The Korean Word for “Stroller” is Literally “Milk-MOTHER-Vehicle.” Let’s Start Using This New Term That Includes Fathers Too.

Like or loathe political correctness, many everyday Korean terms are ripe for modernization.

Estimated reading time: 5 minutes. Source, all screenshots: YouTube.

Similar to how over 60 percent of English words have Latin and Greek roots, over half of all Korean words are of Chinese origin. Once you realize this, learning Korean vocabulary becomes immeasurably easier. Buy this book in particular, which groups Korean words by their Chinese roots, and it’ll feel like all your Christmases have come at once:

From pages 78 & 102 of Miho Choo and William O’ Grady, Handbook of Korean Vocabulary: A Resource for Word Recognition and Comprehension, 1996.

You may become so grateful for all these new connections between words suddenly being revealed to you though, that it’s easy to overlook how problematic some of them may be. To many native speakers too, for whom the words are so familiar that they would have little cause to think twice about their origins.

One such Chinese derivative is “모/母“,  as shown in my scan above-left. Clearly, it is apt for almost all of those examples of its usage given there, and a much better Korean-speaker than I points out that it even makes some sense for the seeming exception of “모음/vowel” too. Learn that it’s also contained in the absent “유모차” (pron. yoo-mo-cha) however, which means “stroller” (N. Am.) or “pushchair/buggy” (U.K.), and suddenly that ancient Chinese root really begins to feel its age.

This video suggests adopting a much more inclusive alternative:

In the first screenshot below, the top line says “stroller,” followed by the corresponding Chinese characters for “milk,” “mother,” and “vehicle.” (Possibly, “breastmilk” may be more appropriate for the first character?) Below those, a definition: “A wagon for carrying a child after it is born.”

These next two are self-explanatory:

“[Because of this], does ‘stroller’ have a sexually discriminatory meaning?”

“Does the person who pushes the stroller absolutely have to be the mother?”

“Other caregivers can push it, yet the meaning of ‘mother’ is still contained within the word. Does this imply the person responsible for childcare is the mother?”

“Let’s not focus on the person pushing the stroller, and focus on the child instead. Please call it ‘유아차’ (pron. yoo-a-cha).”

And FYI, here’s that Chinese character for “child,” from page 149 of The Handbook:

Anyone reading this far needs no reminding of Korea’s plummeting birthrates, or of the gendered stereotypes surrounding childcare that work against remedying those—a mere new word is no solution. But it is logical, inoffensive, easy to remember, and can’t help but work at least a little against those stereotypes. So why not use it?

Naturally then, the YouTube video has many more dislikes than likes. Its origins are suprisingly opaque for a public campaign too (“공공언이 바꾸기 캠페인,” or the “Campaign to change how we speak to other members of the community”) and for a long time my searches only brought screenshots of that video and of various others’ in the campaign, on sites of the sort where things are generally only posted to be ridiculed. The video does end with a note that the campaign was done in conjunction with the Seoul City Government however (or possibly “by”; “함께” can vary according to context sorry), and eventually I realized I’d be able to find the video and others on non-gendered, but still problematic words in the campaign on their website itself, which indeed were posted there in October and September 2018 respectively. But there was still no news or further information available.

With such abysmal promotion, frankly you have to wonder why the Seoul City Government even bothered making them.

But in the process of looking, I was reminded of the Gender Equality Week conducted by the Seoul Foundation of Women and Family conducted that July:

Which I’m happy to say did receive a lot of press. Quite possibly, the the Seoul City Government’s campaign was actually one of those efforts alluded to at the end of the press release above (but which didn’t get any mention on the Seoul Foundation of Women and Family’s website either!):

Either way, it was added to by the Ministry of Gender Equality and Family’s awareness video in January this year. Possibly that explains the stroller video’s abrupt appearance on the MBC YouTube channel that same month (used in this post):

From my own experience, using gender-neutral words takes minimal effort, once you make the conscious decision to. That said, I do understand the laziness in not doing so, and the resistance against being told what to do. If you meet such a person then, perhaps start by asking them, say, why “uterus” should be “자궁” (pron. ja-goong) which literally means “子宮/house for a son,” instead of the suggested “포궁” (pron. po-goong), which means ” 細宮/house for a cell/baby.” Once they realize how much work defending that absurdity would be, then surely they’ll realize all the other sexist, archaic words aren’t really worth the effort either!

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

“Lingerie Advertisements Deflect the Danger of Homoeroticism by Using Models with Averted Eyes.” Huh?

Estimated Reading Time: 6 minutes. Source, left (edited): Emm’s Vintage Lingerie (CC BY 2.0). Source, right (edited): Moose Photos from Pexels.

I’m a big fan of Jill Fields’ 2007 book, An Intimate Affair: Women, Lingerie, and Sexuality. It’s where I first learned of the corset industry’s creation of new body types for women to conform to in the 1910s to 1930s, presaging the Korean media, beauty, and fashion industries’ creation of “S-lines,” “V-lines,” and so on in the 2000s. But I’ve always been skeptical of this common feature of lingerie advertisements she alleges, and especially her explanation for it (page 16):

And in that Chapter 5 (p. 211):

What models do with their eyes is important. When they return your gaze, they seem to own the room. Whereas if they don’t seem to be paying attention to anything in particular, or if they’re depicted without their faces at all, the temptation to dismiss them as people and focus only on their bodies is all the greater.

It can also be a mechanism by which advertisers perpetuate stereotypes of different sexes and races. Take what Kyoungtae Nam, Guiohk Lee, and Jang-Sun Hwang discovered from their survey of Korean girls’ magazines in 2011 for instance (p. 234):

“Gender Stereotypes Depicted by Western and Korean Advertising Models in Korean Adolescent Girls’ Magazines”, Sex Roles (2011), 64: 223.

No-one’s saying models staring into space is bad in itself. Nor can advertisers of fashion and beauty-related products really be faulted for wanting to focus attention on the products, or on their alleged effects on the consumer. But if you know anything at all about advertising and gender, you’ll know that regardless of what’s being advertised, women tend to be depicted much more passively than men. And herein lies the first of two fatal flaws in Fields’ argument. For she bases her conclusions on no more than (fn. 70) an unspecified “survey of ads” in various magazines and catalogues from the 1900s to 1960s, although she also asserts that “[c]urrent issues of the Los Angeles Times provide almost daily evidence of the continuing importance of these evasive postures in ads.” Or in other words, she provides no evidence whatsoever that the tactics she describes “to dispel the homoerotic impulse” are any more prevalent in lingerie ads than in other kinds of ads, whatever period she’s talking about. And sure enough, those same tactics can quickly be found in other ads just through, say, a simple walk down the average city street. Here’s some with “women alone, turned away from the viewer” and/or averted eyes in Korean soju ads for instance:

I’ve often wondered what on Earth is Jang Yun-jeong looking at exactly…

In 2010, I discussed those and many others using Erving Goffman’s Gender Advertisements framework. Specifically, those particular ads are illustrations of one aspect of the “Licensed Withdrawal” category, as described by Images of Women in Advertising:

[One] way in which women are disempowered is by displaying them as withdrawn from active participation in the social scene and therefore dependent on others. This involvement with some inner emotional processing, whether anxiety, ecstasy or introspection, can be symbolized by turning the face away, looking dreamy and introverted, or by covering the face, particularly the mouth, with the hands….

….Rather than being portrayed as active, powerful and in charge, females are commonly shown in this licensed withdrawal mode, removed into internal involvements, overcome with emotions, or symbolically silenced with hand over the mouth….

….In another variation, females are frequently shown withdrawn inwards into some dreamy introverted state; they pose, become things for others to gaze at and desire. Males will stereotypically be shown active, engaged, and in charge of the situation. They are not so much objects for others’ to gaze at, as actors with occupations and professions….

The point being, although no motivation for these depictions is explicitly mentioned here, advertisers wanting to avoid provoking homoeroticism seems a rather unlikely one—the second flaw of Fields’ argument. Because are lingerie advertisements really so salacious, and really so sexually transgressive, that homophobia needs to be invoked to explain the depictions commonly found therein? Are they really so different to all other kinds of ads, that explanations for the depictions of women in those ads wouldn’t also apply?

I know—boobs. Maybe there is something to them that prevents (male-dominated) advertising teams and advertising standards authorities from thinking rationally. I’m not dismissing any special considerations they have for lingerie ads out of hand, and indeed Fields provides a wealth of examples of precisely those, albeit with expressions of their worries about evoking homoeroticism notable only for their absence. But she hardly persuades in addressing those alternative explanations for lingerie ads’ typical features by deliberately ignoring them. And I do mean deliberately, for in fact she does mention Goffman earlier (p. 210):

And by all means, these are things, well covered in Gender Advertisements (see my earlier post for examples from soju advertisements). But to have read the book and demonstrated that she’s taken note of those various categories of its framework, only to fail to mention that one of its largest categories—Licensed Withdrawal—already well accounts for her claims about lingerie advertisements? She doesn’t have to agree with it, but she does have to acknowledge and respond to it. Otherwise, her shoehorning of an alternative explanation evoking homophobia seems very disingenuous.

Sources: Emm’s Vintage Lingerie, left, right (CC BY 2.0).

In fact, the foundations of the whole chapter may be equally tenuous. Its title, “The Invisible Woman: Intimate Apparel Advertising” refers to the tendency of early-20th Century lingerie advertisers to show only parts of women or not at all. But reviewer Jane Ferrell-Beck argues there was actually a very practical reason for this:

And reviewer Kristina Haugland goes further, arguing that “the author’s interpretation of the material is a serious concern” of the book as a whole. She cites no examples from Chapter 5 though, so let me just leave you with her conclusion:

Words to live by as a colleague, our student assistants, and I wearily plod through our own survey of Korean women’s magazines advertisements this summer, of which this post is admittedly but an extended version of one of its footnotes. Thanks for reading it!

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Less Than 3% of Korean Women Use the Pill. Perhaps These New Commercials That Treat Them Like Adults Might Change That.

Spot the Korean condom! Photo by Min An from Pexels. Estimated reading time: 5 minutes.

Korea has only ever had three condom commercials on TV since a ban was lifted in 2006, and none at all for the last six years. Korean women generally rely on men to purchase and use condoms too, and less than 3% use the monthly contraceptive pill, despite rare over-the-counter access. Women’s access to the prescription-only morning-after pill is very much only in name also.

In the midst of this, last year saw an awesome, much-needed commercial for Common Day condoms produced for social media, which focused on how empowering they are for women. Tellingly however, the notion that women could buy condoms triggered a backlash. Nor did the small company ever actually feature its condoms on its site either, although they are available to buy from online shopping malls.

You’ll appreciate then, why this recent fourth sighting of a condom on Korean screens was so important. And the hints its presence gives about the novel approach of the Senseday contraceptive pill commercial in which it can be found:

Released on June 19, a spokesperson for Yuhan (which produces the Senseday pill) said about the appearance of the condom:

…“피임은 남녀가 함께 하는 것임에도 콘돔 광고는 전무하고, 피임약 광고도 여성들에게만 피임을 권장하는 식으로 흘러가는 것이 아쉬웠다”며 “둘이 함께 책임지는 성숙한 피임 문화에 대해 화두를 던지고 싶었다”고 전했다.

JoongAng Ilbo, July 30 2019.

…[R]egardless of whether it’s men or women using the contraceptives, it is lamentable that there is no condom advertising at all, and that contraceptive pill advertising stresses only women’s responsibility for contraception. With this commercial, we want to raise the notion that contraception is the responsibility of both partners, and encourage the development of a more mature contraceptive culture.

Journalist Kim Jeong-min at the JoongAng Ilbo notes it follows a pill commercial released in March by Mercilon (produced in Korea by Alvogen Korea), which too is a breakaway from the cutesy pill commercials of the past:

비슷한 시기에 공개된 두 광고는 과거의 피임약 광고와는 여러모로 달라 화제를 모으고 있다. ‘어떤 내가 되고 싶은지’ 고민하는 주체적 여성상을 내세운 점, 피임약 광고 최초로 남성용 피임 도구인 콘돔이 등장한 점 등에서다. 기존 피임약 광고가 수줍은 20대 여성의 이미지를 강조(2013년 머시론 광고 ‘스무살의 서툰 사랑’ 등)하거나 피임을 여성의 몫으로 표현한 것과는 다른 문법이다.

JoongAng Ilbo, July 30 2019.

Both commercials…are gaining attention for being very different from the contraceptive pill advertisements of the past. [Mercilon’s] cry of “Whatever I want to be” stressing women asserting themselves and being independent as they think about their future, combined with the first appearance of…condoms [in Senseday’s commercial], present very different messages to that of existing contraceptive pill commercials that feature shy, bashful 20-somethings (such as Mercilon’s “Clumsy 20’s Love” from 2013 below) and/or which perpetuate the notion that contraception is women’s sole responsibility. [James—Alas, generally Korean women believe it is actually men’s sole responsibility, as noted earlier.]

An inaccuracy: the first appearance of a condom on Korean TV was in 2013, not counting a pre-ban HIV/AIDs prevention campaign in 2004. But I share Kim Jeong-min’s optimism about the potential for a sea change in Korean contraceptive advertising. Both because Yuhan and Alvogen are competing more vigorously now, due to various changes made to their licensing agreements as Kim goes on to explain, and because she wasn’t kidding about how twee Korean contraceptive pill commercials used to be. As I noted as recently as 2016, if you didn’t know any better then it was entirely possible to watch them and assume that the pill was actually a medicine, and had nothing whatsoever to do with sex and pregnancy:

“…Korea remains one of the few developed countries where the monthly pill is over-the-counter. Which makes we wonder: in terms of attitudes towards and use of the pill, in what other ways does Korea stand out?

With that in mind, I was struck by the emphasis on appearance in the following recent commercial:

The voiceover says ‘My body? ‘A.’ My personality? ‘A.’ My style? ‘A.’ [The reason for?] my success? Alesse contraceptive pills,” followed by the text also mentioning it’s a good treatment for acne.

Should women with only “normal” bodies try something else then? What about those with only so-so fashion sense?

That can’t compare with the Koreanness of this next one though, with its mention of “bagel girls” and use of aegyo:

So much so, it may actually be a satire: its title [in the original 2016 video was] “Pill Ads These Days,” and I can’t find any mention of the company. Either way, it stresses that even women who look great in a white one-piece, women on a diet, women with great bodies, and women who do aegyo with their boyfriends…all get mood swings and PMT. And all of which can be solved by rearranging their cycles with the pill.

Which I’m sure is indeed empowering. Yet, watching these, you could be forgiven for forgetting that the pill is sometimes used to prevent pregnancy too.”

What do you think? How do they compare to contraceptive pill and condom commercials in your own countries? Please let me know in the comments!

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

(TRANSLATION) On Blogging about Feminism in South Korea

Estimated reading time: 15 minutes. Photo by bruce mars from Pexels.

Many thanks to Menelik Lee (@LiMing6859), for all their hard work translating a long interview of me by Yiyi Zhang for Qdaily last year.

As you’ll see, unfortunately a lot of nuance is lost when going from English to Chinese to English again. The misunderstandings and factual mistakes multiply too, which crop up even when interviewers and interviewees share the same native language. Most are very, very minor though, which is a real testament to Menelik’s skills, so I’ve only corrected or clarified the most glaring ones [indicated in brackets]. Please pass on your rants or raves, or let me know if you’d like any further information about anything mentioned in the interview. Thanks!

An Englishman Who Writes a Feminist Blog in South Korea: Sex, Gender, and the Elephants in the Room.

Yiyi Zhang, Qdaily, 22/11/2018

Almost 20 years ago, Englishman James Turnbull was just starting his life in Korea. [W]hile traveling through the wild open countryside in his boss’s car [during one of his first jobs there], “I don’t know where it sprang from, but suddenly a hotel appeared in the middle of this vast emptiness.”

