(Sources — left: unknown; right)

See The Asia-Pacific Journal for the article. Covering many of the themes discussed on the blog, and much more besides, expect to see me linking to it for many years to come!

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Some good news and bad news: after announcing earlier this year that monthly birth-control and morning-after pills were to be reclassified as prescription-only and over-the-counter respectively (i.e., the opposite of the current situation), the KDFA has just postponed its decision for 3 years.

Officially, the reason is because “there has to be careful consideration when overturning a classification system that has been retained for decades,” and because the extra time will allow the KDFA to “carefully monitor” the (supposed) side effects of the morning-after pills and also (unnecessarily) better educate the public on the side-effects and correct usage of monthly birth-control ones. But the more likely explanation is that the government was unnerved by the opposition to the reclassification of the month birth-control pill in particular, especially just before the election. In contrast, the opposition to the morning-after pill is mainly by religious conservatives, who would be very unlikely to vote for a different party.

One interpretation of such a long postponement is, of course, that the proposal will be quietly shelved in 3 years, although a negative of that would be a continued lack of access to the morning-after pill. But the realist in me thinks otherwise: as I explain in this Busan Haps article, the curious proposed simultaneous restriction and liberation of access to contraception has nothing to do with any dangers or women’s own needs or concerns, and everything to do with financial pressures within and between the Korean medical and pharmaceutical industries as Korea’s demographic crunch begins to bite. Those are not going to go away any time soon, particularly if the present conservative administration is reelected under Park Geun-hye — recall that her predecessor’s biggest solution to the declining birth rate and women’s inability to combine careers and children was simply to (re)criminalize abortion.

The conservative media’s framing of the contraception debate supports this pessimistic view: this article in the Korean Joongang Daily, for instance, explains that if reelected the government will continue to stress the opposition of “government officials, doctors, experts, women’s rights activists, religious groups and other civic organizations” to making the morning-after pill OTC, while simultaneously downplaying the far greater support for the status quo with the monthly birth-control pill. (And, possibly, support for making the morning-after pill over-the-counter too; I am unsure how much that has sorry.)

In sum, the combination of the (re)criminalization of abortion and now the proposed restriction of the monthly contraceptive-pill points to a “War on Women” every bit as real as the GOP’s one in the US, and which deserves to be far more widely known outside of Korea. Although, admittedly, I don’t know Park Geun-hye’s own personal beliefs on women’s reproductive rights, I do have genuine concerns that the Korean election of 2012 will be a eerie parallel of that of my native UK in 1979, when, to paraphrase my mother, “Millions of women voted for her simply because she was a woman, who then proceeded to crap all over them.” Certainly, her mere nomination as presidential candidate is already being widely described in feminist, empowering, and riding the crest of a wave of “women rising to the top” type terms, whereas I say that remains to be seen.

(Source)

Meanwhile apologies for the lack of posts, but my first week of the new semester proved to be much busier than expected. Usually, I try to have at least 2 posts in between each Korean Gender Reader, but I decided I’d rather post (hopefully) much better quality ones next week than rush them this time!

Update: By coincidence, the birth control pill ad I used to open this post with is for the Mercilon brand, which is several readers’ favorite, and which they were stocking up on because it is unavailable in the US. But of course every woman is different, so if Mercilon is not for you then please see The Wanderlust Diary and/or Kimchiowner’s Blog for a list of available brands, and the process of buying them.

Announcements

— Care to visit some of Korea’s grandest museums? Help me to get there, get it written, then get it to you! (Kickstarter Project)

— The Meet Market: White Party, Saturday September 1 (The Kimchi Queen)

— Gay Friends in Seoul Meetup, Sunday September 2: Movie Night & Potluck (The Kimchi Queen)

Body Image/Health:

— “Fat for an Asian:” The Pressure to be Naturally Perfect (XoJane)

— Fukuoka Girls: Don’t You Wish You Were Cute Like Me? (Japan Realtime)

— Doojoon’s Reaction to an Overweight Fan and the Blame Game (Seoulbeats)

