read the rest at the Economist. Whether because of a genuine mistake or negative publicity though, I think IBM Korea’s retraction will have done it no favors with more liberal Koreans.
See Asian Correspondent also for, sadly, parents and teachers’ opposition to The Seoul Office of Education’s attempts to safeguard gay students’ rights, and here for a good historical guide to Korean LGBT issues up to 2009 (source, above).
4) The “Good Girls Marry Doctors” Project
In its own words:
Many times, Asian parents in the diaspora have a sharpened sense of what family or society in the “home” country might expect of them. Even if they left Asia decades ago, the older community rules by which they grew up is what is replicated as a model of behavior for their daughters, even if things in the “home” country have changed quite a bit with the times. Most importantly, it is made clear to women in particular that they are the bearers of their culture, and that if they fail to impart tradition to the next generation, they will have failed in their duties. The stress this creates often leads to these girls loving and feeling totally loyal to their parents, but also feeling like their parents don’t necessarily understand them.
Read the rest at the F-Word Blog. But just to be clear though, the project is NOT about “backward” Asia-bashing:
…this project’s goal is not to chastise culture for limiting women’s choices, but rather we hope [it] will give strategies and ideas of how girls can find new ways of finding their own path while still being able to honor our cultural background.
(Not technically related to the above story sorry, but this book I stumbled across while looking for an accompanying image does look quite interesting!)
5) Ultrasound Images Posted Without Parents’ Knowledge
Which is more concerning than it probably sounds:
The images, which can be used to determine a child’s sex and check for abnormalities, were found to have been posted on a web page where anyone with a membership could see them.
MediNBiz, which began ultrasound imaging of fetuses in 2003, is the top-ranked company in its industry, with partnerships with some 300 hospitals, or more than 70% of birthing hospitals nationwide. An examination of its SayBebe website (saybebe.com) by the Hankyoreh found that 2.82 million fetus ultrasound images for 400 thousand members were posted on the site as of Nov. 2, with the mother’s name, the birth date, and the hospital where the child was born. The images were available for viewing by anyone with a membership.
Read the rest at the Hankyoreh. On the plus side, all images were immediately made private as a result of the newspaper’s investigation.
Finally, it behooves me to mention that today is “Bra Day” (브라데이) in South Korea, on which men are encouraged to buy lingerie for their girlfriends and/or or wives. See the helpful graphic above for an explanation of why November the 8th was chosen for it, and especially Brian in Jeollanamdo’s post for more on this and similar fabricated Korean consumer holidays.
Update – For any single readers traveling to Shanghai this week, don’t forget that the 11th is “Bachelor Day” there! (via: @AdamMinter)
Or in short, putting reactions to that Mr. Pizza (미스터피자) commercial under the magnifying glass. If you haven’t already then, make sure to read Stephen Epstein and Rumi Sakamoto’s article of the above title at Japan Focushere, and thanks very much to them for the mention.
To make these Korean Gender Reader posts more timely and readable for you, from now on I’ll be reducing the number of links in them from 5 to 10, which will allow me to put new posts up more often. I hope you all like the change, and, sure enough, the next KGR will be up on Tuesday evening!
1) Korean Men’s Group Demands Ban of Movie You’re my Pet (너는 펫)
The Korean Men’s Association has filed a petition for an injunction against the film, “You’re My Pet.”
The Korean Men’s Association posted a link on their homepage to a legal petition that will force “You’re My Pet” to cease from playing in theaters. They voiced that the film is degrading to men and the concept of a female “owner” and a male “dog” is sexist and inhumane. They also emphasize their point by asking how people would react if the role was reversed and it was a male owner and a female dog. They ended the note by saying that these kinds of concepts should not be treaded upon, even if it is for entertainment.
What do you think? Hat tip to @suzyinseoul and @john_F_power on Twitter for the story, and you can see here, here, here, and here for their own thoughts on it. Also, see here, here, here, and here for some discussion of the differences in the way the male and female actors are portrayed in the posters, which relates to some sexual overtones to the movie that are absent in the original manga.
2) In Korea, Pregnancy Can be a Career-killer
Which I’m sure readers are well aware of (see here if not), but it’s very different hearing it first hand. Make sure to read Groove Korea magazine here then (quickly jump to the last page), for an article by John Lincoln about how an excessive workload forced upon his pregnant wife likely caused their baby’s premature(?) birth, and also about the tactics her company used to effectively force her to resign thereafter.
Update – A much easier to read version is now available on the Groove Korea website here.
Sure, technically they may not be related (and see here and here if you’ve never heard of Slutwalk), but regardless it’s still great to hear a Korean male celebrity saying that preventing rape is men’s responsibility. As BadMoonRise explains of the above image:
This really caught me as a surprise.
I was watching Strong Heart (a Korean variety talk show)
Dana was talking about her experience in almost being kidnapped as a middle schooler. At the end of the story, one of the other guests asked KHJ “How do you think someone(women) can prevent sexual predators?”
and he responds “Men need to get their act together (a long the lines of “Men need to think clearly” as in “Men need to stop”)”
With apologies, after 45 minutes I’ve been unable to find a clip of that scene itself, although I did find the one of Dana that preceded it:
Badmoonrise reports that the other guests laughed in response to Kim Hyun-joong’s (김현중) comment, which sounds disappointing and confusing: like many people have said, what’s funny about it? But to play Devil’s Advocate, that may more be just have been because of the style of the show, where laughter and overacting is pretty much constant (especially after something as serious as Dana’s story).