Just like every person that harbors a sense of wonderment for the culture of a foreign land, Turnbull immediately blurted out, “What’s that? [What tourist would come here, in the middle of nowhere?]” He learned from his boss that the establishment [actually] functioned like the much-fabled love hotels of Japan.

He soon discovered that in Korea such establishments are actually [common in rural areas, not just the cities]. These unassuming structures facilitate both the sex trade and the secret trysts of [lovers]. They have arisen because premarital sex is still heavily stigmatized in Korean society. However, unlike Japan, Korea’s “love hotels” lack neon signs and themed playrooms. If asked about such things the proprietors will simply evade the question.

“Everyone pretends they don’t exist, but you can tell they have a bad reputation. Anyway, it’s always been something that [just] shouldn’t be discussed.”

After having lived in Korea for 18 years, with a family and two kids of his own now, Turnbull looks back and realizes that the problems surrounding sex and gender in this culture are just like that little hotel in the wilderness. They’re arresting, painfully obvious, yet everyone turns a blind eye and carries on regardless.

In his 7th year in Korea, Turnbull launched The Grand Narrative, a blog sharing and analyzing Korea’s sex, gender and pop culture from the viewpoint of an English author.

Besides blogging, he also holds down a full-time job at Busan’s Dongseo University. He spends so much of his spare time and energy maintaining and updating his blog, it’s almost a kind of volunteer work at this point. Over time, his blog has gained the approval of the mainstream—[most recently, he was quoted for several stories for CNN in 2018]—and Turnbull became something of an authority on Korean feminism and pop culture in Western media. Occasionally, he has even been invited to give guest lectures at Seoul National University and other higher education institutions.

But most of the time he stays in his own wheelhouse, silently typing away under the glow of his computer monitor. Over the past 11 years, he has written hundreds of articles on topics ranging from sex and K-pop, to the politics of body image, from gender in advertising, to abortion and contraception. In the world beyond his writings, the transformations wrought by the Korean women’s rights movement have moved with breath-taking speed.

“This has been the product of the last decade or so of painstaking labor, maybe it’s time to talk about it a little.” Turnbull tells Qdaily.

The first [post] about women’s issues on The Grand Narrative was posted in 2007. [From his Korean female friends, Turnbull learned that when they] graduated and entered the job market the problems they ran into came thick and fast. One of the most prominent issues was the fact that as soon as they fell pregnant they were laid off.

“As soon as a woman has a child she is forced to leave work; after a year it’s basically impossible to go back. The hierarchy in Korean companies is very strict, those who have worked there the longest always have the final say and the most opportunities for advancement. When a Korean woman is married with kids, she simply can’t keep up professionally.” Turnbull also speaks about the low birth rate. Because all women have to face this decision, many women from this generation have decided to simply forego having children.

The BBC reports that because of this, Korea has developed a new social phenomenon: the Sampo Generation. “Sampo” means to abandon three things: relationships, marriage, and children.

Before graduating and coming to Korea, Turnbull [had already had some experience of fitting into] different cultures. Thanks to his parents, he moved from the UK to New Zealand, then to Australia, and from there back to the UK again. [In just three years], he attended six different secondary schools in three separate countries, “it was pretty crazy.”

One may say that the cultural differences between these three countries are small when compared to Korea, but they each have unique values and lifestyles. [When he was a teenager,] every time Turnbull questioned an [adult in New Zealand and Australia about some aspect of their countries, and even in the UK if they knew he’d lived overseas], the answer was always the same: “This is just the local culture.” This answer was rolled out like a panacea. No matter what the situation, no matter the problem, it could be used to explain it away. But when he seriously thought about it, he realized that adults were simply using this because they had nothing else to say. “I’d had enough,” he recalls.

So by the time he got to Korea, he simply couldn’t [let “culture” be used] to explain everything away. “It’s not [unlike] a fish in water, unable to sense the water. Some things are [genuinely unusual and noteworthy, only considered normal by people who’ve known nothing else].”

In his conversations, Turnbull found that many Koreans harbored a strong sense of nationalism [too], and so talking about the negative aspects of the country [with a foreigner met a lot of resistance]. However, this did not mean that they [themselves] were satisfied with everything that was going on.

“If there’s something in Korea that you don’t like, there’s a very good chance a lot of Koreans aren’t happy with it either.” And this is something the [English-language media often chooses not to cover]. Many debates [are to be found on the Korean internet and social media platforms], and the English-language media has trouble [relaying] these trends, so they [can give versions] of Korean sexual culture that are extremely superficial.

“When reporting on cultures outside of Asia, readers generally won’t afford you much credibility or value as a reference if you don’t understand the local language. But when it comes to Asia—China, Japan and Korea—the majority of the [Western experts or reporters] have a very limited understanding of the local languages and cultures, yet the audience is really forgiving—it’s a very strange double standard.”

Turnbull provides an example. In 2013, the South Korean Ministry for the Interior introduced “Pink Female Parking Spaces,” with extra room for the exclusive use of women. In no time, this news was plastered over mainstream media pages around the world. Almost all of them claimed that the policy demonstrated prejudice against female drivers because the spaces implied that the women wouldn’t be able to park properly without them.

“[To be more specific, one report quoted an anonymous source that claimed that the larger spaces were necessary for ‘unskilled women drivers.‘ However, ultimately that source appeared to have been made up.”] Turnbull says that, in actual fact, the spaces were created because the vast majority of child care duties are born by women, and the policy provided larger spaces for them to use prams when they go shopping—[as most of the Korean media accurately reported.]

“There’s obviously [still] a problem here: the idea that the role of primary carer is naturally filled by women. But it’s a completely separate issue to what the [overseas] media were saying. [Had overseas media outlets just taken a little more time to investigate, or, you know, spoken to someone who actually spoke Korean, then this ‘crazy Korea’ news story, which just plays to Orientalist stereotypes, would never have gotten off the ground.”]

Between the cracks of cultural misunderstanding, Turnbull saw his chance. Having been an English teacher for far too long, he was anxious to prove himself and open up further professional opportunities. As a result, when he first began writing about Korean culture, it soon transformed into writings about sex and feminism.

“Turnbull’s blog has continued to focus on female representation in Korean popular culture, including advertisements, soap operas, music videos, and more.” Source, right.

Turnbull’s blog was in its infancy ten years ago, but even just five to six years ago there was [almost] no one else doing the same thing. [“That doesn’t necessarily mean I was writing well, or that I was particularly knowledgeable—just that I was the only one writing about these specific topics. I’m quite serious when I say that, for a long time, I really was pretty much the only person on Earth writing about Korean feminism IN ENGLISH on the INTERNET.”] For the longest time, when opening Google’s search engine, Turnbull’s blog was the first thing listed under “Korea” and “feminism.”

According to Turnbull, he grew up in a very left-wing family, among piles of his father’s psychology and sociology textbooks. At university, he also spent his time on feminist research and sociology projects.

His foreign identity also opens the door for dialogue to some degree. “The reality is, if someone is truly interested in your culture, you’ll also be curious to find out where that interest comes from.”

Furthermore, in a Korean society that has always considered [open discussions of] sex to be taboo, Turnbull exists like a wanderer, beyond the normal customs and social networks of everyday Korean life. Thus, those around him [tend to be] happier to share their views on this topic [compared to how open they would be sharing them with a native Korean], disregarding his age and social position, they can trust him to be discrete. “It’s precisely because you’re a foreigner, people don’t have the same kinds of psychological barriers—they can pour their hearts out.”

This makes everything sound free and easy, but the reason he focused his gaze on women’s issues is because the urgency of the problems they still face simply cannot be overlooked.

“One day, a colleague rushed over to ask me a question: can abortions affect your health?” Upon further inquiry, he found out that this woman had had eight previous abortions, because she had never used—[and wasn’t even aware of]—any contraceptive methods. “I was totally shocked. To this very day, the lack of [adequate sex education in Korea] is astounding.”

Source: YouTube

As a non-academic, much of Turnbull’s understanding of social phenomena comes from his personal experience. His blog articles are written from the first-person perspective, but when compared to other news articles about the same events, he’s [often] much quicker than they are to cite authoritative sources.

From his perspective, feminism has never existed in isolation, and sex and gender issues are important because they are intimately connected to the everyday lives of all people.

Before becoming an English teacher at a university, Turnbull worked in a regular [Korean] company for almost two years. The hierarchical culture of humiliation in Korean workplaces really took him by surprise. “Every week our department head would make everyone stand up, and castigate each and every [employee] about every aspect of their work [regardless of how good it was]. On some level he had no choice, [because] angry or not, this was [just] how things were done.”

The sense of hierarchical oppression permeates most of everyday life, and in such a stratified society, standing up for oneself can make things even more difficult.

Despite himself, after coming to Korea, Turnbull says he can’t help pondering social stratification and rebellion. This is especially reflected around issues of sexual misconduct. “In Korea, if an older family member wants to hug you, you can’t refuse even if you want to. As a child or a young person, there are many people who can order you to do something even if you don’t like it.”

Once you’re a little older, this evolves into a power disparity between the sexes, “If a boy likes you, you just have to accept it, you can’t complain about it. Because of this, men don’t understand what constitutes “consent,” and women who reject others feel guilty.”

This attitude engenders deep seated emotional resentment, and Korean society is thus plagued by gendered violence and frequent sex crimes by spurned lovers. According to survey results released in 2017 by the Korean Institute of Criminology, 80% of males surveyed admitted to having previously abused a romantic partner.

“This is why I feel so surprised and proud that in the space of just a few years so many young women have come out to demonstrate. Because in Korea just doing that can be incredibly difficult.” He says that many demonstrators have to cover their faces, but the effects are deep and far reaching. Korea is undergoing a dramatic change towards gender equality and sexual minorities.

According to QZ, the watershed moment for the Korean women’s movement came in 2016. A woman was brutally murdered in a public bathhouse not far from the entrance to Gangnam Metro Station, one of Seoul’s busiest transport hubs. Following the incident, women came out onto the streets to protest sexual violence, and women’s rights groups stepped up their online activism. With the global acceleration of the #MeToo movement this year, Korea’s feminist wave has also picked up pace.

While this was happening, Turnbull was observing the heating up of what may be called a “gender war.” As all of society’s feelings of discontent and dismay were foisted off on the shoulders of women.

Source: Arirang News.

South Korea has one of the highest rates of tertiary education in the world, meaning that most young people will attend university. However, without a proportional level of demand in the job market, the youth unemployment rate is almost 10%—that’s three times higher than the global average. After graduating, most people can only find work in convenience stores and coffee shops, relying on the lowest paid positions to make a living. Still others choose to delay graduation despite the fact that there are no more classes for them to take.

Against this backdrop, [a vocal minority of] young men are blaming young women for having stolen all their opportunities. What’s more, some are beginning to question [compulsory] military service, claiming that it is unfair on men and are now seeking compensation.

In 2014, according to a South Korean National Statistical Office report, in the last four years there was a historic reversal in employment rates of males and females aged 20 or older. The female employment rate exceeded that of males for the first time since records began. “A female tornado” is one of the terms being used to describe what has become the latest hot topic.

Turnbull believes it is a term deliberately employed to cause agitation—the disparity in male and female employment rates is actually only 2.1%. However, the male groups of society have reacted swiftly and with mortal urgency in a massive backlash. Some men’s rights organizations have even called for the abolition of the Ministry of Gender Equality and Family. In fact, according to a World Economic Forum 2015 report on Global Gender Inequality, South Korea still ranks 115th out of 145 countries. In the “economic participation and opportunities” categories, South Korea is 125th.

Issues of gender equality are always fiercely debated, and the ongoing economic stagnation throws that much more fuel upon the fire. But lines are not only being drawn between the gender camps. In a universally anxious social atmosphere, people will always seek to set up a common adversary to set off against their own in-groups. Turnbull provides an example: this year, over 500 Yemeni refugees were detained on Korea’s Jeju Island, sparking mass public protests. Unlike trends seen before in most other countries, where opposition to refugees is strongest among older generations, in Korea the exact opposite is the case. Against all expectations, younger people are the heart of the movement.

“In April, female MBC news anchor Lim Hyeon-ju caused a stir by becoming the first Korean anchor-woman to wear glasses while on-air. Shortly after this, Korean media released the results of two studies on gender bias.” Image source: YouTube.
“Female idols are frequently depicted in advertisements for the Korean military conscription service.” Source: MMA Facebook page; left, right)

“Middle-aged, white, male, heterosexual; I’m pretty much a member of the most hated group on the planet.” Turnbull jokes during the interview.

Upon first finding Turnbull’s blog, not all readers are supportive. “The main reason they hate me is because of my identity.”

“No one wants to hear about Korean feminism from a middle-aged white dude.” And Turnbull admits that this wariness is not without good reason [James—I put it much more strongly during the interview: when studying and writing about what—who—I do, there are many conceptual and practical issues stemming from my privileged background; I can only always be aware of them and strive to overcome them as best as I can, most notably by relying on as many native Korean sources as possible, and especially on Korean women themselves]. In his first few years in Korea, he [admits he naively and arrogantly] thought that he’d already come to understand everything about the country [partially because, unlike most expats, he’d already studied Korean history and society at university], and was more than ready to lecture others about it. But soon enough, he came to realize that he had been very wrong about this. “I’ve probably deleted about half of my previous articles, just because they no longer reflect my current opinions [and/or later proved to be completely wrong, as often pointed out by my female readers—many of the most vocal of whom would become my best friends later!].”

But the internet has a long memory. A little over a month ago, he received an email, a 3000-word polemic referencing a 10-year-old piece he had already deleted [9 years ago!].

[A significant proportion of those that take] issue with his work are [Asian-American women]. Turnbull mentions a slang term, “yellow fever,” used to describe white men with a [fetishistic] preference for [East] Asian women. [Because of it], many Asian-American women [regularly] have to face [sexual stereotyping and harassment from white men] in their everyday lives, and so talking about sex in Korea as he does often brings him under [immediate] suspicion [of being no different to those men]. [The vast majority of those that actually read his work soon see that he is not, but] some have penned vicious attacks against him, and still others have posted fake pictures of him online. [James—I feel compelled to add that a significant proportion of my fans are Asian-American women too! :) But the actual question was about my trolls, and I wasn’t going to lie. It just is how it is.]

Turnbull’s blog used to provide a popular space for discussion. In the comments section people would air their views, and readers from all over the world would have lively debates with one another. But with the sudden onset of the social media age, people had a great many more ways of accessing news, and the number of hits and comments his blog received decreased significantly—[although] thankfully, the number of attacks decreased accordingly as well.

Nowadays, Turnbull seems to occupy an awkward position. He occasionally attends LGBTQ marches or feminist demonstrations [in Korea], but only rarely. “As a middle-aged white guy [who sticks out like a sore thumb at these], I don’t really want to [draw people’s attention away from the issues the activists are demonstrating about].”

Even today, he can’t envision things as he did when he was starting out. That he could, through his blog, make the outside world believe that a foreigner could be more than just an English teacher.

He even laughingly tells us that these days a decent number [MOST!] of the hits on his blog come from people searching for porn. Unfortunately, most rarely stick around to read the articles!

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Manufacturing Outrage Against Feminists: The Cosplay Edition

I read trashy entertainment news stories about women in cosplay and half-naked men, so that you don’t have to. But when they’re all that’s available, it’s netizens with agendas that get to determine what we take away from them.

Estimated Reading Time: 15 minutes. Image sources: 스포츠하국, Pixabay (edited).

Surely it’s a bot that pumps out all these “Controversy Erupts Over K-pop Star’s Provocative Outfit” articles by now?

I’m almost serious. The names and details in the intros may change, but otherwise the articles follow the same pattern. First, you’re told about the throngs of netizens, feminists, and women’s groups who’ve criticized the sexual objectification, who are so great in number that actual names and links are usually deemed unnecessary. Next, responses from organizers of the show or event or from representatives of the star’s entertainment company are given, all of whom are men, and all of whom are stunned by the criticisms. After they recover, they’ll loudly defend her from the prudes, and join fans in praising her creative expression, sexual empowerment, and confidence and pride in her body. Finally, if we’re really lucky, we might even hear from the actual woman herself, providing a vague, suspiciously demure semi-defense or apology, which feels entirely scripted by the same men waxing lyrical about her grrrl-power.