— Doojoon’s Faux Pas: The result of trainees’ social isolation? (Seoulbeats)

— The politics of veils, ‘polleras’ and mini-skirts (Aljazeera)

— Female Boxers: From disgust to admiration (The F-word)

— Is Korea’s drug policy working? (The Korea Herald)

Censorship:

— Production Firm Charged Over R-Rated Eminem Gig (The Chosunilbo)

— Ratings board says it was lied to about Eminem show (The Korea Herald)

— The Constitutional Court rules on the “real name” law and a controversial abortion law (Korea Law Today)

Crime:

— More sex offenders could be castrated; Critics say castration doesn’t address psychological origins of sexual violence (The Hankyoreh)

— Push for chemical castration in wake of sexual offenses (Korea Joongang Daily)

— Chemical castration to see wider use (The Korea Times)

— Is chemical castration effective in preventing sex offenses? (The Korea Times)

— Picture of the Day: Korean Self Defense Gadgets (ROK Drop)

— Gov’t to toughen measures against potential sex criminals (The Korea Times)

— Anklet-wearing murderer of housewife lived alone, having no friend (The Korea Times)

— Stupid talk about rape: Not just an American thing (The Marmot’s Hole)

— Breaking News: A second ‘Na-young Case’ in the making? (The Marmot’s Hole)

Dating/Relationships/Marriage:

— A North Korean love story: Defectors to marry in group ceremony (The Star; Isn’t Moonies style!)

— Stressed men drawn to heavy women (BBC)

— Shall We Dance? Yes…But Not in Public (Speaking of China)

— New Zealand experience suggests “marriage equality” will win where “gay marriage” or “same-sex marriage” will not (Kiwipolitico)

LGBT/Sexuality:

— An Expat`s Guide to Going to the Gyno in Korea (Busan Haps)

— The Flip-flop over Foreskin (Nursing Clio)

— Gayspeak: 끼탑 and 땍마 (The Kimchi Queen)

— Campaign aims to kick Korean prostitutes out of Australia (The Korea Times)

— China AIDS patients topple gate of gov’t office (The Huffington Post)

— Eight things you didn’t know you could do with human sperm (io9)

— Film Review: Stateless Things/줄탁동시 (The Kimchi Queen)

— Reply 1997 Shin Wonho PD: “The real reason for putting in homosexuality…” (Omona They Didn’t)

— Read: Behind the Red Door — Sex in China, by Richard Burger (Shanghaiist)

Miscellaneous:

— Can men be feminists? (New Statesmen)

— Men Explain Things to Me: The origins of the term “mansplaining” (Guernica)

Politics/Economics/Workplaces:

— Young South Koreans face jobless woes with ‘graduate glut’ (My Sinchew)

— Joblessness ruining young people’s health (The Hankyoreh)

— Japan’s Graduates Face Tough Job Market (Japan Realtime)

— Japanese Police Women To Go Up To 10% Of Force….by 2023 (Japanesesubculture)

Pop Culture:

— GD’s “One of A Kind”: Musings on Looking For Meaning Kpop (Idle Revelry)

— Korean Culture Through K-pop 102: Pass the Soju (Seoulbeats)

— Pronunciation Tips: Practicing the aegyo intonation (Hangukdrama and Korean)

— Idols Striving for Perfection: It’s a Hard-Knock Life (Seoulbeats)

Pregnancy/Abortion/Childbirth/Demographics/Parenting/Education/Multiculturalism:

— Girl Commits Suicide After Being Bullied in KakaoTalk Chatroom (Korea Bang)

— One Chinese child too many – 27-year old woman forced to abort 7-month fetus (The East Asia Gazette)

— Constitutional Court deems abortion a criminal offense (The Hankyoreh)

— Deaths of only children present social challenge in China (Want China Times)

— Out-of-wedlock babies on the rise (The Korea Herald)

— Breastfeeding flash mob in the heart of Singapore (Channel News Asia)

— Chinese Government defends college policy favoring boys (Global Times)