Hat tip to I’m No Picasso, and to everyone on Twitter who *ahem* told me who “KJH” was. Also, if anyone knows of any more Korean celebrities – male or female – speaking out against victim-blaming for rape, please let me know.
Update – See Thrive for a more exact translation of what KJH said.
4) “In South Korea, Plastic Surgery Comes Out of the Closet”
A good introductory article from the New York Times, although personally I’m a little skeptical of the claims it makes. While I’ll grant that HDTV and netizens’ sleuthing means that celebrities can no longer hide it, I’m still unaware of any Korean celebrities loudly and proudly admitting that they had any procedures done, at least beyond minimal ones like double-eyelid surgery (but please correct me if you do know of any). Also, the NYT makes a big omission in not mentioning that Korea is one of the only two countries in the OECD where it is legal to require photographs on resumes (the other is Japan), and indeed this leads me to believe that greater acceptance and acknowledgment of cosmetic surgery is probably much more of a bottom-up phenomenon than the NYT makes out.
Update – Make sure to see Johnnie and Angela for some examples of the ensuing numerous Before and After advertisements.
5) Taiwan Legalizes Prostitution
Which sounds great, but most Taiwanese women’s rights groups are opposed. Whether that’s because of genuine concerns with the specific legislation though, or because – like many Korean women’s groups – they have a blanket opposition to prostitution, I’m afraid I can’t say, but I’m sure it’s covered in this 25 minute AlJazeeraEnglish documentary on it (please don’t be put off by the black screen below; it’s working):
I’ll update this post and let readers know later tonight, once I’ve had a chance to watch it myself!
Update – Fortunately, it’s more problems with the legislation than because of a blanket opposition. In brief, those problems include:
Prostitution is quite literally a mobile industry, and confining it to special zones ignores reality.
Brothels in Taiwan are actually quite spread out (often next to temples), and well integrated into their neighborhood economies. So zoning penalizes some and not others, and by no means just the prostitutes and pimps themselves.
Prostitutes and clients that give or receive sex services outside those zones will receive the same monetary fines. This not just ignores the huge income gap between them, but could be devastating for the prostitutes, who tend to be economically-disadvantaged.
Prostitutes themselves haven’t been consulted enough, and the legislation appears rushed.
While local governments will be charged with designating and running prostitution zones, all are opposed in a NIMBY sense (and echo the criticism that it’s rushed), and are widely considered much less capable and more vulnerable to corruption than the central government.
The legalization is not accompanied by an increase in welfare services and government resources available to deal with the side-effects of prostitution that would be brought to light (although that exposure would be a good thing in itself).
And finally, some groups worry that it would lead to an increase in trafficking and sex-tourism. But I’m a little doubtful of that myself, and indeed it’s also questioned by some people interviewed on the program, even though they’re still against the legislation as a whole.
No, not pin-up girls, but pin-up grrrls. Let me explain the difference.
First, take another long hard look at Yoon Eun-hye’s (윤은혜) photoshoot for October’s Dazed and Confused, as one does. Because despite appearances, it was probably a tough sell. Would you invest 8000 won (US$7.24) in a magazine for just 7 revealing pictures of a celebrity, out of 255 pages? Even if there are no high-definition versions available on the internet?
Maybe. I did, but as you’ll see, I was looking for an interview of her. You can make jokes about my real motivations later.
I suspect then, that the photoshoot’s main purpose may not have been to sell more copies of that particular edition per se. Rather, it was looking to enhance Dazed and Confused’s brand through the ensuing publicity, thereby selling more magazines and being able to charge more for advertisements in the long-term. If so, then the massive attention the pictures have been getting in the media can be considered a success, in the process Eun-hye literally – if only fleetingly – embodying the Wikipedia definition of a pin-up girl as “a model whose mass-produced pictures see wide appeal as popular culture”. Even, in a hyperreal sense, in the absence of the physical pictures themselves.
Next, consider them in the context of a retrofad that has been sweeping movies and K-pop (or at least the female half of it) since at least Lee Hyori’s (이효리) U Go Girl of 2008. Again, while strict censorship and sexual conservatism likely confined any physical Korean pin-ups to seedy bars until the 1990s (I’ll consider “soju girls” separately shortly), pin-up girl chic is certainly becoming a recognizable part of Korean popular culture. It was no great surprise to see models copying them (source, right) on Korean television last year for instance, and I refuse to believe that it’s a mere coincidence that now there’s even an online clothes store with the pin-up name.
Vivent les femmes?
Well, that’s certainly a possibility, which I’ve very much underplayed in the last five years I’ve been writing about Korean gender issues. And not that I wasn’t correct to do so: knowing that baring breasts in magazines was one notable form of resistance to censorship in Francoist Spain in the 1970s, naively I projected that onto what were increasingly risqué Korea soju ads starting from about 2006, likewise equating more T&A in them with, well, sexual and political liberation (see here for a modern Arab equivalent). Thankfully, many readers soon disabused me of that notion, and I’ve been at pains to point out that the latter doesn’t automatically signify the former ever since.