Since Johyun of girl-group Berry Good appeared in cosplay at a gaming event on Monday June 17, “news” articles like this have appeared in the hundreds. Usually, I’d ignore them—give it a few weeks, and there’ll just be hundreds of similar articles about another immodest K-pop star to peruse, with the endless, national hand-wringing over Sulli not wearing a bra being relied upon to fill pages until then. But there’s a story about these stories which made Johyun’s case different.

I’ll let Danny Kim and David Kim of Youtube Channel DKDKTV explain, who covered the responses to her cosplay in their K-pop news video the next day (from 0:49 to 5:19):

Specifically:

Danny (in purple), (from 1:38): “Basically, this caused an alleged uproar led by a journalist, who called her out for promoting sexual objectification….And you know the funny thing was? She also happened to write an article about, like, how hot these male idols abs and boobs were about two years ago. Basically this one journalist wrote an article calling her out, and then all these different news outlets started covering this alleged ‘controversy’…but the weird part is it’s just that one journalist, and no-one really gives a shit. But I feel that this is like, what we call media play.”

David (in blue): “So what you’re saying is that there was one news article from that journalist, and the news just kept kinda reproducing—”

Danny: “Maybe she was, maybe the original article was allegedly offended by this outfit, but afterwards, all this like, a constant cycle of this controversy being covered when it’s not even a controversy, I think got media play. But anyway succeeded…”

David, (a little later, from 3:40): I saw the internet community reacting to her, and they were saying, like the headline was, ‘Do You Think it’s the Chosun Era?‘…Have you looked at the comments? Because, like, the most voted comment, for every article I’ve checked, is saying like, ‘Oh, it was all empowerment and strong for Hwasa [of MAMAMOO] and now you come for her, and which is all like ‘Provocative!’ and ‘Sexually objectifying!’…The comments are allegedly calling the journalist or the people who are criticizing [Johyun], like, radical feminists, because when they’re saying when like Hwasa did it, it was all fine, it was all like powerful and you know, all that stuff. But when a relatively Korean standard beauty person doing it, now, they’re like ‘OMG! She’s selling herself! OMG! That’s sexual objectification!’ Those are like double standards [too].

To summarize the charges: there was never any real controversy; the catalyst for the alleged controversy was one female journalist’s critical article; and that she hypocritically sung the praises of topless male actors in her previous articles. Let’s examine each in turn.

The first can be confirmed almost immediately. While absence of evidence is not necessarily evidence of absence, I’ve read dozens of articles that simply quote anonymous critics as discussed, and I’m not going to read dozens more in the vain hope that—heaven forbid!—one journalist actually does back up what they say. If that evidence of feminist outrage exists then, the onus is on believers to provide it. And they haven’t been doing a very convincing job so far:

Source: Netizenbuzz.
Source: Netizenbuzz.

The second charge that a female journalist’s critical article sparked the whole media play though, is completely wrong. And that’s also very easy to prove.

The article in question, which I’ll give my translation of in a moment, was “‘Perfection vs. Unpleasantness.’ In the Aftermath of Johyun’s Exposure of Her Body, Can We Say the Intention Was Innocent?” / “‘완벽vs불쾌’ 조현 노출 후폭풍, 의도는 정녕 순수했을까”, written by Jo Yeon-gyeong (조연경) for Ilgan Sports (일간스포츠) and published at 8:37pm on Monday the 17th; from there, it was syndicated to Daum, where it currently has 1700 comments. The timing is crucial: do a search with the words “Johyun,” “Berry Good,” and “Controversy” on Naver, Korea’s biggest portal site, and it’s evident that numerous articles with that key final search term were published throughout the day, well before Yeon-gyeong’s in the evening. Moreover, that search is just of Naver and just with the word “controversy” attached to Johyun’s name; there’s also some earlier ones that mention, say, “sexual objectification,” with or without the specific word “controversy” too. Hell, even if you don’t speak Korean, just by clicking on the links to the four articles Netizenbuzz covered you can see that all of those preceded it as well.

To point out Danny and David’s mistake isn’t intended to imply anything: they’re busy YouTubers pumping out three videos a week, of which this story was just one short segment of one. Also, I appreciated their comments that Johyun’s smiling and easy demeanor at the event in no way implies her consent with the outfit chosen for her, which speaks to the difficulties in judging exploitation within and reporting on the notoriously controlling K-pop industry, a topic I’ve covered in depth elsewhere.

That said, their sloppy mistake, however inadvertent and lacking in malice, does perpetuate the stereotype of the interfering feminist, outraged over trifles that normal people couldn’t care less about. To understand why that version of events came about, and snowballed to the extent that that’s the one Danny and David took notice of, let’s examine what the journalist actually said:

“Perfection vs. Unpleasantness.” In the Aftermath of Johyun’s Exposure of Her Body, Can We Say the Intention Was Innocent? “완벽vs불쾌” 조현 노출 후폭풍, 의도는 정녕 순수했을까

Jo Yeon-gyeong, Ilgan Sports, 2019.06.17 20:37

이쯤되면 입힌 사람도, 입은 사람도 잘못이다. 반짝 이슈에 이미지를 홀라당 날려 버렸다. 응원하는 이들만큼 불쾌감 섞인 비난도 뒤따른다. 후폭풍을 전혀 예상하지 못했을까. 그 또한 패착이다.

Whether Johyun chose the outfit, or whether it was chosen for her, we cannot say. Either way, the hot issue that suddenly arose from it is the question of if she has ruined her image. There are as many people supporting her as there are critics or those made to feel uncomfortable by her outfit. We can not know yet what to make of the aftermath. Or if the choice was misguided.

베리굿 조현이 노출 논란에 휩싸였다. 과감한 코스프레 의상이 문제였다.

Because of her daring, provocative outfit, Johyun has been engulfed in controversy.

조현은 17일 서울 상암동 에스플렉스 센터OGN e스타디움에서 열린 ‘게임돌림픽2019 : 골든카드’ 행사에 참석했다. ‘게임돌림픽2019 : 골든카드’는 게임을 즐겨하는 아이돌 스타들이 게임 실력을 겨루는 아이돌 e스포츠 대회로, 이날 행사에는 약 40명의 아이돌 스타들이 참석했다.

On Monday the 17th, Johyun participated in OGN’s Game Dolympic 2019: Golden Card event at the Seoul OGN e-STADIUM in Samam-dong, along with approximately 40 other idols. As part of the event, idols showed off their skills competing against each other at e-games.

조현은 ‘리그 오브 레전드’의 구미호 캐릭터 아리 코스프레 의상을 차려입고 카메라 앞에 섰다. 게임 행사인 만큼 게임 속 캐릭터 의상을 착용한 자체는 문제가 되지 않는다. 하지만 가슴과 엉덩이가 훤히 드러나는 의상은 분명 과했다. 떨어지는 퀄리티에 스타킹 라인도 고스란히 노출됐다.

Johyun cosplayed as the nine-tailed fox character Ahri from League of Legends, and stood in front of the cameras [on the red carpet]. That she cosplayed is not a problem. However, her choice of clothing clearly exposed her breasts and bottom to an excessive degree. The outfit was poor quality too, and fully revealed her suspenders. (Source, right: Bias Wrecker.)

섹시와 저렴은 한끗차이다. 조현은 의도했든 의도하지 않았든 스스로 목적 뚜렷한 눈요깃거리가 됐고, 조롱의 대상이 됐다.

There’s a fine line between sexiness and looking cheap. Whatever Jo-hyun’s intentions were, she’s plainly just there as eye-candy, and is now an object of mockery.

물론 ‘완벽한 코스프레’라 극찬하는 이들도 있다. ‘코스프레일 뿐인데 왜 난리냐’ ‘하다하다 별걸 다 갖고 논란. 예쁘기만 하다’ ‘뭐가 과하고 뭐가 야하다는건지 모르겠다. 코스프레 무식자들’ ‘캐릭터 의상이 원래 저런데 어쩌라고’ ‘잘 입었다. 칭찬해 주고 싶다’ 등 옹호 반응도 쏟아지고 있다.

Of course, there are people who speak highly of this “perfect cosplay.” Those rushing to her support have made such arguments as “It’s just cosplay. What’s all the fuss?”, “Whatever she does, there’s controversy. Can’t you just acknowledge she’s pretty?”, “I really don’t know what’s revealing or excessive about her outfit. Only people who know nothing about cosplay would say such things”, and “She’s just dressed like the original character is dressed. I want to compliment her for that.”

특히 조현이 입은 의상은 주최 측과 사전 상의한 결과였다. 취지에 어긋나지 않고, 자리를 빛내기 위한 선택이었다는 것.

Crucially however, the choice of outfit was in made in prior consultation with the organizers and hosts of the event. It was not inappropriate for the event, and was chosen to lighten it up.

소속사 제이티지엔터테인먼트 측은 “평소 게임을 좋아하는 조현이 게임 행사에 참여하게 됐고, 주최 측과 협의 후 코스프레를 완벽히 소화하기 위해 준비한 의상을 착용했다”며 “조현이 평소 게임을 좋아하기 때문에 팬들과 더 많이 소통하고 싶어 했다”고 전했다.

A source from her entertainment company JTG Entertainment [further clarified] that “Johyun is a big fan of games, and that is how she came to participate in the event; the outfit that was chosen in consultation with the event hosts worked out for her beautifully. Also, that “Through wearing the outfit, Johyun hoped to better communicate her love of games to her fans.”

그럼에도 불구하고 ‘성상품화를 자처했다’는 목소리가 더 높은 실정이다. 이에 따른 네티즌들의 갑론을박도 점점 더 격렬해지고 있다. 의도가 무엇이었든 단발성 이슈 몰이에는 성공한 모양새다. 이후 조현이 보여 줄 행보가 그녀의 진정한 이미지를 결정짓게 만들 것으로 보인다.

Despite this, the accusations that she was sexually objectified have grown in number, and netizens have intensely debated the pros and cons of her choice of outfit—whatever her intentions [James—or those of JTG Entertainment], she’s certainly been successful in becoming the issue of the week. After it dies down, her true image will be determined by the paths she takes in the future. [End]

Source: 5:18, TopStarNews.Net@YouTube

Whatever you make of Jo Yeong-gyeong’s opinion piece, it’s only slightly harsher than those by many other journalists. Yet it’s her that has been made the figurehead for feminist outrage and overreaction by the more tabloidish and alt-right corners of the Korean internet, buttressed by her alleged hypocrisy and double-standards:

Sources: MLBPark (1; since deleted); 2)

Her haters generally provide five of her previous articles as evidence. I won’t translate them fully sorry (my first one above probably already pushes the limits of fair use), just those parts about “how hot those male idols abs and boobs were.”

First, one from October 2016, about a scene from the drama Sweet Stranger and Me, in which Kim Young-kwang appears wearing only an apron on top in front of Park Soo-ae:

주목할 것은 김영광의 차림이다. 상의는 입지 않은 채 빨간 앞치마만 걸치고 있는 그의 모습은 궁금증을 유발하기 충분하다.

특히 김영광의 태평양 어깨와 힐끗 보이는 잔근육, 팔의 힘줄은 시선을 압도, 여심을 흔들게 할 전망이다.

또 수애 앞에 바짝 다가선 김영광은 남성미를 폭발시켜 미묘한 긴장감을 형성한다. 이에 앞으로 두 사람에게 무슨 일이 생길지 기대감을 높인다.

Man of the drama title Kim Young-kwang is getting a lot of attention for a scene in which he’s topless but for a red kitchen apron.

In particular, he’s aroused the interest of women with his broad shoulders and the veins on his bulging muscles. Also, as he approaches Park Soo-ae, we suddenly become aware of his masculine beauty, and the building tension between them. With bated breaths, we wait to see what will happen next.

Next, from March 2017, about an episode of the Law of the Jungle reality TV show, in which the male guests took off their tops in the rain:

이에 따라 예상치 못하게 병만족의 숨겨왔던 초콜릿 복근도 공개됐다. 상의를 벗은 병만족은 함께 목욕탕에 온 것처럼 서로의 등을 밀어주기도 하고 장난도 치며 돈독한 우정을 다졌다. 다들 “자연인이 된 것 같아”, “진짜 시원하다. 대박이에요.” 등의 반응을 보이며 행복해했다고.

그 모습을 멀리서 지켜보던 홍일점 경리는 “나도 같이 벗고 싶었다. 그러나 여자라 참았다”며 알몸 샤워하는 남자 병만족을 부러워했다는 후문이다.

As they took off their tops, the “chocolate abs” of [host] Kim Byung-man‘s “tribe” were revealed, and the men began massaging each other’s backs and getting friendly as if they were in a bathhouse back at home. They were very happy, saying things like “It’s great to get so close to nature,” “This is so refreshing. It’s just the best!”

Watching from a distance, the only female member of the tribe, Nine Muses’s Park Kyung-ri, later revealed, “I really wanted to take off my clothes too. But because I was the only woman, I just had to put up with it. I was really jealous of the men being able to shower half-nude.”

From September 2017, when several members of Korean-Chinese boy-band Exo appeared on variety show It’s Dangerous Beyond The Blankets:

Source: @EXOXiuminTurkey; all other images from their original articles.

물놀이를 해본 지가 언제인지 까마득한 집돌이들은 계속 한참을 머뭇거리다 수영장에 들어갔는데, 이후에도 무엇을 해야 할지 몰라 하며 당황하는 모습을 보였다. 하지만 곧 자신들만의 물놀이에 빠져들어 상의 탈의를 감행, 그동안 그들이 소중하게 간직하고 있던 근육까지 공개하는 열의를 보이며 열띤 시간을 보냈다는 후문에 기대감을 증폭 시키고 있다.

At first the homebodies hesitated to get into the water, not having been in the swimming pool for a while. And once they did get in, it was like they didn’t know what to do. But in the end, they got so energized by the water that they took off their tops and showed off their hidden muscles with alacrity. Viewers’ expectations for the episode [which had then yet to be aired] will be high!

Then again on the Law of the Jungle reality TV show in February 2018, with Kim Yu-gyeom, Lee Tae-gon, and Kim Yun-sang enjoying themselves in a stream:

유겸의 상남자 매력은 다음날 과일 탐사에서도 어김없이 빛났다. 이틀 만에 소금기 없는 민물을 발견한 유겸은 거침없이 상의를 벗어 던지고 물속에 몸을 내던져 정글에서의 첫 샤워를 즐겼다. 이를 본 김윤상 아나운서는 “역시 아이돌이라서 그런지 몸매가 훈훈하다”며 눈을 떼지 못했다.

[After catching a fish with his bare hands the day before], Yu-gyeom’s masculine beauty was on his display while fruitpicking. In just two days, he found a fresh water source, threw off his clothes to dive into some water, and enjoyed a shower in the jungle. Kim Yun-sang [James—a cishet guy, in case of any confusion!] couldn’t keep his eyes off him, explaining his figure was just so admirable.

And finally in May 2018, about an episode of The Return of Superman in which volleyball player Moon Sung-min visited the bathhouse with his son Shi-ho:

…문성민 아빠와 시호 부자는 목욕탕에서 완벽한 몸매를 자랑하며 몸짱에 등극해 시청자들의 이목을 사로잡을 전망이다.

방송 전 공개된 사진 속 문성민 아빠와 시호는 목욕탕에서 신나는 시간을 보내고 있다. 만점 비주얼의 문성민 아빠의 훈훈한 미소와 완벽한 초콜릿 복근은 심쿵을 유발한다. 시호의 깜찍한 웃음은 매우 사랑스럽다.