— South Koreans Balk at Saturdays Without School (Bloomberg Businessweek)

— Teachers’ rights to be better protected (The Korea Times)

(Links are not necessarily endorsements)

(Source; edited)

As every Korean woman looking for a husband knows, hapless first-born sons are best avoided. After all, customarily moving in with — or very close to — his parents, she would just have too many responsibilities for their care, let alone arguments with his overbearing mother:

The old lady often follows her daughter-in-law around, criticizing every bit of housework. They compete for the attention of their son/husband. In addition, because the old lady went through the same process when younger, she feels entitled to make her daughter-in-law’s life miserable. (Here is an old post touching upon this subject.)

Of course, not all eldest sons’ households would be so bad, let alone that of Ask a Korean’s who wrote that. Or would they? In Japan at least, with very similar living arrangements to Korea, they’re so stressful that married Japanese women living with in-laws are three times more likely to suffer a heart attack than those just living with their husbands.

(Source; edited)

Perhaps it’s no wonder then, that “not a first-born son” was one of the common “specs” (스펙) for a husband in this recent list I translated?

But, despite everything I’ve written above, I’d always thought that their extra responsibilities were simply a cultural preference, and one rapidly eroding at that. So, it came as a real surprise to learn they were so formalized as to be enshrined in the government’s social welfare policy, as explained in passing in this recent Hankyoreh article about an elderly woman who committed suicide after losing her eligibility for benefits (my emphasis):

…According to the Ministry of Health and Welfare and Geoje City Hall in South Gyeongsang province, Lee was stripped of her National Basic Living Security assistance qualification because a confirmation study of recipients conducted in June revealed that her son-in-law’s income had increased.

This is to say, the “sustenance allowance” in accordance with support obligation standards (lineal blood relatives or spouse) had been exceeded [James - by a grand total of 7000 won (US$6.18)]. The recently increased income of her daughter and son-in-law, who work for a subcontractor of a major corporation, was about 8 million won a month.

The “mandatory sustenance allowance” is computed by taking the income of the lineal blood relative or spouse, removing a total equal to 130% of the minimum cost of living for a family obligated to support a relative, and multiplying that by 15% in the case of a daughter (30% in the case of a son)…

…When beneficiaries lose their qualification, they also lose their housing assistance, stipend and medical benefits. The standards determining family members who must provide support is tied to a contrived system that dumps the state’s responsibility onto the family.

(Source)

If any readers familiar with the Korean social welfare system could elaborate on this, or any other gendered aspects of it, I would be very grateful. Unfortunately, all I can further bring to the discussion is my copy of The Politics of Social Welfare Policy in South Korea: Growth and Citizenship by Myungsook Woo (2004), a very top-down and theoretical overview that lacks mention of anything at the grass-roots level, let alone of gender. But of course it does still have some insights though, which I’ll pass on in a later post!

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…[the character of] Chi-Yong’s mother sees marriage as a way to achieve social advancement and material prosperity, as it was in the Victorian era. These ambitions have come to the forefront in Korea since the 1970s, due to rapid economic development and consequent aspirations to class mobility and consolidation during the last thirty years. This novel [Marriage/결혼 by Kim Su-hyeon, 1993] is a good illustration of how, given the pace of change of change in Korea, everybody has a different point of view on marriage, depending on their gender, class, and generation. The issue of communication across generations has become a serious matter. Generation is an important attribute of identity in Korea, like race in the United States. (My emphases.)

(So-hee Lee, “The Concept of Female Sexuality in Popular Culture” in Under Construction: The gendering of modernity, class, and consumption in the Republic of Korea, ed. by Laurel Kendell, 2002; page 146 of 141-164)

With apologies to So-hee Lee for variously attributing that quote to either her editor, to Hyun-Mee Kim, or to Nancy Abelmann over the years, it still very much applies 10 years later. It’s also why studying and living in Korean society can be so exciting sometimes.