A brilliant book, alas it is also 444 pages long, but fortunately a roughly 20 times shorter version(!) is available online here, which I strongly encourage you to read in full. Here’s just a taste of why it was so eye-opening:
In the same way that women surely saw their own reflection in the illustrated recruitment pin-ups of WWII, it seems that many similarly saw the Varga Girl not as an unattainable fantasy of the heterosexual male imagination, but an ideal they could both associate with and aspire toward. Contrary to contemporary assumptions that the Varga Girl (and Esquire magazine) were enjoyed by an exclusively male audience, we find her presence in such contexts where she would not only have been highly visible to women, but there as the result of what one can assume was her already existing popularity with a female audience. By the start of the war, women were certainly familiar with her; in the very same issue as the first Varga Girl, an Esquire reader-poll appeared that indicated nearly three-quarters of the “gentlemen’s magazine” subscriptions were in fact read by women, for whom the magazine’s illustrations were the number one attraction…. In fact, if one reads the magazine’s letters section, “The Sound and the Fury,” throughout the ‘40s, women’s letters were frequently published–many written solely to remind the male editors and readers that the magazine had a broad audience that included women, whose presence they should consider in features, cartoons, and advertisements.
Replacing the “iron rice bowl” of job security in urban China in the 1990s is the craze of creating the “rice bowl of youth”. Everywhere attractive young women have been sought to represent the shining image of “modernity”. Booming service, commercial, and entertainment industries post numerous age-, gender-, and, often, height-specific advertisements seeking women under the age of 25 and above 165 centimeters in height. Stylish, elegant, or sexy, young “Misses” are displayed in remodeled or newly built “modern” hotels, restaurants, department stores, travel services, night clubs, dance halls, and so on. As older state industries lay off women workers over 35, these modern young Misses, many with no particular education or technical skills, are entering the rising industries (mostly in the private sector, some with foreign investment) where their youth and beauty provide a ticket to incomes several times higher than those of their older sisters.
And in particular:
The creation of the rice bowl of youth is a “joint venture” of consumerism and capitalism that commodifies and objectifies women. Its contradictory aspects should not, however, be overlooked. Many a Miss Public Relations, Miss Shopping-guide and Miss Travel-guide is far from being a passively constructed “decorative” object for the fulfillment of her bosses’ utility needs and their male clients’ sexual fantasies. Rather, many are active players in the melodrama of modernity, who consciously manage their “profits” by a range of strategies, including frequent job changes to advance their position, and investing in various adult education programs to acquire new qualifications and skills [James – a surprising absence here is mention of cosmetic surgery]. Seizing the rice bowl of youth, many young women catapult themselves into lasting careers. The inherent modern values in this position, such as assertiveness and competitiveness, have been expressed prominently in young Misses’ pursuit of career development in a competitive job market. This gendered employment pattern with its inherent contradictions, in short, provides opportunities for young women’s social and economic advancement, even if it blocks employment access of older laid-off workers, and reinforces gender [James – and sexual] stereotypes.
For an alternative, much more critical view of that development in the Korean context, please read this post of Michael Hurt’s at Scribblings of the Metropolitician, and indeed I do think Whang slightly overstates her case. But the points have been made: dressing and posing sexily in commercial photographs isn’t necessarily exclusively for men, nor does a woman deserve scorn if she does so simply in order to advance her career. Also, that these are not mutually exclusive.
But as something to celebrate in a Feminist sense? That all sounds somewhat hollow, let alone just basic common-sense. Whereas last week I promised you a useful, refreshing perspective with this post.
Enter the pin-up grrrl, who exalts in her sex appeal to both men and women, whether as sexual object, subject, role model, or all three. And above all, she never strays out of character.
By these criteria, merely being featured in Korean pin-up girl chic isn’t quite enough. Just like www.pinupgirl.co.kr doesn’t actually sell anything even remotely pin-up girl themed, simply appropriating the risqué clothing, poses, and terminology of an earlier, quite literally foreign era is meaningless if the same women are infantilizing themselves in their next commercial, talkshow appearance, and/or photoshoot (update: or their Japanese promotions). Yet this is the norm in Korea, where so many female icons loudly touted as confident and independent are actually under the firm control of their management agencies (not even being able to use the internet or have cellphones, let alone go on dates), and where the fact that almost 3 out of 4 commercials feature celebrities means that the same women can be found endorsing just about anything (even competing brands).
Examples abound. At the same time that KARA (카라) were making waves for their “butt dance” (엉덩이 춤) choreography for Mister (미스터) below for instance (and which is a problematic song in itself, placing — for all its supposed female bravado — all romantic initiative in the hands of said “Mister”)…
…you were just as if not more likely to see them on Korean TV doing their childish commercials for Pepero (빼빼로):
More recently, Girls’ Generation’s (소녀시대) purported shift to a more mature, sexual, and empowering image with the release of their latest album The Boys is undermined by familiarnarratives of passivity in the lyrics to the Korean version of the song (but which are tellingly absent from the English one). In particular, while one member (Sunny) did claim that (hat tip to askbask):
“The lyrics’ [meaning] are up to the interpretation [of the listeners’]. Rather than just the simple meaning of girls giving boys support, it can be interpreted in many ways. The girls could be telling the boys that we’ll take the lead, giving off a more tough image. It could also be interpreted as girls telling the boys to get their act together and cheer up. (laughs) The song also aims to give courage to people, whether they’re girls or guys, who are tired out [by life].”
