(Revealing the Korean Body Politic, Part 9)
(Source, edited: 살구나무 아랫집)
Wasting money on frivolous Western things, gaining financial independence, following their hearts instead of the wishes of their families, and not making enough babies.
All these criticisms of Korean “modern girls” in the 1930s sound eerily like those of “beanpaste girls” today. In so doing, they have much to teach us about the origins of modern Korean misogyny, and why their stories resonate so deeply with its victims over 80 years later.
Take 강심바 (@kang_simba) for instance, who begins describing the caricatures above as:
미친놈의 전통적 여혐국가. 1930년대 조선일보 만평. 나는 처녀입니다 돈만많으면 좋아요 나는외국유학생하고 결혼하고자합니다 나는문화주택만지어주는이면 일흔살도 괜찮아요 만평 제목은 ‘여성 선전시대가 오면’.
“Fucking asshole men’s traditional misogyny. A cartoon from The Chosun Ilbo in the 1930s…”
이 만평은 이미 화제였던 듯한데 반응은 대개 그시절에도 된장녀가 있었군요, 수십년후를 소름끼치게 예언헀네요 이다.
“Even back then, stereotypes like the ones in this cartoon were controversial. Wow, there were even labels like today’s “beanpaste girl.” It was prophetic.”
But what does it say exactly? Not recognizing some of the hanja characters, I consulted 예쁜 여자 만들기 (Making Pretty Women) by Lee Yeong-ah (2011). From left to right, the legs read:
Ahn Seok-yeong “If the Age of Woman Comes (2)”, The Chosun Ilbo, January 12, 1930.
1) Any guy is okay for me if he buys me a piano.
2) Any guy is okay for me if he builds me a house. Even a 70-year old.
3) I’m still single.
4) I want to marry a man who has been overseas to study.
5) I love chocolate. Only that one box.
6) I didn’t pay my rent. Please help me.
7) I am a virgin. [But] I like anyone who has lots of money.
8) I am hysterical. You have to understand this.
Naturally, Lee finds the criticisms unfair, arguing that the cartoon says just as much about the cartoonist and the men who laugh at it as it does about the women so caricatured:
안석영의 이 만문만화는 “물질을 매개로 한 자유연애와 자유결혼의 속내를 ‘선전propaganda’이라는 상상의 장치를 통해 드러낸 작품이다. 만화 속 여성들은 자신의 몸을 내걸고 남성들에게 돈, 선물, 집, 사치품 등을 요구한다. 안석영은 이 만문만화에서 아마도 당시의 상품화한 연애와 결혼을 돈만 밝히는 허영심 강한 여성들의 책임으로 돌리고자 한 듯하다. 그러나 남성들은 어떤가? 위의 그림에서 여성은 다리만으로 표현되어 있다. 프레임 안은 남성들의 시선이 머문 지점이다. 즉 남성들은 여성들의 영혼이나 지성이 아니라 몸과 다리만을 보고 있었던 것이다. 그런 점에서 남성들 역시 왜곡된 연애나 결혼에서 ‘결백’을 주장하기 어려울 듯하다.
In this cartoon, Ahn Seok-yeong uses an imaginary device called “propaganda” to criticize modern girls by showing their real, very materialistic feelings and motivations behind their embrace of free love and free marriage. The women in this cartoon are asking for money, gifts, presents, luxury items, and so on by using their bodies. It seems that Ahn criticizes the women for being greedy, blaming them for self-objectifying themselves for love and marriage. But what about the men? In the cartoon, the women are faceless. It only shows their legs, as the objects of the male gaze. In other words, men are only looking at women’s bodies, and are unconcerned with their personality and intelligence. In that regard, surely men are equally culpable for a distorted, perverted view of love and marriage?
Lee goes onto describe that, spearheaded by modern girls, the 1920s and 1930s were very much the period when Korea’s modern notions of free love, sexuality, and marriage were first formulated. (As well as the tendencies to judge women in terms of their appearance, and men in terms in their earning power.) Much closer to American flappers than their relatively conservative, usually less financially-independent Japanese counterparts, such notions were especially radical in Korea, where arranged marriages were the norm—and, alas, continued to be for many decades thereafter.
But Lee writes in Korean. For an excellent English source on that instead, see “Sensational Politics of Desire and Trivial Pursuits: Public Censure of New Women in Private Lives in early 1930s Korea“ by Park Bongsoo, who explains:
In the early 20th century, “love” and “love marriage” were new concepts in Korea. When arranged marriage—determined by one’s inherited class and financial status—was the only legitimate way to form a heterosexual union, women’s sexuality were confined in heterosexual relationships for procreation only, and love had no place in it. People of a lower class, who usually freely mingled with each other more than those in the upper class freely mingled with each other, no doubt fell in love and got married; however, middle and upper-class women had no right to assert their will in a matrimonial process. Therefore, the goal of new women’s contestation was not only to change the customary practice of marriage but also to bring a fundamental shift in people’s way of thinking about heterosexual unions. The women of the 1920s sought to overcome the prescriptive definition of women’s sexuality through writing publicly about their personal lives. Without a doubt, their demands were heavily criticized as immoral by elite male. Even today’s scholars criticize their demands as “too individualistic and extreme” and their approach to women’s liberation as “bourgeois feminism” that were said to turn blind eyes to class oppression operating within a gender structure.