이날 시호·리호는 배구선수인 문성민 아빠의 직장에 방문했다. 그곳에서 시호는 문성민 아빠와 공놀이를 하며 즐거운 시간을 보냈다고. 운동을 끝낸 두 사람은 흘린 땀을 씻기 위해 목욕탕으로 향했다. 목욕탕에 등장한 문성민-시호 부자에 모두가 심쿵했다는 전언이다. 문성민 아빠가 완벽한 식스팩을 자랑하며 모습을 드러냈기 때문.

…Moon Sung-min captured the audience’s attention by showing off his perfect body in the bathhouse.

Shi-ho and Sung-min had an enjoyable time there. Sung-min got hearts racing with his perfect visuals, charming smile, and perfect chocolate abs. Shi-ho’s cute laughing was very lovable too.

After having an enjoyable time at Sung-min’s workplace, the two of them went to the bathhouse to wash off their sweat. It was said that all the other patrons of the bathhouse almost stopped in their tracks at the sight of Sung-min showing off his perfect six-pack.

Making the big assumption that it’s not actually her editor that chooses the slant of all of her articles, perhaps from those you could indeed argue that Danny and David Kim’s third charge is correct: she was being hypocritical about Johyun. Against that however, you could respond that much of her concern about Johyun’s image stems from how unusual the cosplay was for her, in contrast to the male actors and boy-band members for whom taking their tops off for the cameras is a matter of routine. To which you could counter that, whether through choice or coercion, Johyun is actually very used to being objectified, as are the other members of Berry Good. And so on.

But to engage in that debate means not seeing the forest for the trees. Because if even we do concede the double-standards, all these articles are still just trashy entertainment news. Those short excerpts above? They’re actually half or more of the entire “news articles” in some cases. That’s not to single Jo Yeon-gyeong out, or imply that she’s bad at her job. Quite the opposite—it’s to point out that as a producer of quick, throwaway clickbait (hey, she makes more money from writing than I do), that in each case above, everything she said about the man boobs and chocolate abs was also made by dozens or even more other journalists like her. Many of who might even be men.

Forgive my own hypocrisy in not providing links to them; frankly, as I type this I’m just exhausted after a week of unpaid research, translation, and 3200 words on this myself. So, if you do have your doubts on that last, please indulge me with the two minutes of googling necessary to confirm.

That’s something the paid journalists were not prepared to do. Instead, we were asked just take to their word for it that Johyun’s cosplay was controversial.

Is it any wonder that people would form their own narratives instead?

Or that the version of events by the group with the biggest axe to grind would come to dominate the story?

For make no mistake: singling out a female journalist for articles that she may have had no choice over, which were replicated by many other male and female colleagues, is as misogynistic as they come.

Related Posts:

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Why We Need to Stop Talking about “Asian” and “Western” Women’s Bodies

Setting arbitrary standards for what makes an “Asian” or “Western” body type punishes the vast majority of women who don’t fully measure up to either.

Estimated reading time: 14 minutes. Photo by Gabrielle Henderson on Unsplash. Post has one NSFW image.

What is it with people ever talking about “Asian” and “Western” women’s bodies?

If the conversation is in Korean, usually only Korean and white women will actually be meant; the latter, as women of color that don’t present as Korean tend to be referred to by their race or nationality instead. But even reduced to just those two groups of women, how could the idealized figures described in those conversations possibly embody the mélange of real, flesh and bone Korean and white women’s body types and features? Let alone actually have something useful to say about them?

I get that the habit mostly boils down to the natural, human tendency to overgeneralize groups in everyday speech. We’re all guilty of that sometimes. But on this topic specifically, the usual common-sense and restraint seem to get thrown out of the window. For one, because women of color are usually not considered “Western” as mentioned, a subject we’ll return to in future posts. Then take the alacrity with which various bodily features are pigeonholed as Korean or white by Korean journalists from all levels of the Korean media, who regularly come up with such pearls of wisdom as: “the most notable trait of Kim Yuna’s “golden ratio body” is her long limbs, just like those of a Westerner’s“; that “Lee Hyo-ri has an Asian bottom [and a Western chest]“; and that “female idols with ‘Western type bodies’…get praised by foreign fans.” Or how there’s items of women’s clothing that Korean women’s bodies are widely considered simply unsuitable for, which can present somewhat of a challenge to Korean companies trying to sell them:

Left picture: I’ve watched Western women wearing leggings, and I’ve had heated discussions about leggings with Western friends. After a month of that, I’ve come to realize why it’s so difficult for Asian women to wear them.

Right picture: When Asian women don’t have wide pelvises, flaps of skin in their “Y-zones” get bunched together and exposed. “Embarrassing!” / Instead of your skin looking soft, it looks thin and lacking in firmness; the underside of your bottom looks flabby. “I’m ashamed!” / Compared to Westerners’ long and slender legs, Asian women’s legs are short and many Asian women have stout lower bodies. “It’s upsetting!”

Shopping in New York’s Chinatown can sometimes be a minefield too:

There is resistance to this line of thinking. In response to Temple Leggings’ sponsored tweets above for instance, one Twitter user (since made a private account) argued that Korean women’s reluctance to wear leggings actually has nothing to do with their perceived body shapes or supposed too short legs vis-a-vis Western women, but is more because of a culture of constant evaluation of their bodies and “gaze rape” (“동양여성들이 레깅스를 입기 힘든 이유는 동양 여성들의 체형때문이 아니라 여성몸매평가 문화와 시선강간 때문입니다…”) with commentators in the ensuing long thread often echoing sentiments about leggings raised in both sides of recent controversies over them in the US. And probably she’s got a better handle than I do on why she doesn’t wear leggings, and has spoken to far more women about them too.

But Temple Leggings wouldn’t have mentioned Korean and Western bodies if they didn’t think it would resonate with their target market. And I have spoken to some Korean women on the subject of Asian and Western bodies specifically, and they’ve all been quite blasé about making such distinctions. I regularly hear women loudly doing so in coffee shops too, and my students aren’t shy about it either. Also, it may well just be confirmation bias, but it feels very telling that the very first result from my YouTube search for “동양몸매,” the “다이어트천재 동양몸매 vs 미친골반 서양몸매 구경하고 가세요” video (“Genius Asian body diet vs. crazy [wide?] pelvis Western body challenge”) that I couldn’t resist inserting the thumbnail from below, was titled and captioned thus without either woman ever actually mentioning Asian or Western bodies in it. Add journalists’ enthusiasm for raising the subject too, then I’m going to go right ahead and say this way of thinking is totally a thing.

Source: 파쿠아-PAQUA.

But that gives absolutely no-one permission to engage in Orientalist eye-rolling at the habit. For the Western, English-language pop culture, media, cosmetic, and medical industries are equally guilty of perpetuating such cringeworthy distinctions. More so even, as they’re frequently underscored by racist assumptions that Asian women aren’t just fundamentally different, but actually yearn to look white too.

If that’s news, I recommend reading Professor Ruth Holliday’s (Leeds University) and Professor Joanna Elfving-Hwang’s (University of Western Australia) 2012 Body & Society article “Gender, Globalization and Aesthetic Surgery in South Korea” on the subject, in which they present numerous examples—and which read like a withering manifest of the intellectual baggage Western observers can’t help but bring to the subject. But read it even if it’s not news too, both for their critiques of other journal articles and especially for the stark clarity with which two strong themes of English-language discourses on the subject emerge from their discussion.

First, is the hypocrisy and absurdity of raising the subject of race and a supposed desire for “westernization” at all when discussing the motivations of say, Korean-American breast-augmentation patients in the US, but never doing so for their white counterparts, who are ascribed completely different reasons—again, perpetuating the notion that each group is fundamentally different, both physiologically and psychologically. And second, the fact that Korean-Americans in the US, they point out (let alone Koreans in Korea), are hardly immune to specifically Korean beauty ideals, whether they retain them when they come to the US, they are exposed to them through relatives and the wider Korean-American community, and/or they are encouraged to adopt them by following the examples of increasingly visible Korean celebrities. In fact, they may be motivated more by those ideals than whatever Western reporters, cosmetic surgeons, and academics insist they are instead (who’d have thought?), with “V-line” surgery, for instance, being very popular in Korea, but which cannot possibly be described as making Koreans look more white.

Put like that, it seems astounding that the narrative that Koreans just want to look white persists.

But it’s not that simple. Spend any amount of time in Korea, and actually you’ll quickly encounter overwhelming evidence that seems to support it, which few people have the inclination and time necessary to debunk. This is why the stereotype is so strong.

Allure Korea took ten years to feature its first Korean cover model. Source: unknown.

For starters, consider how many ostensible Western beauty ideals such as pale skin are indeed heavily valued in Korea, Holliday and Elfving-Hwang explain, albeit largely only because they “entered Korea fitting pre-existing notions of class and status.” Also, among many, many other potential sources of confirmation bias:

(Update: Instead, it’s because they’re somewhat less likely to sue than Korean models, as once hilariously revealed by a nightclub owner that refused entrance to non-Koreans, despite featuring foreign women in the club’s posters. Indeed, as if to stress that it’s not always about white people, back in 2011 I thought the model in this poster for another club was Korean, and there was no reverse image-search available then; only now can she be revealed as the very white supermodel Miranda Kerr, photographed a few weeks previously by Seth Sebal. To the best of my knowledge, neither of their lawyers have gotten in touch with the nightclub yet.

Source: MS-Photograph; (CC BY 2.0).

Believing that Koreans want to look white then, does make a lot of sense. Right up the moment you read, or are personally informed through the clenched teeth of Koreans and colleagues, of how sick and tired they are of such assertions—and you suddenly realize that all this time you’ve been talking about Koreans rather than with Koreans, and can no longer rely on the convenient narratives you’ve being telling yourself to help understand the place.

By no means does this only apply to body image either: realizing how important it is to just STFU and listen is a very important process that every expat, observer, and commentator on every group or culture they are not native to must go through. And, if you didn’t personally need reminding of that, and feel I’ve actually been completely projecting all this time? With all the points mentioned so far reading like signposts in my own much too long journey through that process? Then you’re absolutely right.

Source: Mei Mei Rado, “The Qipao and the Female Body in 1930s China“, p. 193.

You’ll appreciate then, my uncomfortable surprise when I recently read Professor Mei Mei Rado’s chapter “The Qipao and the Female Body in 1930s China” in Elegance in the Age of Crisis: Fashions of the 1930s (2014). In that, Professor Rado (Parsons School of Design, NY) explains that in China in the 1920s and 1930s, Kuomintang government officials and male intellectuals did explicitly view white women’s bodies as ideals for Chinese women to aspire to. Which not to say Chinese women necessarily did themselves, or even at all, but Professor Rado’s argument that it dominated discourses about women’s bodies at the time is very convincing.

This post was originally intended to be a discussion of the numerous questions that raises: what other scholars can confirm her arguments? What influence, if any did those discourses have not just in China, but also in Taiwan, Japan, and Korea? What did people in those countries think of foreign bodies and beauty ideals then?

Those questions proved to be far too much for one post, so now my answers will be spread over several in a series. Always hanging over covering this topic at all though, was the fact that I’m still basically a middle-aged, cishet, white guy explaining that (he was shocked to read that some) Asian women (once) want(ed) to look white (maybe). To avoid being lumped in with every other pig-ignorant Orientalist commentator that genuinely believes that then, all my own baggage as a Western commentator needed to be laid on the table first. And there was a lot to unpack.

With that out of the way, Part 2 will be a discussion of Professor Rado’s chapter and other sources on discourses about women’s bodies in 1920s-1930s China, while Part 3 will be on those in Taiwan, Japan, and Korea at the same time, extending to a Part 4 if necessary. Until then, is there anything else that I’ve missed or been misguided about, or you think needs an alternative perspective? Please let me know in the comments!

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Event Announcement: #FEMALEPLEASURE Screening, Hankuk University of Foreign Studies, 1pm Saturday June 1

Sorry for the long break everyone, which was because of reasons. But I’m happy to say I do have an epic post in the works. And, while you’re waiting for that, I’m delighted to help a former student publicize this event in Seoul this weekend (하단으 보세요):

#FEMALEPLEASURE

– 5 cultures, 5 women, 1 story

A documentary about female sexuality and autonomy in the 21st century – film screening and discussion

An event organized through: Lecturing Program of the Robert Bosch Foundation in Asia (German Foundation)

(Sign up here)

#FEMALEPLEASURE portrays five courageous and smart women, breaking the silence imposed by their archaic-patriarch societies and religious communities. With incredible strength and positive energy, Deborah Feldman, Leyla Hussein, Rokudenashiko, Doris Wagner, and Vithika Yadav are fighting for sexual liberation and autonomy for women, beyond religious rules and cultural barriers.

#FEMALEPLEASURE shows the universal mechanisms at work that determine the position of women until today, spanning cultures, religions and continents: from Japan and India and the Somali muslim diaspora to the Hasidic community in New York and the Catholic clergy in Europe.

What can we learn from them? What do we have to talk about in Korea? How can men and women establish fruitful understanding and mutual respect?

On this day we will gather to see the movie and share a safe space to talk about important questions and feelings related to the topic in Korea. Everyone interested is welcome! 😊

When? Saturday, 1st June, 1pm – 4.30pm

Where? Hankuk University of Foreign Studies, Main Building, Room 329

Language: Korean & English

Contribution: 3000WON – we organize Pizza & Drinks 😊

UPDATE: A Facebook event page has just been created!

본 이벤트는 Robert Bosch Foundation in Asia(독일 재단)의 교육프로그램을 기반으로 제작되었습니다.

21세기 여성의 성적 자기결정권에 관한 다큐멘터리 영화를 감상한 후 토의의 시간이 마련되어 있습니다. (5개의 각기 다른 문화에서 자란 여성들이 하나의 이야기를 하는 내용입니다.)

(여기서 등록하세요)

#FEMALEPLEASURE는 구시대적인 가부장 사회와 종교 커뮤니티들에 의해 강요되는 침묵을 깨뜨린 용감하고 똑똑한 다섯 명의 여성을 보여줍니다: Deborah Feldman, Leyla Hussein, Rokudenashiko, Doris Wagner, and Vithika Yadav. 이들은 놀라울 만큼 강인한 모습과 긍정적인 에너지를 통해 종교 율법이나 문화 장벽을 뛰어넘어 여성의 성적 자율성을 위해 싸우는 중입니다.

#FEMALEPLEASURE는 또한 일본, 인도, 소말리아 이슬람 디아스포라 에서 뉴욕의 하시디즘 커뮤니티와 유럽의 카톨릭 성직자들에 이르기까지 문화, 종교, 대륙 전반에 걸쳐 여성의 지위를 결정해 온 보편적인 메커니즘이 무엇인지 보여줍니다.

우리는 이들에게서 무엇을 배울 수 있을까요? 한국과 관련해서는 어떤 이야기들을 해야 할까요? 또 남성과 여성은 어떻게 해야 유익한 이해관계를 확립하고 서로를 존중할 수 있을까요?

함께 모여 영화를 감상한 후에 이 주제와 관련된 한국의 중요한 이슈, 궁금증 혹은 감정을 편하게 공유하는 시간을 가질 예정입니다. 관심 있는 사람은 모두 환영입니다! 😊

언제? 6월 1일 토요일, 1:00 – 4:30 (오후)

어디서? 한국외국어대학교 본관 329호

language: 한국어 & 영어

참가비: 3000원 – 피자와 음료 제공에 사용됩니다 😊

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Today I Read About an Awesome Feminist Japanese Painter and Was Reminded Of My Favorite Soju Poster

Estimated reading time: 6 minutes. Sources: Reiodori, LotteLiquor.