For someone who’s been writing about the place for over 5 years though, it means that many of my posts need updating. Let alone mercifully deleted as reader feedback, further research, and greater use of Korean sources have exposed gaping holes in my knowledge and confident preconceptions. And from a practical standpoint too, links will die, embedded videos will get deleted, and my theme will always highlight recent posts at the expense of older ones, no matter how good they may be after going through my culling process.

With all that in mind, once a month I’ll be highlighting posts from the corresponding month in previous years. Not all of them of course (hey, I’ll still like some material to work with in September 2013 and 2014), and to some there’s no new news to add; I include them just to draw attention to for new and old readers, especially as they’ve since been slightly edited for this post with the benefit of several year’s of hindsight. Others though, I’m adding a great deal of new news and commentary below, as you’ll see.

Please let me know what you think!

2011

• Bust Magazine on “Bagel Girls” (베이글녀)

Alas, not really my own article, but about Grace Duggan’s for Bust Magazine. While I’d often criticized the body-labeling craze in South Korea previously, I didn’t realize just how offensive this particular term was until she pointed it out (source, right):

Sexualizing young women for having childlike features sets off all kinds of alarms, regardless of whether or not they are over 18. The “bagel girl” label does more than infantilize women. It compartmentalizes them by applying two irreconcilable ideals: looking like a baby and a full-grown woman at the same time.

Granted, that may make it sound no more harmful than any other “line.” But, as I explain in a later comment, in the context of how it’s actually used it ends up sounding almost pedophilic:

…there’s nothing wrong with looking young per se.

But consider who the label is applied to: not, say, women in their 30s and 40s and older, for whom – let’s be real – wanting to look younger than they are is understandable (hell, for a 35 year-old guy like me too), but rather it’s women barely on the threshold of adulthood that are being praised for looking like children. And, not to put too fine a point on it, what the FUCK is great about a 21 year-old looking younger than she is? And when her body is simultaneously praised for being developed? That is a seriously flawed ideal to aspire to, and, moreover – as I hint at in the post – it’s no coincidence that it occurs in an environment with strong expectations of childish behavior from women too. Indeed, the end result strongly reminds me of child and teenage female manga characters, with personalities appropriate for their age, but somehow the sex drives and physiological development to act on them of women 10-15 years older.

(Source)

Meanwhile, by coincidence just yesterday I finished the excellent An Intimate Affair: Women, Lingerie, and Sexuality by Jill Fields (2007), which explains how the word “glamour” — where the “gul/글” in Bagel Girl comes from — came to be closely associated with large breasts by Hollywood in the 1930s to 1950s. Something I’d previously chalked up to a Japanese and then Korean mistranslation of the word, see the above pages for more on that, or all of Chapter 3 on brassieres at Google Books here.

• Syndrome (신드롬) by ChoColat (쇼콜라): Lyrics, Translation, and Explanation / Reading The Lolita Effect in Korea, Part 5

If I do say so myself, I’m very proud of the way I describe my feelings when child singers do aegyo:

…cutesy aegyo is bad enough coming from a 21 year-old singer, but simply surreal when you see it done by a 14 year-old.

Yes, surreal, not merely awkward and inexperienced: essentially, you’re watching a child pretending to be an adult pretending to be a child.

Thank you very much.

• Getting an Abortion in Korea

Thanks again to the (necessarily anonymous) reader who wrote about her experiences, and I’ve had dozens of inquires about the Seoul clinic she used since. Please just email me if you ever need to know the details yourself.

(Source)

2010

• Women’s Typical Poses in Advertisements: A Pain in the Neck?

Once someone points out the “head cant” to you, it just can’t be unseen. Usually inoffensive in itself though, and frequently done simply for photographic and stylistic reasons (which I’ve under-acknowledged in the past), it’s the fact that it’s overwhelmingly women it that makes it problematic. Just one of a number of typical poses for women in ads, ultimately it serves to reinforce gender stereotypes.