Nevertheless, as someone not just contracted to SM Entertainment, but also the niece of its founder, she is hardly in a position (or have the inclination) to claim otherwise. Moreover, even if for the sake of argument I allow that the lyrics are indeed open to interpretation, most likely the very next thing I’ll see Girls’ Generation in will still be an advertisement for one of the numerous brands they’ve endorsed above, piling on the cutesy aegyo. And even if I further concede that that’s because surely many of those endorsement contracts precede the release of The Boys, and will continue to apply for some time after it, you’d a) assume that if that was a genuine concern, then SM Entertainment could have scheduled things better so as not to undermine Girls’ Generations’ new image, and b) be hard-pressed not to recall that actually they were already supposed to have become “bad girls” with Run Devil Run nearly two years ago.
So again, it’s promoting and maintaining a pin-up grrrl image that is crucial. By which token we can also dismiss most soju girls too, even if they are indeed technically a kind of Korean pin-up. Because with very rare exceptions, such as Kim Yoon-ah’s (김윤아) example discussed here (the singer, not the skater), not only are soju ad formats usually extremely restrictive, but, for all their sexing-up in recent years, the models therein remain firmly ensconced within a virgin/vixen dichotomy, well illustrated by Jeong Ryeo-won (정려원) and Ha Ji-won (하지원) above (only three years apart btw; they changed really quickly!).
Which brings me back to Eun-hye’s pictures, which surprised me because I remember that she endorsed the Korean lingerie brand Vivian (비비안) back in 2008, yet somehow without actually wearing the lingerie at all (as you could see earlier in the post {source}; see here and here for the politics of Korean lingerie modelling behind that). So, I bought the magazine itself assuming that they would include an interview of her, in which, however lame, unreliable, and/or perfunctory, she explained her reasons for the sudden change. Not only was there no interview inside though, but to my chagrin (no, really) I soon discovered that actually she’s been talking her clothes off in public for years now (“have you seen this” indeed!). Which possibly explains why I can’t find any mention of why she did the photoshoot on the internet whatsoever, despite the ubiquity of “news” articles about it as mentioned (source, right).
So, the jury’s still out on Eun-hye at least (although I admit that I’ve yet to look for interviews about her earlier photoshoots), and I acknowledge that my relative lack of knowledge about Korean female celebrities means I may be unfairly and/or prematurely dismissing them, something I’m sure has also gone through many readers’ minds.
So, as you can see below, I’ve been trying to rectify this, looking for reliable interview sources of interviews of Korean singers. But this is harder than you may think, as Korea seems to lack any definitive music magazines. AstaTV, for instance, is literally just 105 pictures of mostly boy-bands for 11,800 won (US$10.44), a magazine format I’ve very surprised to still see around in 2011, while Junior is, well, very much for juniors. Alternatively, the very cheap – but thick – weekly Movieweek and Cine21 magazines are good sources for singers that have also acted, but naturally I’m frustrated not to find something much more music focused.
So, I would very much appreciate recommendations from readers, or if in future you could pass on any decent interviews and articles available on the internet (whether of men or women), in which they elaborate on the themes discussed in this post (I’ve included my translation of one I did find at the end of this post). Indeed, probably in just five minutes some of you will find something about Eun-hye’s Dazed and Confused photoshoot in that I couldn’t in two weeks.But even if so, you’d think that someone earnestly looking would surely have a much easier time of it?
And with that thought, I suddenly realized that I’ve been going about this all the wrong way, and in fact had been quite hypocritical. Because the onus is not on me to find pin-up grrrls by sifting through what, by this stage, looks like an increasingly homogenized, clone-like mass of female celebrities, but rather to highlight those ones who are already doing their darnedest to stand out themselves.
Yes, hereccentricities have put me off in the past too. No, I haven’t heard anything about her in at least a year either. But, just like that picture in that last link demonstrates (well, just about any picture of her really), you’d be hard-pressed to think of a well-known Korean woman quite so brazen (Update – Oops: actually she’s Korean-American, in which case Margaret Cho also instantly comes to mind. But she’s not quite so well-known in Korea itself).
If you personally have never heard of her though, then here is a quick biography of her below. Normally I’d be reluctant to copy and paste an entire article like this, but unfortunately there is increasingly less information about her available in English, and so this (originally from KBS somewhere) needs to be preserved before it’s lost when the long since defunct Pretty Korean Girls blog disappears (hey, beggars can’t be choosers!):
Since her performance of ‘Lost Dream’ in her underwear at the 2003 Venice Biennale, Nancy Lang was introduced to Korea, and she quickly appeared in magazines, on TV and on the Internet. Her showbiz philosophy that she would make money with art shouting “Cutie! Sexy! Kitty!” and “I Love Dollars” has raised controversy among art circles as well as the public.