In the spirit of today’s title, let me direct you straight towards the moment I learned why Uemura Shōen was so amazing:

Shōen successfully turned her passion to creating a life worth living through her paintings. The themes and main subjects in all her paintings are women. Moreover, the women depicted in her paintings of this period are decisively different from those that appear in paintings done by men in the tradition of the Kyoto school of Bijinga, whose tradition dates back several hundred years. The major characteristic of women in the paintings before Shōen was that they were treated as the object of men’s sexual interest. Shōen painted working women for the first time in the history of Japanese painting. One of the masterpieces along that line is Yugure (Dusk). Here a middle-aged woman opens the paper-covered sliding door of her room to get enough light to thread a needle. Her plain kimono, the needlework, and the weak sunlight of the dusk impressively create an atmosphere of daily life. Japanese painting portrayed the reality of working women for the first time through Shōen’s works. They are as significant as the works of Millet, who painted working women instead of bourgeois women. In the late 1930s Uemura painted another middle-aged woman shown repapering a door to prepare for the coming winter in Banshu (Late Autumn). In another painting in a series titled Yuki no naka (In the Snow), she described women walking in the severe cold with heavy snow on their umbrellas. The clean, sharp, uncompromising lines of her drawing supported by her accurate drawing ability and the use of just a few colors clearly show the painter’s integrity of mind. It took Shōen a long time to reach this heightened state. Shōen received a great many awards for her noble and innovative art.

Page 71, “Three Women Artists of the Meiji Period (1868-1912): Reconsidering Their Significance from a Feminist Perspective” by Midori Wakakuwa (trans. by Naoko Aoki) in Japanese Women: New Feminist Perspectives on the Past, Present and Future ed. by Kumiko Fujimura-Fanselow and Atsuko Kameda (1995); my emphases.

Which really did immediately remind me of modern rock singer Kim Yoon-ah‘s 2006 unique poster for Cheoeum-Cheoreom soju above. Like I wrote in 2010, and sadly still remains the case today, it’s “the only one I’ve seen in which the woman depicted is actually doing something of her own accord and enjoying herself, rather than waiting to be seduced by a man.” Which is not to say that sultry and seductive is bad in itself, but just a small sampling of soju posters over the years reveals how monotonous that theme can be, and how truly exceptional this soju poster is. Made more even more so, by the text in white at the bottom that I missed nine years ago (apologies for the poor quality):

It reads: “김윤아씨의 모델료는 가정폭력 피해자들에게 기부됩니다. 여성으로서 락음악의 새로운 가능성을 연 가수, 김윤아”/ “Kim Yun-Ah’s model fee is donated to domestic violence victims. Singer Kim Yoon-ah, who paved the way for new possibilities of rock music as a woman.”

Turning back to Uemura Shōen’s own depictions of women actually doing something, here are the paintings (and one from the In the Snow series) mentioned above by Wakakuwa:

At Dusk. Source: Japanese Painting Gallery
Late Autumn. Source: Fine Art America.
Feathered Snow. Source: Japonica.

I include the difficult to find full images, rather than the much more numerous, higher-quality close-ups of the women’s faces available, because of what I read about the importance of the paintings’ empty spaces at Japan Objects:

One of the most distinctive characteristics of Japanese painting when contrasted with its European counterpart is the use of empty space. And of course, this distinction was carried into the twentieth century….In Shōen Uemura’s Feathered Snow, the great blankness of the paper successful conveys the sensation of inclement weather, where the horizon reduces to edge of your umbrella as you try to shelter from the cold.

Inspiration aside though, I do wonder if the distinction between Shōen and her predecessors was as sharp as Wakakuwa suggests? In hindsight, her passage sounds a little hyperbolic. And my frustration with locating the full images among all those close-ups was a foreshadowing of what I’d read about Shōen online later, which tended to place her work very much on a continuum with other Bijinga (literally, “paintings of beautiful women”). That said, Jeff Hammond in The Japan Times notes her subjects weren’t the courtesans from the pleasure districts usually found in the genre. Also, in a must-read account in Japanonica of a 2017 exhibition of her work, historian and curator Roisin Inglesby finds subtle but important differences to works by her male contemporaries, despite her indeed very much sharing their emphasis on beauty:

 …[Shōen’s] “outsider” status as a woman enabled her to acquire a deeper understanding of her female models and employ different approaches from male artists—a quality which, the curators argue, elevates her paintings by portraying women not just as objects created through the lens of the male gaze, but as thinking, feeling subjects who invite us to admire their inner beauty as well as their outward attractiveness.

In her efforts to show female beauty in what she believed to be its purest form, Shōen’s paintings are characterized by both a lightness of touch and a depth of feeling. [The tour guide] invited us to take time to look closely at the works and consider the emotional complexity beneath the peaceful expressions of Shōen’s subjects.

I wince at the crude characterization of the male gaze—admiration of outward attraction is not mutually exclusive with that of inner beauty—but that’s a subject for another post. Continuing later:

One of the most interesting aspects of [the] tour was [the] explanation of how Shōen gives agency to her subjects through a variety of techniques. In many paintings, she used a splash of red pigment on the women’s earlobes and fingertips to animate their otherwise placid demeanor. This small, yet visually enlivening, detail signals activity: these women hear; they touch. Often beautiful women are painted as objects of desire and admiration, yet through the composition of her work it seemed to me that Shōen invites her viewers to question their interior thoughts as well as appreciate their external beauty. The sparse background of Feathered Snow (1944) not only gives the impression of a punishing winter wind which beats its subjects back to one side of the painting, but encouraged my eyes to follow the movement of the composition and rest on their faces. What are they thinking as they trudge through the snow?

I recommend reading the article in full, and to watch this slideshow for many more examples of her work. Please feel free to add to (or correct) anything above also—including on Bijinga’s influence on Korean art, which I’m now about to look for more information about in my modest library, rather than preparing crucial PowerPoints for tomorrow’s classes. Damn you, Uemura! ;)

Related Posts:

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Why Does Korea Have so Many of Those Damn Smutty Ads?

Government inaction on Korea’s ubiquitous, sexually-explicit internet advertising undermines claims that its citizens need protecting from pornography, and has helped shape the Korean #Metoo movement.

Estimated reading time: 17 minutes. Photo by rawpixel.com from Pexels. One NSFW image later.

When even the ad industry itself is calling for greater government regulation of sexual imagery in ads, you know Korea’s got a problem.

The main issue is that there’s just no escaping them. In the most recent survey of 155 major web portals, social media services, and online news sites conducted by the Korea Internet Advertising Foundation (KIAF) in 2016, 94.5 percent of the middle and high school students surveyed were found to have been exposed to sexualized ads. Frustratingly, the 69-page report (PDF, Korean) doesn’t also mention what proportion those ads were of the total ads examined. But, maybe the authors simply felt that was unnecessary, as everyone already knows that their numbers are just insane:

See the thread for many more examples. Or like Raphael says, almost any Korean news website. Even alongside the cutesy, assumed safe webtoons my preteen daughters read too, I recently learned, sometimes there’s invitations to meet horny divorcees in our area.

But Korea’s smutty ads problem goes much deeper than just their scale, or their astonishing inappropriateness. For the KIAF surveyors also found that one in four of the offending ads promoted sex work, and/or even showed sex acts. Which is heinous not because either are unethical, but because such ads exist so openly in a society where sex work and pornography are both illegal, and which would never see the light of day if they were placed in traditional media.

Which begs the question: just how did Korea’s internet ad problem get so bad?

In the first instance, it’s simply down to advertisers’ algorithms, combined with the inattention and unconcern of site owners. This was ironically and hilariously revealed by the reporting of a similar survey by the Ministry of Gender Equality and Family (MOGEF) in June 2012, when many news sites displaying precisely the kinds of ads the Ministry was railing against alongside the articles about the survey. Even more spectacularly, a few weeks previously many news site editors curiously chose to pixelate the bikini tops and bras of women who had written political messages across their breasts (as in only their clothing, not the messages or exposed skin), while those in the accompanying ads were left untouched:Fast forward to April 2018, when representatives from major Korean shopping portal sites were queried by The PR News reporter An Seon-hye as to why their Facebook ads for products such as headphones and men’s shoes tended to show women with exposed cleavage and/or in their underwear first. They simply blamed the algorithms, implying that somehow those absolved their companies of any responsibility:

페이스북에서 남성 이용자들에게 노출된 쿠팡 광고 이미지 “Coupang advertisement aimed at male users of Facebook.” Image source: The PR News.
티몬(왼쪽) 및 gs샵이 sns에서 남성들에게 집행한 광고 이미지. “Images of Timon(L) and GS Shop advertisements aimed at men.” The woman on the right is Ai Shinozaki, a Japanese gravure model. Image source: The PR News.

…하지만 해당 업체들은 결코 고의성이 없다는 점을 강조했다. 티몬 관계자는 “저희 같은 경우 19금 용품 광고는 아예 노출이 안 되도록 막는 등 선정성 측면에서 신경을 쓰고 있다”며 “자동 로직으로 광고 집행이 이뤄지기에 임의로 자극적 이미지를 사용한 게 아니다”고 해명했다.

“…However, industry representatives stressed that, in the end, there is never any deliberate intention to use sexualized imagery. A representative from Timon said, ‘In our case, from the outset we do work to ensure that no adults-only products are selected to be advertised [on Facebook],’ and that ‘the provocative images that do appear are not random, but are chosen automatically by the algorithm.'”

기본적으로 특정 시간대에 특정 연령 타깃군이 어떤 상품을 많이 봤다는 데이터가 쌓이면 이를 해당 타깃에게 동일하게 추천하는 방식으로 로직이 짜여 있다는 설명이다. 이번 노출도 이같은 설정 때문에 벌어진 현상일 수는 있지만, 의도한 건 아니라는 설명이다.

“Basically, when collected data on a site suggests that a certain time is the most heavily frequented by a targeted demographic, the algorithm automatically recommends products that demographic is likely to be interested in. The same logic applies to the revealing images accompanying them, but has never been the deliberate intention [of our company.]”

쿠팡 관계자 역시 “쿠팡이 고의적으로 선정적인 광고를 남성에게 보이도록 조작하지는 않았다”며 “활용되는 이미지 역시 판매자가 올린 것을 활용한 것”이라고 밝혔다.

“A representative from Coupang also claimed that their company ‘did not deliberately manipulate ads to target men with sexualized imagery,’ explaining that ‘the images of products [available from our site] are simply taken from available sellers.’ (end)

By all means, gratuitous T&A does sometimes work, especially when those objects belong to popular K-pop girl-group members. Yet it infuriates me when some, more radical feminists—especially anti-pornography activists—start from the position that such narrow portrayals of women are an accurate reflection of most—or even a significant minority of—cishet men’s tastes; examples like these demonstrate just how disingenuous and utterly unfair that assumption is. It’s also very patronizing for companies to advertise this way, says Sejong University Professor Kim Ji-heon elsewhere in the above article, and has the potential to put men off offending brands. Accordingly, evidence of sexualization’s effectiveness on Korean consumers is mixed, one 2017 study by Yonsei University researchers (PDF, Korean) for example, discovering that young Korean men actually preferred cute to sexy female models in game advertisements (which may be problematic for other reasons, but that’s a story for another post). Also, lest we forget, not all consumers are young men, with another study from 2012 (PDF, Korean) by Sungkyunkwan University researchers demonstrating that despite soju companies specifically targeting female consumers at the time, somehow women just weren’t responding to the ensuing “sexy” advertisements.

I can’t imagine why:

Screenshots from this summer 2009 commercial for ‘Cool Soju 168’; the logic was that “168” referred to a low 16.8% alcohol content, which supposedly helped women maintain their figure vis-a-vis stronger brands. One NSFW image follows shortly.

Nevertheless, Coupang’s algorithms at least, have hardly been tweaked since The PR News report came out, as any male Facebook user in Korea can confirm. Take this advertisement I was blessed with on the subway a few weeks ago for instance:

Facebook has given me 24 hour bans for far less.

Of course, in reality, no algorithms are value-neutral, so can’t be used as an excuse. Yet, to reluctantly play Devil’s Advocate for a moment, perhaps one reason Korea’s algorithms have the settings they do is that advertisers generally lean more heavily on sex-sells tropes during recessions, and one indication of how bad Korea’s is at the moment would be its highest youth unemployment rate in two decades. Another explanation of why they tend to be sooo eye-catching is that Hangul, the writing system, lacks capitals. This, which has factored into Korean webdesign from the get-go, is why Korean websites tend to be so GIF-heavy and cluttered to Western eyes, but is familiar to and preferred by Koreans. (Japanese websites are very similar, due to similar issues with kanji and kana.) Ingrained media culture and consumer habits go some way toward explaining why Japanese and Korean advertisers over-rely on celebrities to get your attention too.

But all of these contributing factors are decades old. I first noted the alleged link to the economy ten years ago, and the numbers of smutty ads have only increased since. Korean websites have overwhelmed me with GIFs since I first started having to navigate them in internet cafes here nineteen years ago. And the over-reliance on celebrities dates back to the early-1980s, when fifteen seconds became the standard length for TV commercials.

If so many features of Korean advertising are products of ingrained culture and long-term habit then, surely this over-reliance on sexualization could be as well? So too, that it just so happens to be a very stereotypically male-gazey version of it at that?

Noteworthy in this regard is men’s domination of multiple sectors of the Korean media:

However, the Korean advertising industry is absent from that Twitter thread, and I’m personally unaware of its male-female make-up as I type this (sorry). So, let me defer to someone with inside experience: Seoul National University Associate Professor Olga Fedorenko, who conducted fieldwork in winter 2009-2010 at the agency responsible for the delightful Cool Soju 168 commercial from summer 2009 above. And in fact, in that agency at least, women made up roughly half of the employees. But it was indeed male-dominated, as no women there were above level five of the eight ranks within its internal hierarchy, “with truly managerial responsibilities [only] beginning at level six.” Also, the ensuing work-culture there could certainly be described as male-dominated too:

To assert that “sex sells”—the axiom that no one doubts in advertising and perhaps few do in society at large—was the usual way to deflect my criticisms of sexualized portrayals of women in much of Korean advertising, and women repeated that adage as eagerly as men.

Still, despite their professional embrace of the “sex code,” women showed a certain distance towards its centrality to advertising. They occasionally mocked male managers who favored sex-appeal strategies by default, “just because they like to look at pretty women,” as Chin’a put it, as she vented about wasting an afternoon the day before because her team’s Creative Director asked her to accompany him to help pick a female model for a commercial. “He said he wanted a woman’s opinion but in reality he just picked the model who he personally liked and who was flirty with him,” she said rolling her eyes in front of me and four other women as we were having lunch. Chin’a thought that the selected model was not the best choice, but the Creative Director never asked Chin’a’s opinion and even went as far as to re-schedule the shoot around the model, without consulting the convenience of other team members. Chin’a wished she had spent that afternoon working on their team’s other accounts.

Technically however, Fedorenko does not state if the same agency was responsible for the Cool soju commercial I criticized; I should have only said it “probably” was, because it was responsible for a new campaign for same product during Fedorenko’s time there a few months later. Ironically, a largely women-created and targeted, sexually-progressive, feminist, and therefore controversial one:

Which would seem to contradict the points made about work culture above. So too, that they’re from a snapshot of just one agency, and a decade old.

However, it’s also telling that there’s been almost nothing quite like that campaign in Korean advertising since, by any agency. Despite my fetish for Korean ads showing actual grown women with sexual desire and experience, I’m only aware of less than a handful produced in the last decade. Meanwhile, compared to men, women are almost 60 times more likely to be wearing revealing clothing in Korean TV commercials, a figure that is over twice as high and nearly ten times as high as their Japanese and Hong Kong counterparts respectively.

And yet, despite everything, I’m reluctant to attribute all that simply to the likely dominance of men in the industry.

Yes, we can all bet good money that the coders behind offensive internet algorithms are indeed sexist pricks. Or their bosses. Or at best, that they’re unoriginal and conservative.

But to claim that Korean ads are the way they are because men dominate the industry, is to make the assumption that most of the men within are also sexist pricks.

Hey, I’m not dismissing the possibility. In fact, I’d bet good money on that too. Given what we know about Korean ads, and that Korea has the biggest gender gap in the OECD, and comes 121st out of 193 countries in the ratio of female legislators to males, then there’s absolutely no reason to suppose that Korea’s toxic, patriarchal work culture hasn’t also infected the Korean ad industry.