Probably, that’s why these recent Giordano ads stood out to me: in the example above for instance, Shin Min-a (신민아) is the one in control, staring at the viewer, while So Ji-sub (소지섭) is distracted (it’s usually the guys that are presented as more focused). And, desperately seeking examples of pro-feminist advertisements for a TED presentation I may be giving next month, in which I have to — grrr — conclude with a positive message rather than just criticize, this made me realize that feminists and advertisers don’t necessarily have to be at odds with each other. Just a sense of balance by the latter would be a huge step forward.

• “Want to Sleep With a Foreign Girlfriend?”

Really about “lewd” advertisements, 2 years later (this June) I translated another article about how their numbers had surged 3 times over the previous 12 months. With no apparent sense of irony, just about every news site that reported on that had so many examples themselves that the text was difficult to read.

• Groping in Korea: Just How Bad Is It?

One of my most popular posts, anybody (especially men) who thinks street harassment isn’t a problem should just reflect on the opening cartoon, let alone female readers’ comments about their own negative experiences.

(Source: unknown)

2009

• Korean Sociological Image #19: Gee, Gee, Gee…Using Girls’ Generation to Study Gender Roles in Korean Advertising

A short, harmless commercial for Shinhan Bank at first glance. But, once you take the time to analyze it, it has a clear message that men do the thinking at Shinhan while the women simply look good. Indeed, it’s such a classic example of gender stereotyping that I’m still using it in presentations today.

Here’s the slide I would present after providing that analysis:

But in the next presentation, I’ll be updating it with the recent news that the banking industry still has the largest gender pay gap in Korea, with women making an average of only 57% of what men make.

• No Skin Required: Healthy Images of Couples in the Korean Media

Not that I’m against skin by any means. But these remain very sweet ads!

• Korean Sociological Image #18: Sexualizing Caucasian Women

Again one of my most popular posts, ironically soon after writing it trends in the Korean entertainment and music industries meant that Koreans would replace Caucasians in many of the modelling roles that sustained those Occidentalist stereotypes. Also, in my own (admittedly limited) experience, there’s far fewer Korean male – Western (invariably Caucasian) female pairings in popular culture now, after a spate of them in the years after Misuda first appeared. (There were never very many of the opposite.)

However, of course many of the stereotypes still do remain.

(Sources: left, right)

2008

• Pregnancy, Caesareans and Body Image in Korea

When I read on Yahoo! Korea this week about pregnant Hollywood star’s “D-lines”, for a moment I did try to hold my tongue about seeing the label.

After all, this, for example, is just an advertisement for an event for expecting mothers (albeit one where likely body-shaping products are promoted); these D-line fashion shows were surely perfectly harmless; many of those Hollywood stars were indeed glowing, as was pregnant Moon So-ri (문소리) in Cosmopolitan last year; and finally, yes, I can see the humorous side — it is often applied to extremely obese men.

But although the Western media too promotes pampered celebrity mothers-to-be as ideals to follow, and I can certainly accept that pregnant women overseas may likewise feel under some indirect pressure to watch their weight, that post is about how pregnant Korean women were dieting as early as the late-1990s. One can only shudder at what things are probably like now.

Suddenly, talk of D-lines sounds a lot less funny.

• Resources on Evolving Korean Ideals of Male Beauty

One of my first attempts to grapple with the origins of the kkotminam phenomenon (꽃미남; lit. flower-beauty-man), which culminated in this piece by friend and ANU professor Roald Maliangkay 2 years later.

By coincidence, both of us will be quoted in a related news article to be published next week. Watch this space! (Update: and here it is!)

2007

• Paternity Leave in Korea from Next Year?

And indeed there was. Unfortunately however, attitudes didn’t change with it, so fathers feel compelled by management to either ignore it entirely or to come back to work early, despite it only being 3 days (source right: unknown).

Note though, that the “paternity leave” in the original article I translated was a bit of a misnomer, it really meaning time off for a child’s birth. “Real,” paid paternity leave has been available since 2001 (or possibly 1995), but sources vary on specifics. Sung So-young in the Korean Joongang Daily, for instance, wrote in April 2011 that:

According to Korean law, all employees with a child under the age of 3 are eligible to take a year off to care for their children. Up to 1 million won ($919) in salary is provided monthly.”