Unconventional performance
Lang played the violin in the middle of a street wearing Victoria Secret lingerie and red high heels with kabuki style makeup. Her childhood dream was to become a violinist. And she realized the dream through art. Once, at the San Marco Piazza in Venice, she was held by the police for four hours, after which she became popular. Her performances thereafter continued to stand out. The New York born ethnic Korean is a US citizen. She only attended an international high school in Manila but her mannerisms and accent bear the hallmarks of a third generation Korean-American. Her Korean name is Park Hye-ryeong. But eyeing the world as her stage, she strategically changed her last name through help from a lawyer. “Lang” was the final choice among several names as it visually looked nice in typographic terms. Born into a well-to-do family, Lang however went through difficult times when her father died during her college years and her mother fell sick. At times, she couldn’t pay her tuition. But through the trials, she developed a clear sense of life and living.
The evolving Taboo Yogini
Multi-talented Lang’s unconventional character and provocative performances have grabbed the attention of the art, fashion and entertainment circles alike. In her trademark series ‘Taboo Yogini,’ characters such as a woman with a huge courtesan wig or a figure with a body of a robot and a head of a girl, rooster or dog appear. And invariably held in their hand is a powerful gun or a Louis Vuitton bag. In the backdrop is a car, a Chanel lipstick and other luxury brand logos. “Yogini” means an angel or a devil in the dictionary. Taboo Yogini, representing both good and bad, is a ceaselessly resurrecting spiritual being due to its persistent power and life energy. It is the symbol of Lang herself, her dreams, her wounds and her fight. The self-proclaimed ‘walking pop art’ doesn’t hide her love for brand name and elite goods. Last year at the Seoul Arts Center, the bikini clad Lang asked audience members to put oil on her body before going on to sing ‘Purple Scent’ to the tune of a karaoke machine. She pulled off another eccentric performance “Nancy Lang’s autograph session” during which she autographed her posterior as the inaugural artist of the Gwangju Biennale. The Taboo Yogini series is expected to evolve even more. In pursuit of breaking apart and assembling robots, Lang has only yet gathered the parts, and during the process she can let go of past regrets. Her work these days in fact show glimpses of her severing chains with the past and moving toward a fantastic future, portrayed by a wounded yogini and a guardian angel robot. If yogini was Peter Pan to Lang, the robot would be her Tinker Bell. It may be that she is inviting someone she can rely on in the future into her world filled with luxury goods.
Dreaming of Korea’s Takashi Murakami
Her work and lifestyle and her brutally candid and daring speech and actions invite criticism at times. But she doesn’t care. She confidently argues that, like a racehorse, she only runs toward a clear goal. She has firmly established herself as an artist reaching out to the public. Few others see art as showbiz as much as she does. But approaching show business with new ideas and works is a whole different realm. Her role model is Takashi Murakami, who successfully turned his character creations into art based on the animation, comics and games culture. Most of her works sell well and her name once topped the top online search word list. She knows what she wants, “I will become a world renowned artist who can influence the general public, and based on that foundation, I want to gain wealth and fame.” We wonder what she will show us next, as she brings along issues and controversies wherever she goes with her art.
Next, in the unlikely event that you’re not already convinced of her worthiness of the title of pin-up grrrl, then surely Psychedelic Kimchi’sinterview of her in 2006 will be sufficient, which I was very glad to still find five years after first reading it (and apologies for stealing that above image from it!). Especially as, unfortunately, that seems to be the sum total of the only substantive English sources remaining on her, although there is still her (pretty active) official Facebook page (albeit not accepting new Friend requests, or at least not mine; sniff), her (less active) Twitter account, and finally her personal website (but curiously blocked because of phishing attempts the day after I first found it!). And of course I would again be very grateful if readers could pass on anything else, as I would for any suggestions of any other candidates for Korean pin-up grrrls.
But one final thing before I do thank you though, is to draw attention to the origins of the term “grrrl” itself, lest people more familiar with it than I feel that I’m using it too liberally. In short, it comes from the Riot Grrrl underground Feminist Punk movement in the Pacific Northwest in the early-1990s, about which the New York Times wrote the following on the twentieth anniversary of its founding earlier this year:
Ms. Marcus, the author of “Girls to the Front,” agreed that it was part of a 20-year nostalgia cycle. But she added that “people are flocking to these reminiscences because there remains a tremendous hunger” for the kind of liberated, don’t give-a-damn femaleness “that was in full flower in the ’90s,” with nothing quite as potent since.
The fashion pendulum may have inevitably swung back to the ’90s, but riot grrrl, with its snarky cut-and-paste zines and carefully built micro-communities, prefigures a lot of youth culture today: targeted communication and social networking (although they did it with letters and flyers, not e-mails and Facebook messages); the lure of the handmade and the local — the craft marketplace Etsy could have been born in a riot grrrl meeting; and an attitude, evident in blogs like Jezebel and the Hairpin, that feminism can be fun.
And in particular, the original Riot Grrrl Manifesto included the following, in what was I’m sure a deliberate choice of double entendre:
BECAUSE we must take over the means of production in order to create our own moanings.