But where does that accusation get us? If we want to persuade industry insiders to embrace change, what good would simply calling them sexist pricks actually achieve?

And cishet men’s sexuality, I can’t stress often enough, is so much richer and broader than its blokey, infantile stereotypes suggest. There are men of other sexualities in the ad industry too, not to mention (probably) equal numbers of women. I refuse to believe that all the admen, by definition among the most creative and artistic men in Korean society, all chose their careers based on no more than a shared dream of putting more boobs on phone screens, and that every man and woman who doesn’t share that grand vision is simply forced to acquiesce.

The issues raised in this post may even be well-recognized problems within the industry already too, but are intractable due to the influence of Korea’s patriarchal work culture as alluded to earlier, one big influence being the rigid hierarchy and visions of women and male-female relations learned before entering the industry from that vast socialization experience known as universal male conscription.

Or not: my apologies again, for lacking the money and time to translate dense Korean advertising tomes to find out. But either way, suggesting practical, actionable steps that the industry may already be receptive to does sound much more helpful than simply rolling our eyes at THE MENZ.

I think this is where we came in.

Recall that we started with the industry itself calling for more regulation. Specifically, the KIAF, responsible for the 2016 survey:

“Although there are guidelines for the level of sexuality permitted in online advertising, they lack effectiveness since they tend to be too generic and ambiguous,” said the KIAF official. “Regulations that manage such advertisements are scattered across government departments, and they need to be revamped.

A state of affairs which sounds suspiciously similar to the messy censorship of K-pop in the early-2010s:

The recent guidelines by the Fair Trade Commission are demonstrably inadequate, and laws are required instead. But considering that any limits on such a vague concept as sexualization are by definition arbitrary, then it is crucial that 1) the ensuing legislation process is transparent; 2) that implementation of the laws is consistent; and 3) that only one, preferably independent, organization has the power of censorship. Currently, that last is divided between a plethora of competing media and government organizations, and the ensuing unpredictable and often bizarre decisions ― including banning a music video for the singers driving without wearing seat belts, or allowing exposed navels on men but not on women ― have thoroughly undermined the credibility of attempts to curb the sexualization of teens in K-pop. A fresh start is urgently needed.

“Restrictions Imposed on 18+ Controversial ‘Wide Leg Spread Dance’”, April 2011. Source.

This segue into K-pop is no mere confirmation bias from a trusted source: for the body with the most responsibility for censoring K-pop then was MOGEF, which it did with a relish. As Lee Yoo-eun at Global Voices explained in 2014 (links added by me):

The censors of the ministry are notorious for accusing several thousand songs of being “hazardous” whenever they notice references to liquor, cigarettes or sex in the lyrics. Once a song is labeled as “inappropriate for youth under the age 19″ it can only be broadcast after 10:00 PM, and children are forbidden from buying it as well as from listening on the internet. Many young people get around this by using the IDs of their parents to login to Korean portal websites or watch on YouTube.

Music industry people…say it is troubling that the censorship is applied only to some randomly selected albums after they have hit the market, and not universally to every album. Many people see this as part of a new reality where the South Korean government is tightening control over citizens and free speech.

And this zealousness was in stark contrast to the complete inaction by MOGEF over smutty advertisements, despite raising the alarm in 2012 about their surging numbers as discussed. Indeed, it wanted the industry to do its own work for it instead:

여성가족부는 작년과 비교해 유해 광고는 늘었지만 법 위반 언론사들이 대폭 감소한 것을 감안해, 언론사에는 우선 자율 규제를 촉구하겠다는 입장이다. 청소년매체환경과 관계자는 “작년에 34개 언론사가 법을 위반했는데 올해에는 다 시정됐다”며 “언론사들을 직접 규제하기 보다는 인터넷신문협회 등에 자율규제기구인 인터넷신문광고심의위원회의 설치를 촉구하겠다”고 밝혔다.

“Although MOGEF points out that the numbers of harmful advertisements have increased since last year, the fact that there are actually less media companies breaking the law also needs to be taken into consideration, so first MOGEF is going ask media companies to regulate themselves. The official in the Division of Youth Media Environment continued: ‘The 34 media companies that broke the the Information and Communications Network Law last year have all since rectified their mistakes,’ and so ‘a self-regulatory system is preferable to direct regulation, and we demand that the Korean Internet Newspaper Association and so on establish an internet newspaper advertisement consideration committee.'” (end)

Further inaction still is evident from how, in the 2010-2016 period, MOGEF’s Korean Institute for Gender Equality Promotion and Education (KIGEPE) was given the task of monitoring mass media for cases of sexual discrimination, sexual prejudice, and sexual insults, but was given extremely limited resources to do so, and didn’t even cover the internet; ultimately only four cases were ever acted upon in those entire seven years. A subsequent study in 2016 found an undisclosed number of issues, of which the KIGEPE said “the results from their monitoring [had] resulted in 19 cases of corrective action [as of March 2017], insisting more education and appropriate measures need to be provided for TV show makers to achieve gender equality in the TV industry.” (More recently, this January the Korea Communications Standards Commission {KOSC} noted problems remained in variety shows specifically, without suggesting any measures to combat them.)

Yet that’s just MOGEF, which—without absolving it for its inaction—admittedly had very low resources and was in a precarious political position under previous conservative governments. If we look at the Korean media and its various overseers as a whole however, inaction over misogyny and problematic content is endemic, Korean dramas in particular being notorious for depicting dating violence as romance, but which the KOSC has washed their hands of. And don’t get me started on the media’s constant framing of the sexualization of minors in K-pop as good, clean, harmless family fun.

Source: Netizenbuzz.

In that wider context, inaction on smutty ads emerges as less the exception than the rule in the Korean media, and underpins a pervasive culture of indifference and desensitization towards degrading images and videos of (overwhemingly) women. That culture is evident in the decade-long foot-dragging in the shutting-down of Soranet, a hugely popular pornography site notorious for the sharing of hidden camera videos, as well as in the Korean #MeToo movement’s unique emphasis on punishing the purveyors of such videos, a central component in the current Burning Sun scandal. I can’t help but ultimately see links to the culture of indifference and desensitization towards sexual abuse by teachers in Korean schools too, with over 40 percent of perpetrators in the January 2013 to September 2018 period still teaching, and again only, finally, being aggressively challenged due to the Korean #MeToo movement.

Nextshark: “The School of Performing Arts Seoul, the alma mater of numerous well-known K-drama and K-pop stars, is facing co‌ntrov‌ers‌y after its former students a‌‌c‌‌cu‌‌s‌e‌‌‌d the school of c‌o‌rrup‌tio‌n and se‌x‌u‌al ‌ex‌‌pl‌oita‌‌tion of minors [through a music video].”

But perhaps it’s a too much of leap from boobs on my smartphone to tolerating “asking students for ‘sexiness’ and ‘inappropriate touches’ during school performances”?

Or not. Either way, if the government started to enforce the same standards for internet ads as it does for all other forms of pop culture, that would surely be the perfect way to find out.

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Hyundai Fit-Shaming Korean Girls

“In the 18th century, it was often assumed…that women were incapable of rational or abstract thought. Women, it was believed, were too susceptible to sensibility and too fragile to be able to think clearly.”

Estimated reading time: 3 minutes

The more things change, the more they stay the same.

These days, I’m generally loathe to lead with quotes. Especially when I’m forced to admit I haven’t read A Vindication of the Rights of Woman since university, and had to rely for that line on its Wikipedia article instead.

But the video below deserves the hyperbole. Because ten years ago, I wrote a post about the widespread practice of calf-reduction surgery in Korea. It really got to me, learning about the literal slicing away of muscle and nerves to make legs slimmer and more “feminine” and “attractive.”

Afterwards, the women literally have to learn how to walk again. Why, oh why, is this still a thing?

For sure, technically Hyundai isn’t promoting operations. But it is contributing to their normalization by reminding everyone that muscular calves are “ugly,” thereby discouraging schoolgirls from exercising.

Like my 12 year-old daughter, who starts middle-school in two weeks. Thanks, Hyundai.

Part of a series (#1, #2, #3, #4) for cars fitted with Hyundai’s “SmartSense” system, the voiceover for the segment with the schoolgirl says:

우리 산중턱여고 나왔잖아

3년내내 아침마다 등산한 것 기억나?

이제 다왔다 올려다보면 고지가 저~기야.

그러다 문든 내 종아리를 봤는데,

헉 다리가 이게 뭐냐?!!

Our girls’ high school was on a mountainside.

Do you remember climbing it every morning for three years?

I’ve arrived, but if I look up I’m still not at the top.

Then at the gates I happened to look at my leg…

OMG, what’s this on it?!!

Are Korean girls and women still shamed for muscular legs though? Please let me know your own thoughts and experiences in the comments. It’s been ten years, so I would just love to learn that it’s actually a very outdated stereotype, and that Hyundai is just being lazy by relying on it.

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

South Korean men lead the world’s male beauty market. Will the West ever follow suit?

Estimated reading time: 7 minutes. Photo by mentatdgt from Pexels

My email contribution to Jessica Rapp’s piece for CNN. Who told her that if you ask me about one of my pet topics, I’ll happily type away for hours, even if only a few lines will make it into the final article? Confess!

  1. What has South Korean beauty done in terms of redefining masculinity and how has that space changed?

I would argue that the South Korean beauty industry has generally been much more reactive than a driver of trends and redefinitions. In particular, while the kkotminam (lit. “flower beautiful man”) phenomenon of the mid-2000s has now become so mainstreamed as a male beauty ideal that the term has fallen into disuse, it only appears to have been an invention of the beauty industry. In fact, it was overwhelmingly the result of changing women’s tastes, who were already very much changing the public conversation about sexual norms and beauty ideals from the mid-1990s, and who were heavily influenced themselves by the influx of (surprisingly popular) homoerotic yaoi manga from Japan after a ban on their import was lifted in 1998. Also, many of the first male celebrities to be branded with the kkotminam label in fact generally rejected it, and even those that did take advantage of it still made sure to buff up and show off their bodies regularly, lest the label raise questions about their masculinity and heterosexuality.

In that vein, it is actually Korea’s prolonged economic slump, especially its jobless-driven recovery from the 2008 financial crisis, that is primarily driving male beauty trends today. Specifically, Korea now has the highest youth unemployment rate since the catastrophic Asian Financial Crisis of the late-1990s, and has always had too many graduates (Korea has one of the highest numbers of university entrance rates in the world) chasing after ever-diminishing numbers of jobs at conglomerates like Samsung and LG. In this cut-throat environment, 20 and 30-somethings are all about improving their “specs” with extra degrees, courses, internships, English-language qualifications, and so on, and the beauty industry has been quick to address the need to get a step up on the competition through improving one’s looks too. Lest this sound like exaggeration, bear in mind that Korea and Japan are the only countries in the OECD where it is routine to require photographs on resumes, and accordingly the Korean internet is full of forums where people can upload their pictures and receive constructive criticism on their appearance and photoshopping suggestions before they submit their job applications.

A selection of resume forms, seen in an Osaka Daiso last August.
  1. What role does K Pop play into the male beauty culture?

Given all the overseas media attention focused on the Korean Wave, and especially recently on the phenomenal success of the boy-band BTS, it is very easy to overlook the fact that K-pop isn’t actually all that popular in Korea itself, by any metric. Also, there are huge generational and regional differences in male beauty culture, with generally only young Seoulites embracing the new beauty trends that get all the media attention. (Overseas K-pop fans that visit Korea are often surprised and disappointed that most Korean men look nothing like their idols!).

Much more influential then, are the aforementioned job-hunting pressures, as well as men’s almost universally-shared experience of military conscription. Facing two years in the harsh wind and sun along the DMZ, these days conscripts quickly learn to become avid users of sunscreen especially. A gateway drug, if you will, to more involved and varied skin routines once they leave the military.

That said, K-pop has been a thing for over a decade now, so all Korean 20-somethings have grown-up under its influence. It is also true that Korea has a uniquely celebrity-obsessed media culture, to an extent that is difficult to appreciate without living in the country. Over 60% of television commercials feature celebrities for instance (compared to 10-20% in countries like the US and UK), and they appear on TV shows far more often than their Western counterparts. Moreover, most of the men you see when you flick the channels are indeed young K-pop stars, as their entertainment agencies have strong incentives to accept offers of endorsement deals for them, which are far more lucrative than music sales. Naturally, many of these deals are for selling male beauty products. But they are no less influential if they are in ads aimed at women instead (they have increasingly appeared even in lingerie ads for instance), as if Korean women increasingly come to demand the beauty standards and routines of male idols in their romantic partners, then ordinary Korean men will only be too eager to attempt to provide.

Given K-pop stars’ pervasive, ubiquitous presence in Korean daily life then, it is very difficult to imagine the beauty ideals they represent and advocate don’t have some influence on the Korean public, regardless of their personal music tastes!

  1. When we think of male “beauty” in Korea, are we thinking of it in the traditional way that women wear a full face of makeup? Or is the mainstream more about skin care?

The emphasis is overwhelmingly on skincare, based on their previously-mentioned, formative experiences in the military. Unfortunately though, unrepresentative Korean men that do spend lots of money and time on cosmetics are often featured in clickbaity foreign media reports about male beauty in Korea, thereby perpetuating “crazy Asian” Orientalist stereotypes.

Please note that I said spending money on “cosmetics” however. Spending significant amounts of one’s income on minor cosmetic surgery like a double-eyelid operation is very normal and mainstream for Korean men now, and is arguably considered no more or less unusual of an necessary investment in a valuable spec than in, say, the English lessons required for a high TOEFL score.

This was not always the case for Korean men though, so it’s by no means impossible that male cosmetics use will likewise become increasingly mainstreamed in the future too. My personal feeling is that most Korean men will balk at the huge amount of time, effort, and money that Korean women routinely have to spend on cosmetics, but who knows? Korea is a rapidly changing place, and Koreans love to defy foreigners’ convenient stereotypes of them.

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Hey Women! There’s Cheese Here!

Estimated reading time: 2 minutes.

Seen in a samgyeopsal restaurant one day. It reads:

Hey women! There’s cheese here!

Hey men! There’s lots of women here!

Come in right away!

Is gendered cheese a thing in Korea though? For dieting purposes certainly, but in main meals? With rice even?

I don’t like the combination myself. So, if I see students chomping away at cheesy versions of bibimbap, kimbap, and ramyeon as I enter the university cafeterias, that tells me I’m going to have to cajole the staff into making mine without. And, after many quick head counts over the years, I’ve seen little difference in the numbers of men and women eating them.

What do you think? Was the copywriter onto something? Or would their talents and ingenuity be better served elsewhere? ;)

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Korean Billiards Federation Orders Female Referees to Wear Skirts

Because nothing brings more viewers to your sport than the chance to watch women struggling to do their jobs in clothes they hate.

Estimated reading and viewing time: 4 minutes.

My translation of the transcript for this KBS news report:

학교뿐 아니라 스포츠계의 성 문제도 참 끝이 없습니다.

대한당구연맹이 여성 심판들에게 치마를 입으라고 지시했습니다.

왜 그런 지시를 했냐고 물었더니 치마를 입으면 반응이 좋았다는 황당한 답변을 했다고 합니다.

방준원 기자입니다.

It’s not just in schools, but also in the world of sports where there’s no end to problems of sexual discrimination and harassment.

The Korean Billiards Federation has ordered its female referees to wear skirts.

When asked why, the ridiculous response was that this gets a favorable reaction [from audiences].

Bang Jun-won reports.

[리포트] 국제 당구대회 여성심판, 당구공의 이물질을 닦고, 공 위치를 확인하는 등 당구대에 바짝 붙어야는 경우가 많습니다.

치마가 불편할 수밖에 없습니다.

Reporter Bang: In international billiard competitions, it is often necessary for referees to clean the balls of any foreign substances and to check their positions, requiring them to always stand close to the table. This is uncomfortable and inconvenient to do in a skirt.