But that is contradicted by a slightly later report in the Chosun Ilbo, which states that:

…those on leave can get up to 40 percent of their salary, or a minimum of W500,000 and a maximum of W1 million, and parents can take leave until the child is 6 years old.

And both in turn are contradicted by Lee Hyo-sik’s earlier report in the March 4 2011 Korea Times, which says:

Regardless of income levels, both male and female salaried workers are currently given 500,000 won per month during parental leave. This is expected to go up to one million won next year.

As for the maximum age of the children in order to be eligible, the same article states that it was 6 rather than 3. This is confirmed by an earlier February 2010 article by Kwon Mee-yoo, again in the Korea Times, which stated:

The Ministry of Labor passed a revision on Wednesday to the Act on Equal Employment and Support for Work-Family Reconciliation, or the Employment Equity Act for short, which will expand the range of workers eligible for parental leave. Now parents with preschoolers under six years old can benefit.

The leave allows employees to take a certain number of paid days off from work to care for their children. The parents can also take unpaid leave if they use up all of their paid days. This includes maternity, paternity and adoption leave. Currently, at private firms only workers with children 3 years old or less qualify for the leave.

Surprisingly, parents with adopted children weren’t eligible before this revision, and still, “only those who gave birth to or adopted children after Jan. 1, 2008 [were to be allowed] parental leave,” despite those (then) 2 to 6 year-olds obviously being of age. Which all sounds very tight-fisted, although logical during the worst of the financial crisis.

Kwon Mee-yoo also notes that it was in 2008 that the government increased the age restriction for (only) public servants, allowing them “to take time off for parental purposes if their children were under 6 years old.” I’ll assume that it previously only applied if their children were under 3 years old, like Kwon notes was the case for employees at private firms.

Finally, quibbles over details aside, Sung So-young’s and Lee Hyo-sik’s articles in particular remain excellent discussions of why Korean fathers are forced to avoid taking paternity leave, despite wanting to spend much more time with their kids. Against that though, just like in most other countries there’s still a pervasive attitude that childcare is primarily women’s work, with insidious manifestations in our daily lives.

(Source)

And on that note, have a good weekend, and the Korean Gender Reader post will be up on Sunday!

(Source)

Via Tales of Wonderlost, who also passes on a translation by Opress-Crackatron3000:

Protesting sexual harassment and violence against women

ETIQUETTE FOR MEN AT NIGHT

1. Remember that your presence can be threatening to women walking alone at night

2. If a woman is walking in front of you alone at night, slow down. You walking quickly or speeding up can be and in most cases is threatening

3. If you’ve been drinking and are drunk, go straight home.

4. Do not pick a fight or aggravate women walking at night

5. Do not take off your clothes or publicly urinate

6. Be careful to make sure you do not touch or hit someone, even on accident.

7. If, late at night, you come to a situation in which you and a woman have to ride an elevator together, let her go up first and wait for the elevator to come back down.

8. If there’s a woman in a public restroom (There are Korean public restrooms with no gender or sex markings that are open to all people), wait for her to finish and come out first before using the restroom.

9. Report broken streetlights to the police

10. Tell other men about these rules and that they have a responsibility to not threaten women walking at night

Please share as much as possible!

Related Post: Groping in Korea: Just How Bad Is It?

(Sources, edited: left, right)

With so much attention on restrictive censorship in K-pop these days, it’s easy to overlook how much standards in movies have actually been relaxed in recent years. See my latest column in Busan Haps for more information, especially if you’ve never heard of Shortbus before…

But please let me reiterate here though, that the freedom to show more sex and nudity in popular culture is just one aspect of becoming a more sexually liberal society. For sure, it’s a step in the right direction, and can have positive knock-on effects, just like the first kiss in a Korean ad in 2009 lifted the taboo on PDA for a lot of young couples for instance. (Yes, only anecdotal; but prove me wrong). But on the other hand, with the (re)criminalization of abortion by the Lee Myung-bak administration, recent attempts to limit access to the contraceptive pill, and the continued stigmatization of single mothers, you could reasonably argue that Korea is really just as sexually conservative as ever. No matter how much T&A you can see on the silver screen now, and which is often (usually?) just for financial reasons anyway.