Why this is important is because of how in her book proper, Maria Buzek contrasts Andre Dworkin’s Beauty Hurts (1974; see it here) and Annie Sprinkle’s Anatomy of a Pin-up Photo (1991) above, then in her conclusion (pages 362-3) discusses Ann Magnuson’s Revenge of the Vargas Girl (1992) below, about which she says:
In “Revenge”, the artist poses in the guise of an elegant World War 2 Varga Girl but turns the artist’s airbrush gun – the medium through which Vargas created his fantasy women – back onto the world. Magnuson has associated her appropriation of the pin-up with the same bait-and-switch subversion as the riot grrrl movement, saying: “Women’s sexuality has been shunned; there’s no shame attached to being sexual. But then, why should frat boys be the only ones who get to appreciate a curvy figure? When the pin-up is allowed to speak (and has something to say), it changes the landscape”. But Mangnuson’s assertion that the tools of the pin-up’s male creator, in the hands of its dangerous spawn, can be easily turned against its creator’s or viewer’s potentially oppressive motives also serves as a metaphor for all of the Feminist pin-up imagery we’ve seen here. In this way, the pin-up’s ultimate “revenge” lies in the fact that, although it may have been created as a tantalizing but unreal object for the delectation of heterosexual men, the pin-up would also find ways to reject this role to reflect and encourage the erotic self-awareness and self-expression of real women.
I’ll leave it up to the reader to determine how and where Nancy Lang fits into that. Or, indeed, how Korean women who wear extremely revealing clothes on the red carpet do, as discussed in the following article from the Sports Chosun, found via Charles Tilly at the Marmot’s Hole. Normally, I’d reject such a tabloidish and vacuous source, but then you recall the difficulty of finding more “serious” sources, and besides which I’ve often pointed out how tabloidish even the mainstream Korean media is. Indeed, considering that such pictures are the newspaper’s unofficial focus, then it might actually be the best source on them(!), and to my surprise its choice of accompanying pictures is not only quite conservative (as Tilly also points out; in particular, it makes no mention of Kim So-yeon’s [김소연] notorious dress below, worn at the opening of the 2007 Busan International Film Festival), but to its credit it also extols the virtues of confident “older” women, usually at best considered completely asexual by most of the Korean media:
[WHY] 여배우들의 레드카펫 과다 노출, 왜 끊이지 않나 / Why is there no end to actresses’ excessive exposure on the red carpet?
김표향 기자 suzak@sportschosun.com / Reporter: Kim Pyo-hyang
이처럼 수위가 높은 ‘파격 노출’은 지금껏 없었다. 뜨거운 ‘노출 논란’의 주인공은 바로 신인배우 오인혜. 6일 부산국제영화제 개막식 레드카펫에 그녀가 등장하자 사람들은 충격으로 벌어진 입을 다물지 못했다. 겨우 가슴의 일부만을 아슬아슬하게 가렸을 뿐, 상반신의 대부분은 훤하게 드러냈다. 곧바로 그녀의 이름 앞에는 ‘노출 종결자’ ‘노출 폭격’이라는 단어가 붙었고, 인터넷과 SNS는 관련 내용으로 도배됐다. 전세계인의 애도 물결 속에 하루종일 검색어 1위였던 스티브 잡스도 이번만큼은 자리를 내줄 수밖에 없었다.
Never has there been exposure like this. In this “exposure controversy”, the leading figure is new actress Oh In-hye. As soon as she stepped out on to the red carpet at the opening ceremony of the Busan International Film Festival (BIFF) on the 6th, everyone was so shocked they couldn’t close their mouths. With a dress that only barely covered just part of her breasts, she was displaying almost her entire upper body. Immediately, prefixes like “Exposure Terminator [Killer/Best]” and “Exposure Bombshell” were attached to her name, and social network services inundated with them. While all day previously the world was in a wave of grief over Steve Job’s death, [in Korea at least?] his position as the most searched item couldn’t help but be replaced by Oh In-hye.
Image caption left – 제16회 부산국제영화제 개막식이 6일 부산 영화의전당에서 열렸다. 개막식에 앞서 거행된 레드카펫 행사에서 배우 오인혜가 등장하고 있다. 최문영 기자 deer@sportschosun.com / The opening ceremony of the 16th BIFF on the 6th at the [new] Busan Cinema Center. Actress Oh In-hye arriving at the red carpet event prior to the ceremony. Photographer: Choi Mun-yeong.
Image caption right – 조선명탐정: 각시투구꽃의 비밀’ 제작발표회에 나선 한지민. 스포츠조선DB / Han Ji-min at the Chosun Dynasty: Detective K production announcement (SportsChosunDB)
(Sources: unknown)
Image caption left – 백상예술대상 시상식을 찾은 민효린 (스포츠조선DB) / Min Hyo-rin at the Paeksang Arts Award Ceremony (SportsChosunDB)
Image caption right – 지난 해 열린 골든디스크 시상식을 찾은 남규리 (스포츠조선DB) / Nam Gyu-ri at the GoldenDisks Award Ceremony last year (SportsChosunDB)
여배우들의 파격 노출, 끊이지 않는 이유는? / What is the reason actresses keep exposing themselves so?