[류지원/당구연맹 심판 : “공 튀어가면 가서 잡고, 닦아서 포인트 있는 부분에 재배치를 해야 해요. 그러면 치마를 입으면 엎드렸을 때 뒤가 어떻게 될까요?”]

Referee Ryu Ji-won: “When a ball comes off the table, we have to grab it [from the floor], wipe it, and put it back in the correct position on the table, [which often requires lying over it to reach]. How are we expected to do all this in a skirt?”

보통 바지를 입던 여성 심판들이 치마를 입기 시작한 건 2017년부터입니다.

당구연맹의 복장 규정은 변한 게 없는데, 이유는 심판위원장 때문이었습니다.

2017년 취임한 심판위원장 권 모 씨가 여성 심판들은 치마를 입으라고 지시한 겁니다.

Normally, female referees wore pants, but this changed from 2017. Not because of any changes in the federation’s rules regarding attire, but because of a demand by newly-appointed referee chairperson Kwon (probably a man, but this is not indicated—James).

Source: Topstarnews

권 씨가 보낸 SNS 메시지입니다.

‘여자심판은 스커트를 준비하라’ ‘녹화방송에 여자 스커트는 필수’라고 합니다.

스커트를 안 입으면 주심 대신 부심만 할 거라고 강조하기도 했습니다.

현직 심판 류지원 씨는 치마 입기를 거부했습니다.

그 뒤 주요 경기에서 배제됐고, 전국대회 15회 참가 정지 제재도 받았습니다.

The demand was announced via social networking services. “Female referees prepare skirts; they will now be required for all games that are broadcast” it said. It went on to stress that “Female referees that do not comply will be demoted to assistant referees.”

Ryu Ji-won refused. For this she was punished during the 15th National Championships.

[류지원/당구연맹 심판 : “(16강 경기부터)딱 1경기 주심으로 배치가 되고, 나머지는 다 부심이었고, 그나마 결승 준결승 경기에는 아예 포함도 안 됐어요.”]

Referee Ryu Ji-won: During the quarter finals, I was only allowed to be referee for one game, being demoted to assistant referee in the others. I was also completely excluded from the semi-finals and finals.

심판위원장에게 치마 복장을 지시한 이유를 물었습니다.

[권○○/당구연맹 심판위원장/음성변조 : “처음 (치마) 착용하고 난 이후에 주변 반응이 너무 좋았기 때문에, 착용했던 심판들이 따로 요청한 것도 있고.”]

권 위원장은 당구 심판이 치마를 입었던 사례가 있어 제의했던 것뿐이라고 추가로 해명했습니다. 류 씨는 권 위원장을 협박 혐의로 고소했습니다.

Chairperson Kwon was asked the reason for the new dress requirement. They replied: “The first time we tried this, the reaction was very positive. Because of that, the female referees themselves made the recommendation,” further explaining that “that was the only reason for this new requirement.”

Ryu is now suing Kwon for intimidation. (End)

Hat tip: 젠더 뉴스 읽기@readinggendernews

Related posts:

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Looking For Recommendations: Potential Interviewees for Topic of “Sexualized Bullying Among Men in the Military in South Korea”

Estimated reading time: 2 minutes. Photo by Sebastiaan Stam from Pexels.

I’ve been asked to pass on the following, prompted by my post “Sex as Power in the South Korean Military” and its update. Unfortunately, I haven’t worked on the topic in many years, making me an unhelpful interviewee myself, so the least I could do for Shao Yuan was to help him in his search. Please get in touch with him if you know something about the subject, and/or pass this post on to someone else who might! Thanks!

I am Shao Yuan, an undergraduate student completing my Bachelor of Arts (Double Major in History and Psychology) currently looking into conducting my Honours research on the topic of “Male-to-Male Sexualized Bullying in Conscript Armies in East Asia”. One of the key countries that will be explored in this research will be South Korea, hence this post today.

As part of the Honours requirement, students in the History department have to complete the prerequisite course HIST492 History, Theory and Methods course that intends to train students up with the research skills required for completing an Honours project based on their planned Honours topic. Under the supervision of Dr. Jessica Stites Mor, one of the assignments we are expected to complete would be a podcast interview with an expert regarding our research topic. With that, I hope to ask for recommendations on potential experts to interview on the abovementioned research topic.

Should you agree to participate in my interview, I’d be happy to send you a list of prepared questions which I’d be asking you through the interview. These would be basic questions in relation to the trend of sexual violence taking place in South Korea’s military back then and even up until today, to some of the developments that have taken place since the suicide of the soldier, Kim, that had taken place in 2003. As the interview will be conducted through either an online call or a video conference call, it’ll also be great to hear from you on some of your available dates in the coming week, should you be willing to take on the interview.

Please do feel free to contact me at shaoyuan.chong@ubc.ca should you have any queries on my research, assignment or recommendations. Should you feel comfortable to speak about this topic, please do feel free to reach out to me.

Otherwise, thank you so much for taking the time to read through this post, and have a wonderful day ahead!

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

#MeToo to meat: no more soju calendars with nearly nude women in South Korea

Estimated reading time: 6 minutes. Photo by Tan Danh from Pexels.

No, not normal soju posters and calendars, but these ones (NSFW) and these ones by Hite-Jinro and Oriental Brewing respectively. I’m not surprised seeing them in restaurants (NSFW) made so many people uncomfortable (seriously, where would you look?), and wasn’t exaggerating when I was quoted in Crystal Tai’s article that “assuming that pictures of nude women [is] all that is required to [get people to change soju brands] is just patronising and insulting.” Perhaps that’s why my tweet about them below, a simple link to a news article, gained such traction:

Please read Crystal’s article for more information on what all the fuss is about. And, for even more information, here are some of my original email interview questions and answers:

Q) When did you first notice soju posters of women and such calendars around you? Do you remember the first time you saw one?

I noticed them immediately after I arrived in Korea in 2000, because they were ubiquitous; the level of alcohol advertising in New Zealand couldn’t begin to compare. I didn’t pay them much attention until about six years later however, because all of a sudden many soju companies started depicting women in revealing clothing and more sexualized poses in their posters, which was a big shift from the virginal depictions of the previous two decades. Soon after, this trend was further accelerated by the liberal use of K-pop stars as endorsement models, as gaining notoriety through revealing campaigns was and remains a win-win for both their entertainment companies and the soju companies.

That said, soju posters are just another means to “consume” a celebrity by fans, who generally must assume the same persona whether they’re in a talkshow, MV, or a soju commercial.* So, despite the trend, by no means are all soju models sexualized today: “innocent” IU, Son Na-eun of Apink, and especially Suzy (of the former Miss A) all tend to be depicted virginally in their own campaigns, the latter despite her having been in several high-profile relationships.

(*Hat-tip to to friend and SNU Associate Professor Olga Fedorenko, whose book chapter I was channeling just a little too directly there!)

Q) What do you think such images mean to Korean men? Why do you think they are often surrounded by such images at bars, pubs, gogijibs (meat restaurants) etc?

It’s unlikely they hold any special meaning that they wouldn’t hold for men of any other nationality. As for their being surrounded by such images however, this is likely because Korea is in many ways a very homosocial society, with many unspoken but strongly-defined separate spaces for men and women. Note that most middle and high-schools were single-sex two decades ago, that almost all Korean men do approximately two years of military service, and that Korean women still struggle to retain their jobs after childbirth, those that succeed often having to leave mandatory after-work drinking gatherings early to look after their children while their male colleagues continue drinking elsewhere. Consequently, while coffee shops are strongly associated with women, and feature in many complaints and negative stereotypes about them, the atmosphere in bars and restaurants that sell a lot of soju can sometimes feel very off-putting for anyone that isn’t a middle-aged Korean man.

(Image: This interpretation in this video analysis is maybe too much. Yet I can never pass Na-eun’s poster below without thinking about that bottleneck on the left!)

Do you think that the Me-too movement and recent feminist movements really play a big role in Hite-Jinro’s decision to discontinue such calendars?

Given the recent news that “racequeens” are going to be phased out of the racing industry,* as well as calls to do the same with cheerleaders at sporting events, then the timing can hardly be a coincidence. But it may also be a convenient excuse for decisions already made. Unless revealing soju posters are also part of a creative and memorable campaign—which these calendars definitely are not—then it’s extremely debatable whether they ever have any real influence on Korean men’s consumption choices. In my own experience, their tastes in soju tend to be very regional, and they tend to stick to the same brands throughout their lives. Assuming that pictures of nude women are all that is required to change their minds is just patronizing and insulting, so I’m both glad and not particularly surprised that alternative strategies are now being attempted.

(*My mistake: they’re being phased out in Formula 1, but I don’t know enough about the industry to judge what—if any—impact that will have on racing events in Korea. See here for an article about the impact in Japan.)

Do you think other alcohol companies will follow suit as well? And do you think this means the provocative celebrity posters and campaigns will change as well?

No. The calendars by Hite-Jinro were the only ones to feature nudity, and the “sporty” ones by Oriental Brewery were also much more revealing than average. But most soju posters aren’t particularly any more sexually-objectifying of women than Korean advertising in general, because that is already pervasive in the industry as a whole. To wit: in a 2015 study, women were 5.9 times more likely than men to not be fully dressed in Hong Kong television ads, 22.89 times more likely in Japanese ads, and 56.83 times more likely in South Korean ads. By no means, can soju ads be the only culprit in the Korean case!

And if that’s still not enough, here’s a small sample of related posts I’ve written over the years:

Meanwhile, I hope everyone had a happy new year, and sorry my posting has been so erratic. But I have big writing plans for 2019!

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

“W코리아가 여성을 화보에 담아내는 방식이 마음에 든다. 자기다운 모습으로 카메라를 응시하는 여성 모델들.”

Estimated reading time: 2 minutes. Image sources: @pompomiya

“I like the way W Korea portrays women. Look at the models here all staring back at the camera in their own ways.”

If I die tomorrow, my biggest regret will be never completing my epic series on the queer female gaze in K-pop. No, really. So, while I’m up to my eyeballs with that then, please allow me a quick break today by indulging myself in @pompomiya’s tweet about W Korea‘s July issue. Their point about controlling the viewer’s gaze really resonates with those made about Titian’s Venus of Urbino in my Boobs, Butts, and Biceps post, and is a helpful reminder of what exactly makes that painting so captivating. So too, of why these photos have 6,600 retweets so far.

Three of the models in them are instantly recognizable as K-pop star Amber Liu, volleyball player Kim Yeon-gyeong, and actor Han Ye-seul, but the woman in blue was a mystery. Her name is DJ Seesea (@uuuuman), and the most information about her online seems to be available at W Korea itself, either in their (Korean) article or video interview.

This is the longest performance of hers I was able to find:

Frankly, most of those tracks aren’t to my taste. But the MIXMIX TV channel itself has many more male and female DJs to choose from, and can be good background music to work to when you need a change from Chillhop Music, lofi hip hop radio, and 24/7 lofi hip hop radio. Also, DJ Seesea mentions in her interview that she used to belong to an all female-DJ line-up called Bichinda (Facebook, Twitter), sadly now dismantled but with interesting things to say about the changes more female DJs bring to clubs and the attitudes of audiences, so I’m glad W Korea gave DJ Seesea the chance to give that topic a little more exposure this summer.

Please hit me up if you know anything more about DJ Seesea or Bichinda, or about any other interesting female Korean DJs. Also, make sure to check out 6 Alternative Female Musicians For Fans Of K-Pop at Nylon, many of whom I do like and am eagerly looking for a track or MV to highlight here. Please let me know if you have any suggestions!

Update: Here’s DJ Seesea’s Soundcloud playlist.

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

An Englishman Who Writes a Feminist Blog in South Korea: Sex, Gender, and the Elephants in the Room

Estimated reading time: 1 minute. Image source: Pixabay.

Which I think is the correct translation of “一个在韩国写女权主义博客的英国人:性、性别和房间里的大象”, a long interview of me by Yiyi Zhang of Q Daily. Unfortunately for non-Chinese speakers, a lot is lost in the translation, but the gist is still there, and I’m happy that the comments generally seem to be positive. Please hit me up in the comments here if you’d like any clarification about anything in the translation, and/or if you just have any of your own questions about life, love, elephants, and what it’s been like blogging about Korean feminism for the last 11 years!

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Boobs, Butts, and Biceps are Beautiful. Don’t Let Knights Tell You Any Different!

Smiling faces, and the consent implied therein, are crucial for determining a person’s beauty. But that doesn’t mean body parts can’t still be beautiful in their absence.

Estimated reading time: 14 Minutes. Photo by PixaBay on Unsplash. NSFW art nudes following.

Can body parts, in isolation, be beautiful?

Feminist bugbear Camille Paglia would say so. In a speech at MIT in 1991, she rejected having to apologize for reveling in beauty, as well as the notion that ordinary-looking women only ever lamented their own appearance in reaction to attractive people. In her words, she wanted to bring back to feminism the right to say what they were really thinking: “What a beautiful person, what a beautiful man, what a beautiful woman, what beautiful hair, what beautiful boobs!”

My own answer too, is such an immediate, adamant yes, that it seems absurd to ask. Yet to openly revel in, say, beautiful boobs? Newly-woke male feminists quickly learn to restrain such temptations. Not only because it would simply be boring for most women, but also because it feels disingenuous considering women’s daily, pervasive objectification and body-shaming. Complicit even, when so many are suffering from Korea’s spycam epidemic, and when even male artists are abandoning female nudes in the wake of #MeToo.

Yet whatever our sex or sexuality, we’re all casting admiring glances on our commutes nonetheless—even asexuals. Complimenting their owners may always be a bit much, let alone leering and catcalls. But we don’t have to put up with being shamed for our internal monologues too.

So, when I was going through Sir Roger Scruton’s Beauty: A Very Short Introduction (2011), and read that body parts are “obscene” when they’re considered in isolation?

Recall the queasy feeling that ensues, when—for whatever reason—you suddenly see a body part where, until that moment, an embodied person had been standing. It is as though the body has, in that instant, become opaque. The free being has disappeared behind his own flesh, which is no longer the person himself but an object, an instrument. When this eclipse of the person by his body is deliberately produced, we talk of obscenity. The obscene gesture is one that puts the body on display as pure body, so destroying the experience of embodiment. We are disgusted by obscenity for the same reason that Plato was disgusted by physical lust: it involves, so to speak, the eclipse of the soul by the body. (pp. 40-41.)

I snapped. Already sick and tired of being belittled and patronized most times I read about my male gaze, Scruton seemed to go one further in implying my liking of boobs was immoral as well.

But outrage and exasperation do not an objective response make. Nor does quoting authors without sufficient context, when it’s not so much their arguments as the assumptions they’re based on that are unsound.

So first: note that only two of the book’s nine chapters are about human beauty. Really, it’s more of an introduction to aesthetics, with beauty only as a framing device, and reads like light philosophy. I’m ill-disposed towards and ill-equipped to deal with books like that, frankly, so that’s why I focus on only those two chapters here instead of giving a full review. Much more important than my unlearned personal tastes though, is that this philosophical approach grounds Scruton’s contrarian approach to beauty too. Because whereas in my experience, most commenters take the approach that beauty can be quantified and measured in terms of how closely one’s body parts, features, lengths, and ratios reach various ideals, Scruton believes such an approach is fundamentally flawed (p. 41):

Those [above] thoughts suggest something important about physical beauty. The distinctive beauty of the human body derives from its nature as an embodiment. Its beauty is not the beauty of a doll, and is something more than a matter of shape and proportion. When we find human beauty represented in a statue, such as the Apollo Belvedere or the Daphne of Bernini, what is represented is the beauty of a person—flesh animated by the individual soul, and expressing individuality in all its parts.