In short, it’s complicated. Anyone that’s been here more than a couple of years, what impressions do you get? And how do you think things will change after the elections?

Tonight at 7pm I’ll be on Busan e-FM’s Let’s Talk Busan again, this time talking about bans on alcohol consumption on Korean campuses, and then Korean weddings. You can listen on the radio at 90.5, or online here (please note that you’ll have to download Windows Media Player 10 first), and I’ll add a link to the archived version once it becomes available.

Sorry in advance for my voice (I’m still recovering from a cold), and I should finally be able to catch up with comments and emails tomorrow!

(Source)

I’ve been asked to pass on the following:

The New York Times is looking to interview Koreans and Korean Americans who are currently engaged or married according to the “seon” arrangement. We’re working on a story about arranged marriage versus love marriages and how some arranged couples are finding more meaning in the pre-arranged set-up as opposed to free-range style dating and marrying.

Would love to know how much the parents were involved in the date selection, what the criteria or “specs” were, and whether you are happy that you chose to go more traditional in finding a spouse. I also heard from some Korean guys that these seon arrangements makes settling down easier since it takes some of the pressure off from dating. Do any of you agree? Couples, men, women are all encouraged to respond. Opinions from parents are especially wanted. Would love to get as many differing opinions as possible. Please be aware that if we choose to profile your experiences, we would need to use your first/last name and age.

Please send your feedback to lifestylereporter@gmail.com.

For more on specs and arranged marriages, please see here and here (especially the comments to the latter). And please do email The New York Times: I’m already looking forward to reading the final story, and the more interviews in it the better!

(Source)

Sorry, but I just can’t help it: I get very excited when I see the words “성 상품화” (sexual objectification) and “걸그룹” (girl-group) together.

That’s because I struggled for years to find critical Korean commentary on either. Whereas now, I’m just inundated with articles to translate, with or without relying on my “성 상품화” Google News Alert. And, if nothing else, this recent column of Jo Woo-yeong’s I’ve translated below is testament to that greatly increased public interest and discussion.

Unfortunately though, frankly it says little that is new either, and provides no evidence for its numerous assertions. But on the plus side, I did learn of popular-music critic Kang Tae-gyu’s twitter and blog through it. What’s more, in the process of figuring out what on Earth Jo Woo-yeong meant when she talks about Gangnam Style in the 6th paragraph, I also learnt what apparently every Korean over 30 already knew: the word “horse” (말/mal) has sexual connotations in Korean (source, right).

No, I never thought to ask Korean friends their feelings about horses either. And yes, it’s more what the word reminds them of really: the movie Madame Aema (에무 부인; aema buin) to be precise, and/or its numerous sequels. As Andrei Lankov explains in The Korean Times:

In early 1982 Madam Ema, the most explicit of Korean movies ever made, hit the theaters. Not much can be said about its plot which is, for all practical purposes, absent. It was an erotic movie, often bordering on the pornographic….

….To everybody’s surprise, the censors did not ask too many questions. Actually, the only change they demanded was a change in the movie title. The title….was deliberately conceived in a way which hinted at Emmanuelle, the [French] erotic classic which was also a great hit in Korea of the late 1970s….

….Ema was a huge success. In March 1982 the movie was put on at an experimental late night show which attracted a huge crowd. The late night shows were another invention of the military regime which was preparing to lift a decades-old curfew….

….The pioneering Ema had 12 sequels, which were shot until the early 1990s. This makes it the longest series in the history of Korean cinema. It was very successful commercially as well ― the “first” Ema was seen by 310,000 people during the first year, and it became the box office champion of 1982. Some of the copycats were doing almost as well as the original.