오인혜가 부산의 레드카펫을 휩쓸고 간 후, 개막식 자리에 참석했던 한 중견감독은 이런 말을 했다. “무명일수록 노출이 심하더라.” 여배우들이 레드카펫 노출을 선택하는 이유가 이 말 속에 들어 있다. 화제와 논란을 일으키며 사람들 입에 오르내리는 것. 그러면서 자연스럽게 인지도가 올라가기를 기대하는 것이다. 무명에 가까웠던 오인혜도 강렬한 첫 등장과 함께 사람들 머리에 그녀의 이름을 깊숙이 새겼다. 신인들에게 레드카펫 노출은 자신을 PR하는 가장 효과적인 전략인 셈이다.
After Oh In-hye overwhelmed the red carpet in Busan, an important producer attending the opening ceremony said the following: “The less famous, the more extreme the exposure”. Herein lies the reason so many actresses choose to wear such revealing costumes on the red carpet. As the controversy surrounding them grows, the more they will be on everyone’s lips. At the same time, you can naturally expect them to get a lot of name recognition. [Indeed] Oh In-hye was a virtual unknown, but with her intense first entrance has carved a deep impression on people’s minds. To new actresses, exposing themselves on the red carpet is definitely the most effective PR strategy.
반면에 신인이 아닌 배우들은 이미지 변신과 연기 활동을 위해 과감한 노출을 선택한다. 한지민과 민효린, 남규리는 공식석상에서 선보인 섹시한 드레스로 ‘첫사랑 소녀’ 같은 이미지에서 벗어날 수 있었다. ‘반전 몸매’ ‘베이글녀’라는 수식어와 함께 여성스럽고 고혹적인 매력이 보태졌고, 남성들은 물론 여성들에게도 호감도가 상승했다. 작품 선택의 폭이 넓어졌음은 물론이다.
On the other hand, for established actresses a bold, revealing dress statement can be used to change an image or [assist in some new] acting activity [like a comeback?]. By wearing sexy dresses, Han Ji-min, Min Hyo-rin, and Lam Gyu-ri could get rid of their “First Love” images. Now with the words “electrifying body” or “bagel girl” [James – I disagree: that latter is invariably a term applied by the media rather than deliberately sought, and indeed many women labelled with it actually reject it] they have a charming, feminine attractiveness added to their names, of course increasing their popularity among men and widening the acting roles available to them.
Image caption left – 2008년 청룡영화상 시상식의 김혜수 (스포츠조선DB) / Kim Hye-su at the 2008 Blue Dragon Awards (SportsChosunDB)
Image caption middle – 제16회 부산국제영화제 개막식이 6일 부산 영화의전당에서 열렸다. 개막식에 앞서 거행된 레드카펫 행사에서 배우 송선미가 등장하고 있다. 최문영 기자 deer@sportschosun.com / The opening ceremony of the 16th BIFF on the 6th at the [new] Busan Cinema Center. Actress Song Sun-mi arriving at the red carpet event prior to the ceremony. Photographer: Choi Mun-yeong
Image caption right – 2007년 대종상 시상식에 참석한 김수미 (스포츠조선DB) / Kim Su-mi at the 2007 Daejeong Film Awards (SportsChosunDB)
노출의 고수들은 뭐가 다른가? / What makes the experts different?
레 드카펫을 노리는 여배우들의 ‘워너비’는 단연 김혜수다. 관록과 여유, 고급스러움이 느껴지는 김혜수의 레드카펫 드레스는 여배우들에게 교과서나 다름 없다. ‘김혜수’ 하면 자연스럽게 파격적인 드레스가 떠오를 만큼 노출에 능하지만, 과감한 드레스를 입고 움츠러들거나 옷을 추스리느라 바쁜 여느 여배우들과 달리, 김혜수는 고개 숙여 인사할 때도 좀처럼 손으로 가슴을 가리지 않는다. 그 당당함과 자신감이 김혜수를 지난 10년간 ‘레드카펫의 여왕’으로 만들었다. 매번 베스트드레서로 뽑혀도 드레스 자체보다 김혜수가 더 빛나는 이유이기도 하다.
Of course, the model for red-carpet actresses is Kim Hye-su. She [not only] gives off an aura of dignity, composure, and refinement, [but in] the case of red-carpet outfits, is like a textbook for other actresses. She is very skilled in making her name synonymous with daring fashion statements, [for instance] unlike other actresses wearing revealing clothes, not only not shrugging, laughing, adjusting, and/or rearranging her clothes when she has to lean forward to greet someone [in order to not expose themselves further], but not even covering her chest up with her hand [James – as is the Korean custom]. [Indeed], it is not so much her outfits that have made her the “Red Carpet Queen” for the last 10 years, or why her dresses have been selected as the best at the award shows so many times, but rather it’s the way that she wears them.
올 해 부산국제영화제를 찾은 송선미도 지적인 이미지에 맞는 ‘지능적인’ 노출로 눈길을 끌었다. 가슴 부위가 세로로 깊게 파인 블랙 홀터넥 드레스로 우아함을 잃지 않으면서도 파격 노출에 성공했다. 세련된 포즈와 여유로운 표정도 단연 압도적이었다.