This has enormous significance, as I shall later show, in the discussion of erotic art [in the second chapter on human beauty, “Art and erōs”]. But it already points us towards an important observation. Whether it attracts contemplation or prompts desire, human beauty is seen in personal terms. It resides especially in those features—the face, the eyes, the lips, the hands—which attract our gaze in the course of personal relations, and through which we relate to each other I to I. Although there may be fashions in human beauty, and although different cultures may embellish the body in different ways, the eyes, mouth and hands have a universal appeal. For they are the features from which the soul of another shines on us, and makes itself known.

For all my (over)concern with what he says about people’s other bits in his book however, actually I heartily agree with the relative importance he attaches to faces here. The comparison he makes with his descriptions of the following paintings later, for instance, really brings to life the profundity of the differences the models’ gazes make between them—and the crucial distinction that consent makes.

First, of Titian’s Venus of Urbino (p. 125):

Source: Wikipedia.

“As pointed out, in [Kenneth Clark’s] celebrated study of the nude, the reclining Venus marks a break with antiquity, when the goddess was never shown in a horizontal position. The reclining nude shows the body not as a statue to be worshipped but as a woman to be loved. Even in the Venus of Urbino—the most provocative of Titian’s female nudes—the lady draws our eyes to her face, which tells us that this body is on offer only in the way that the woman herself is on offer, to the lover who can honestly meet her gaze. To all others the body is out of bounds, being the intimate property of the gaze that looks out from it. The face individualizes the body, possesses it in the name of freedom, and condemns all covetous glances as a violation. The Titian nude neither provokes nor excites, but retains a detached serenity—the serenity of a person, whose thoughts and desires are not ours but hers.”

Next, contrast the issues Scruton raises with the model in François Boucher’s The Blonde Odalisque, all of which ring true for anyone who’s ever been dissatisfied with most pornography (i.e., everyone) because of the unrealistic, wholly impractical, often painful-looking, yet somehow supposedly “sexy” positions women are usually presented in. Indeed, Marie-Louise O’Murphy seems so divorced from proceedings here, and so divorced from her own body, that she looks like she’s much more interested in watching Netflix than in whatever the viewer is about to do with her round the back. Or, rather, to her (pp. 134-135):

Does it make any difference that this painting was (possibly) intended only for Louis XV? Or that Marie-Louise, one of his “lesser mistresses,” was only 13 at the time? Source: Wikipedia.

“Turn now to Boucher’s Odalisque, and you will see how very different is the artistic intention. This woman has adopted a pose that she could never adopt when dressed. It is a pose which has little or no place in ordinary life outside the sexual act, and it draws attention to itself, since the woman is looking vacantly away and seems to have no other interest. But there is another way in which Boucher’s painting touches against the bounds of decency, and this is in the complete absence of any reason for the Odalisque’s pose within the picture. She is alone in the picture, looking at nothing in particular, engaged in no other act than the one we see. The place of the lover is absent and waiting to be filled: and you are invited to fill it.”

Yet for all their eloquence, he’s preaching to the converted with those particular passages. They may even buy the book on their basis alone, having secluded themselves in a quiet corner of the bookstore and skipped ahead to those pictures.

The problem is that well before a genuine reader gets to that stage of the book, Scruton’s mere say-so on numerous issues is less than persuasive. By the time you reach its end, you’re not so much unconvinced as infuriated that he wouldn’t make more effort with its readers.

Examples of his arrogant certainty abound. For starters, his opening descriptions of our supposed differences with animals, the science of human desire, and evolutionary-psychology, are trite and shaky at best, and often just plain wrong. There is absolutely no basis to his argument that “Perhaps no sexual experience differentiates human beings from animals more clearly than the experience of jealously,” for instance (p.44). Nor, to his assertion that “Human beings are alone among the animals in revealing their individuality in their faces” (p. 124), which is easily proven false with just 5 minutes of googling. While to his credit, that he discusses science at all is because he acknowledges “it is surely reasonable to believe that there is some connection between beauty and sex” (pp. 32-33), his blithe, continual assertions presented as facts here soon start collapsing under their own weight.

In particular, take his description of kissing (p. 40):

To kiss [the mouth of another person] is not to place one body part against another, but to touch the other person in his very self. Hence the kiss is compromising—it is a move from one self towards another, and a summoning of the other into the surface of his being.

Or, indeed, of sex itself (p. 38):

In the sexual act, there is no single goal that is being sought and achieved, and no satisfaction that completes the process: all goals are provisional, temporary, and leave things fundamentally unchanged. And lovers are always struck by the mismatch between the desire and its fulfilment, which is not a fulfilment at all, but a brief lull in an ever-renewable process.

Both of which, miffed at his disdain at my daily rejoicing at the existence of boobs, originally I looked forward to presenting as eye-rolling demonstrations of his academic, ivory tower absurdness. Which for sure, is a turn-off with Scruton. His overuse of “he” and “his” throughout too, isn’t merely an out of date convention either, but are characteristic of the chapters on “human” beauty that are so overwhelmingly—almost exclusively—focused on female beauty that they read like they’re exclusively, deliberately aimed at cishet men. (The Beautiful Boy this ain’t.)

On a sober second reading though, I had to concede that both passages are fully consistent in the context of the arguments that preceded it, and that they can sound almost sweet too. However reluctantly, I was loath to misrepresent him.

And yet, they bear sooo little resemblance to any of my own experiences, that the very first thing they reminded me of was of this virginal android’s idealized notion of sex (from 1:30):

Hey, I may be a parent in a small apartment who literally has to schedule these things, but it’s not that I can’t appreciate such sentiments, nor that I haven’t even felt them keenly myself on occasion. Scruton’s descriptions do not represent the totality of my kissing and sexual experiences however, nor—and I’d wager good money on this—would they represent Scruton’s either. For him to pretend otherwise is simply disingenuous, and can’t be explained away as a stylistic choice due to space restraints. Rather, he chose to do so because it is his firm belief that beauty is akin to a transcendental, Platonic ideal, and, that if beauty is related to sexual attraction as previously noted, then sex has to be elevated into some transcendental, Platonic ideal too. Hence the absurd descriptions of—lest we forget—fucking, and the setting himself up for the completely unconvincing distinctions between beauty and body parts that got me started on this rant.

Did I mention that he never actually defines “obscenity”?

It was a surprise to learn after finishing the book then, that Scruton’s earlier book on the philosophy of sex, Sexual Desire: A Philosophical Investigation (1986), is actually well-respected, and considered by many a classic in the field. Because in that too, I read, he maintains his duplicitous insistence on eloquent theory trumping sweaty, sticky, lustful practice. And, because in Beauty: A Very Short Introduction, it’s that wilful dogmatism that ineviably, inexorably leads him to shaming anyone associated with pornography and sex work.

Let me confine myself to just one final example, which follows directly on from the quote about Boucher’s Odalisque, and in my view utterly taints it (p. 135, emphasis mine):

Of course there are differences between the Odalisque and the tits and bums on page three of The Sun….The second difference is connected, namely, that we need know nothing of Boucher’s Odalisque in order to appreciate its intended effect, save what the picture tells us. There was a model who posed for this canvas; but we understand the canvas neither as a portrait of her nor as a painting about her. The bum on page three has a name and address. Very often the accompanying text tells you a lot about the girl herself, helps you forward with the fantasy of sexual contact. For many people, with reason I think, this makes a decisive moral difference between the page three image and a painting like Boucher’s. The woman on page three is being packaged in her sexual attributes, and placed in the fantasies of a thousand strangers. She may not mind this—presumably she doesn’t. But in not minding she shows how much she has already lost. No-one is degraded by Boucher’s painting, since no-one real occurs in it. This woman—even though the model who sat for her has a name and address (she was Louise O’Murphy, kept for the King’s pleasure at the Parc aux Cerfs)—is presented as a figment, in no sense identical with any real human being, despite being painted from life.

I wonder too, to close this post with the question that prompted it, what exactly Scruton thinks you have lost when you admire the body parts of other commuters. Whether your focus happens to rest on breasts, butts, biceps, legs, broad shoulders, luscious long hair, or whatever.

Indeed, if you’re on the same crowded subway line as I am, you know that sometimes they’re literally the only part of the owners you can see.

I refuse to believe that those body parts can’t be simply magnificent though, and that I’m immoral for thinking so, merely because their owners may get off my carriage and transfer to another line before I ever get to see their faces.

Nor does—heaven forbid—deliberately seeking out erotic art and pornography, rather than accidentally stumbling upon objects of your affection on your commute, somehow mean the same standards don’t apply to the people in those too. Because whether seen on a Busan subway, or in a video shot in a moodily-lit San Fernando studio? Somehow, inexplicably, I never seem to lose my respect for the owners of those simply magnificent body parts either, nor does admiring their objects mean I ever think or treat them as objects.

I don’t think it’s just me. In fact, I assume the same of everyone else until proven otherwise.

If you do think lesser of them though, and my assumption is proven naive, then please let let me know. Or, if you think many others negatively objectify people, despite you and I respecting them? Then pray, please tell who those “others” are exactly, and please give myself and other readers some actual evidence that they’re really so different. Especially that which comes from actually talking to them, instead of only from what other people with agendas, like Scruton, have written about that heinous group.

No, I didn’t say those others were most cishet men—you thought it! Something to think deeply about on tomorrow’s commute perhaps, if you don’t want to let your eyes wander? ;)

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Related Posts:

On K-pop Stars Dating

Precious few songwriters and MV directors present female K-pop stars as grown women with sexual experience, agency, and desire. But these assigned gender roles can quickly crumble under revelations that they’re actually in relationships, as can as the business models that depend on them.

Estimated combined reading time: 8 minutes. Photo by Zun Zun from Pexels.

Recently, I was email-interviewed by James Griffiths at CNN about Cube Entertainment firing HyunA and E’Dawn for dating. My contribution to the final article is necessarily brief though, so here’s my original longer response to his question about just why K-pop labels are so sensitive about their stars’ love lives:

That some fans feel they have a strong personal bond with their idols, and then feel betrayed when those idols are revealed to be in a relationship, is a problem hardly confined to K-pop fandom. But it is amplified by three characteristic features of Korean popular culture.

First, there is the overexposure of its celebrities. Flick through the channels, and it is entirely possible to see the same K-pop star in an MV, a talkshow, a commercial, and a drama. And for each, they’ll generally be expected to maintain the persona for which they’re best known.

Next, as a broad rule, virginal personas are overwhelmingly preferred for unmarried female K-pop stars. Precious few songwriters and MV directors are prepared to present them as grown women with sexual experience, agency, and desire, as a decade’s experience with censors has taught that their work will generally get banned if they do.

Consequently, in K-pop, most women are presented as scantily-clad, passive objects for the male gaze, regardless of the actual make-up of a girl-group’s fandom. Again, this centralizing of supposed cishet male tastes as the norm isn’t unique to Korea. But the third and final feature is that the Korean media has tended to downplay their criticisms of this, so asamong other reasonsnot to jeopardize the success of the Korean Wave overseas. This deliberate myopia however, has contributed to such phenomena as the rise of middle-ageuncle fans,” who are defined by supposedly only possessing a harmless avuncular love for teenage girl-groups in hot pants—and a lot of money to spend on them.

Clearly, revelations of K-pop stars dating challenge all these tenets of Korean pop-culture, and their fundamentally gendered nature explains why the negative reactions have overwhelmingly been directed at the women in those relationships, who simultaneously get slut-shamed by both their entitled male fans and the female fans of their partners.

Those last two paragraphs link up to my answer to another question of James’s, about to what extent it’s fans or labels that are driving these attitudes to stars dating. And you can guess which way I went in light of this recent breakdown of the top 3 labels’ revenues:

Source: Jenna Gibson, Korea Economic Institute and The Korea Society @YouTube (3:50).

But I’ll cover the significance of those numbers in a forthcoming post. In the meantime, there are many huge generalizations in my answer to James’s first question of course, and it’s also entirely possible that I still look at K-pop through the prism of when I got into it back in 2010, and have had terrible confirmation bias ever since. If so, and you feel the gist of any of my generalizations are outdated, then please do let me know. I would just love the excuse to crack open some new K-pop books and journal articles I’ve been hoarding, and to get back into writing more about the subject here.

No really—please rip my email to shreds! I beg you! ;)

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

“I am a Woman Who Buys Condoms.”

The reaction to having a woman in a condom ad is exactly why we need women in condom ads.

Estimated reading time: 5 minutes. All screenshots via YouTube.

Korea has only ever had three condom commercials on TV since a ban was lifted in 2006, and none at all for the last five years. Korean women generally rely on men to purchase and use condoms too. I wish these realities weren’t true, and am always looking for evidence to show attitudes are changing. Yet they stubbornly persist.

That’s what makes commercials like this one for Common Day condoms so important. Produced for social media in April but only going viral this week, it’s surprisingly sweet, with messages that are simple but powerful. So why is it so disliked?

Here’s my translation of the captions:

난 콘돔사는 여자다.

여자가 콘돔을 어떻게 사냐고?

약국, 편의점, 인터넷, 성인샵에서

‘그냥, 사면 된다.’

I’m a woman who buys condoms.

How can a woman buy condoms you ask?

At pharmacies, convenience stores, over the internet, and at sex shops.

“Just buy them.”

물론 처음엔 쉽지 않았지

내가 콘돔을 사기 전까지

‘여자답지 못하네’

‘여자가 밝히네’

‘그건 남자가 사야지’

Of course, it wasn’t easy at first.

Up until the moment I finally bought them myself, I thought [people would say]:

“That’s not ladylike.”

“Wow, is she oversexed or what.”

“That’s something only men should buy.”

이런 말들과 싸워왔거든

나만 겪어본 건 아닐거야

근데, 지금은 21세기

‘그냥, 사면 된다’

Actually, I struggled with those thoughts too.

I’m sure I’m not the only who felt like this.

And hey, isn’t it the 21st Century now?

“Just buy them.”

현재의 우린 ‘자기결정권’ 이란 게 있어

생각과 말,

몸과 욕망을 스스로 결정할 권리

누가 준 것도 아니고

빼앗을 수도 없는 거야

내가 원래 가지고 태어나는 거거든!

We in the modern age, have the right to decide what’s best for ourselves

That includes rights about our bodies and our desires

This is something that wasn’t given to me, and so can’t be taken away from me.

This is something that we were born with.

예를 들면,

내가 원할 때 섹스하고

원할 때 임신하는 것

뭐 그런 거 말야

남자가 콘돔이 없을까 불안하다고?

그래서 내가 ‘그냥, 사면 된다’

For example,

I can have sex when I want,

and I can get pregnant when I want—

you know, things like that.

So you get concerned and worried when men say they don’t have a condom?

That’s why you should just buy them yourself!

난 19세기 여자가 아니거든!

난 힘이 있고,

욕망이 있으며,

모든 것은 내가 결정해

난 콘돔사는 여자다.

I’m not a woman of the 19th Century!

I am powerful,

and I have desire,

I decide everything for myself,

And I am a woman who buys condoms. (End)

Awesome, right? Yet it has 8 to 1 dislikes to likes on YouTube. Probably, because of trolls like this one below, who replied to the tweet I first found the commercial on. I don’t mean to feed him, but will translate a couple of tweets from his long screed to show what Korean women, condom manufacturers, and sexual-health advocates are up against (I welcome alternate translations; being such a typical troll, he’s not very coherent sorry):

(Source.)

Jeez, this is just such typical BS from a “21st Century woman.” What is it with “women hav[ing] the right to decide what’s best for themselves,” and carrying condoms in case men don’t have them, and choosing for themselves when they want to get pregnant? This isn’t something women should even buy! Men are supposed to buy them! Can’t you make a condom commercial for men instead?

And later, after discovering that the CEO of the promotion company behind the campaign is—wait for it—a man himself:

(Source.)

Ah, now I get it. Your company often provides junk information in its twitter promotions, like you did while selling diet supplements once. In this case, you just make a commercial with commonly-used feminist words thrown in, as you know women will automatically buy anything that says “feminist.”

Sigh. Please head over to YouTube and like the video right now, to encourage more feminist commercials like it. And please share this post and the video too! :)

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)