What fascinate though, are the uncanny parallels between the subsequent backlash and modern misogyny. For more on those specifically, see “How Women Are Represented within the Patriarchal Nationalism in (neo) Colonial Times” by Yewon Lee, who describes how critiques of modern girls first arose as a result of the increasing militarization of Korea’s Japanese colonizer:
Western thoughts such as the concept of natural rights of the individual and equality among man and woman were denied in the ’30s, and the so called “Old women” that stands in the opposite of the “New women” [신여성] that used to be criticized as old fashion, submissive, and dependent were reevaluated as those who retain the virtue of the past tradition. On the other hand, the “modern girls” who voiced their subjectivity on issues such as sexuality were blamed to be ‘selfish’ and ‘morally corrupted.’ This is not irrelevant with the fact that the Japanese colony was conducting a war that goes beyond their capacity and needed all the resources it can pull, thus, needed the women to become the ‘strong mothers’ to give birth and raise the ‘strong soldiers’ and be ideologically loyal enough to send their son’s willingly to war. This is the well known explanation of why the discourse of “New women” suddenly shifted to a conservative one in the 1930’s.
In particular, she argues that Korean men made them the scapegoats for forces over which neither sex had any control:
…not only did the discourse change due to the need of the Japanese colonialism but also it reflects the frustration of the colonized. Many of the Korean men were forced to join the army against their will. There was not much they can do when their mothers, sisters, wives, and lovers were harassed and mobilized as comfort women during the war. The sense of helplessness and powerless the colonized men had to put up with as the rule of the colonization harshens, made them in needs of a object, the women of the nation, to be kept under their control and for times to take out their anger. Thus, the women were safe from reproach as long as they were labeled as the ‘mother’ that gives birth and raise the child of the nation; however, once they insist on their rights as a woman they become an object of criticism. Thus discussions about women’s subjectivity on sexuality and gender equality almost disappear in the public scene by this time.
And with that criticism, came a host of body and/or lifestyle labels and ideals for women to aspire to, and/or stereotypes to be criticized for. For an instance of the latter, take the “stick girl” at the top left of the left image below, so-called because her much older partner uses her body as a walking cane. Whether she’s with him for love or money, I imagine that the cartoonist’s real issue is less with the age disparity than with the woman’s brazen freedom and sexual agency. Because would he have criticized a similar marital union arranged between two families of the same class, with the woman getting pregnant shortly thereafter?
(Left: “The various types of ‘girls’ in the 1920s to 1930s”; scan, 예쁜 여자 만들기, p. 245. Right: Actor Hideko Takamine, Japanese White Powder Foundation advertisement, 1930s; via The Flapper Girl.)
Either way, the parallels continue, for this label-making has been a strong trend in the last decade too. Also, whereas those feelings of helplessness and powerless are now because of “Hell Joseon” rather than colonial rule, nevertheless they still get channeled by the media into anger against young women, supposedly for taking over “men’s jobs” while the men suffer their mandatory military service. Writing in 2007 though, well before some important developments in Korea’s demographics (an excess of teenage boys turning into men) and labor market (more young women doing irregular and part-time work), instead Yewon Lee stresses the strong anti-American components to the misogyny she witnessed. Her paper is worth reading for that alone, and I’d be very interested in hearing readers’ opinions on how important that component remains nearly ten years later.
So, I encourage readers to check out both papers (actually conference presentations), which deserve to be much better known. Unfortunately PDFS are no longer available online, so please contact me if you’d like me to email them.
What are you waiting for? ;)
The Revealing the Korean Body Politic Series:
- Revealing the Korean Body Politic, Part 8: The Bare-leg Bars of 1942
- Revealing the Korean Body Politic, Part 7: Keeping abreast of Korean bodylines
- Revealing the Korean Body Politic, Part 6: What is the REAL reason for the backlash?
- Revealing the Korean Body Politic, Part 5: Links
- Revealing the Korean Body Politic, Part 4: Girls are different from boys
- Revealing the Korean Body Politic, Part 3: Historical precedents for Korea’s modern beauty myth
- Revealing the Korean Body Politic, Part 2: Kwak Hyun-hwa (곽현화), Pin-up Grrrls, and The Banality of Sex and Nudity in the Media
- Bikinis, Breasts, and Backlash: Revealing the Korean Body Politic in 2012
Update) A must read is “Sweet Dream” at Gusts of Popular Feeling, about the strong critique of modern girls in the form of—sigh—Korea’s oldest surviving movie.