This year at the Busan International Film Festival, Song Sun-mi gave off an eye-catching “intellectual exposure” that suited her intellectual image. Over her breasts was a deep vertical cut in her black halterneck dress, which successfully showed off her body without detracting from her elegance. Of course, the combination of her sophisticated pose and composed expression was overwhelming.
중견배우 김수미도 공식석상에서 노출을 즐겨온 대표적인 여배우다. 김수미는 글래머러 스한 몸매를 강조한 과감한 드레스를 종종 선보였다. 그리고 근래에는 드라마에서 호피무늬 비키니까지 소화했다. 올해 제천국제음악영화제를 찾은 김부선도 상반신과 하반신이 분리된 독특한 드레스로 화제의 중심에 올랐다. 다소 난해한 컨셉트였지만, 사람들을 의식하지 않고 축제의 열기와 팬들의 환호를 마음껏 즐기는 그녀의 모습은 당당하고 아름다웠다. 나이를 무색하게 만드는 두 사람의 노출은 여배우의 자존심이 무엇인지를 몸으로 증명했다.
Kim Su-mi is a middle-aged actress who also enjoys showing off her glamorous [James – busty] body, often wearing daring dresses that emphasize it. In a recent drama for instance, she even wore a tigerskin pattern bikini, and what’s more it fitted her well too.
Also, at this year’s Jecheon International Film and Music Festival , Kim Bu-seon wore a unique dress that separated her upper and lower body into two halves, and which was on everyone’s lips. While its concept was a little difficult to understand, she was unconcerned, and was beautiful and confident reveling in fans’ passion and cheering for her [James – see above; source].
Both actresses showing of their bodies like this is testament to the fact that age is just a number!
(Source. Call me indulgent, but that dress really does have to be seen to be believed!)
때론 노출이 발목을 잡기도 / But sometimes exposure backfires
‘노출’에는 반드시 치밀한 전략과 계산이 필요하다. 자칫 무리수를 둘 경우, 배우 생활에 치명타를 입을 수도 있기 때문이다. 오인혜가 등장하기 전까지 파격 노출의 대명사처럼 인식됐던 한 배우는 그 덕분에 인지도는 올라갔지만 작품 활동에 있어서 보이지 않는 제약이 생겼다. 매번 비슷한 역할만 제안이 들어오고, 노출에 가려져 상대적으로 연기력까지 저평가 받고 있다. 털털하고 액티브한 이미지로 호감도가 높았던 한 배우 또한 레드카펫에서 선보인 파격 드레스가 화제가 되면서 오히려 원래의 건강한 이미지를 잃어버리고 말았다.
“Exposure” requires elaborate strategy and calculation. Even if it just barely excessive, it can permanently affect an actress’s career. Before Oh In-hye appeared on the red carpet for instance, there was one actress who became well-known for her own exposure but found the roles available to her severely restricted from then on – indeed, not only was she offered the same kind of ones again and again, but her exposure detracted from people’s evaluation of her acting ability in them. And in another case, an actress was well-liked for her free and easy and active image, but she lost her original healthy image when she wore a revealing dress on the red carpet.
James – I’m surprised the author doesn’t mention who, as she is so ready to directly comment on everyone else (albeit positively). Also, I’m afraid I don’t know what “healthy” means in this context either!
신 인일 경우, 이같은 노출은 더욱 조심해야 한다. 이미지가 생명과도 같은 연예계에서 ‘노출 전문’이라는 꼬리표가 평생 따라다닐 수도 있기 때문이다. 한 영화 관계자는 “레드카펫은 여배우들을 위한 것이라 해도 과언이 아닐 만큼, 여배우의 아름다움과 숨겨진 매력을 최고치로 보여줄 수 있는 자리다. 그만큼 사람들의 시선도 더 강하게 끌어당기고 이미지를 선명하게 새길 수 있다. 하지만 그것 때문에 오히려 역효과가 날 수도 있다”며 “노출로 논란을 일으킨 배우의 경우, 그 이미지가 워낙 강해서 전혀 새로운 역할에 캐스팅하기는 현실적으로 쉽지 않다”고 조언했다.
Meanwhile, new actresses have to be much more careful about this type of exposure, as they may be labelled an “exposure expert” and be unable to shake it off later, which would be disastrous in an industry where image is everything. Like someone in says, ” the red carpet is mainly for female actresses, and it is the best chance for them to show off their beauty and hidden charm. It’s also a good chance to get people’s attention, and to emphasize their image. However, that can have side effects. If an actress arouses too much controversy because of her exposure, then the reality is that she will be typecast in that corresponding role from then on”. (end)
A possible starting point for discussion: is Lee Hyori (이효리) also a pin-up grrrl, whom I’m sure many of you expected me to mention instead of Nancy Lang? That is, if any of you still have the energy to talk by this stage!^^
Update 1: Or how about the Brown Eyed Girls (브라운아이드걸스) instead? While I was pretty disappointed with them for endorsing “Juvis Diet” back in 2009 (see here and here for why), this recent post on them by Dana in Soko has definitely persuaded me to reconsider.
Update 2: The link to Dana in Soko has been fixed. Sorry!
Update 3: It’s not really worth translating, but for what it’s worth, Oh In-hye doesn’t regret her choice of dress! (Via: The Marmot’s Hole).
(Source: Paranzui)
The Grand Narrative 