I’m a little confused by the censors’ ultimate title-change though (see the article and/or here for details), and would appreciate it if anybody could clarify. In return, for anyone further interested in sexuality and gender roles in Korean cinema in the period, Yu Gina of Duksung Women’s University mentions that (source, right):

The early 20th century, in the movie, <The Vow Make below the Moon, (1923)> the woman has the role of a good wife that rescues her husband from a gambling addiction. The woman dedicates to her husband, and this women’s character became the origin image of a ‘good wife.’ However, the heroin of <Sweet Dream-Lullaby of Death (1936)> is the opposite of that good wife. She resists her oppressive husband and her desire hits her daughter with a car and poisons herself because of the guilt. The ending contains the message that a woman who refuses to be a ‘good wife’ is going to be punished. This flow is maintained in other movies such as <The Ae-ma Woman and Madame Freedom>. These movies imply that women who pursue their desires are punished and vilified.

I’ve highlighted that last part because of its familiarity: as I explain in depth here, that dominant narrative wouldn’t be challenged until the mid to late-1990s, which proved to be a watershed in Korean cinema history. As might all the radical changes occurring today too, at least in terms of censorship, sexuality, and free speech.

And on that note, here’s the translation. Resolving to be more discerning with my choices in future though (even if this one did result in an interesting tangent), this will be the next one, which sounds very interesting according to Lost in Traffic Lights’ description!

점점 야해지는 걸(girl), 점점 식상해질 걸 / The More Risqué, The More Boring

Jo Woo-yeong, E Daily Star IN, 5 November 2012 (duplicated at Domin.com, 6 November; all images from these 2 sources)

‘란제리룩 의상을 입은 여성이 허벅지에 가터벨트를 착용한 채 봉춤을 춘다.’ 성인용 비디오물에 흔히 등장하는 장면이 아니다. 요즘 섹시 콘셉트를 내세운 일부 걸그룹의 단면을 모아놓으면 이런 모습이라는 얘기다.

Wearing a lingerie-style outfit and a garter belt on the thigh, then pole-dancing, is not a common scene in adult videos. But it has become routine for some girl-groups to do so as part of their “sexy concepts.”

점점 야해지고, 점점 섹시해지고 있다. 속살로 착각을 일으키는 살구색 천이 덧대인 시스루 스타일 의상은 ‘귀여운 꼼수’다. 핫팬츠를 입은 채 다리를 과도하게 벌리는 일명 ‘쩍벌춤’이나 야릇한 상상을 부추기는 교태 섞인 몸짓은 웬만한 걸그룹이 거쳐야 할 필수 코스가 된 지 오래다.

Things are getting sexier and more risqué. Wearing apricot-colored clothing that gives the illusion of skin normally hidden by clothing, faux see-through clothing as it were, is known as a new “cute tactic.” Also, adopting flirty sexual poses that stir up people’s lecherous imaginations, such as dancing with your legs wide open while wearing hot pants (known as the “spread-leg dance”), has long been a requirement of girl-groups.

심지어 남녀간 성 관계 체위를 연상케 하는 커플 댄스도 빼놓을 수 없는 퍼포먼스 아이템이다. 실제 본 무대는 그렇지 않더라도 활동에 앞서 공개하는 뮤직비디오 티저 영상이나 이미지에는 ‘19금’, ‘침대 셀카’, ‘키스’, ‘목욕신’, ‘파격 노출’ 등의 수식어 정도는 붙어줘야 한다.

Worst of all, couple dances with moves that look like sex positions are also performance items. And even if they’re not ultimately done on stage, teaser videos and images beforehand have to have descriptions like “R18,” “photographed in bed,” “kiss,” “bath scene,” “excessive exposure,” and so on attached to them.

애프터스쿨, 카라, 시크릿, 안다미로, 현아, 지나, 걸스데이, NS윤지 등 수많은 여가수가 올 하반기 한 번쯤 선정성 논란에 휘말렸거나 혹은 이를 자처했다. 걸그룹들의 과도한 노출•선정적인 춤에 대한 비판과 이에 맞서 표현의 자유를 부르짖는 목소리는 서로 메아리가 돼 잊을 만하면 돌아온다.

After School, Kara, Secret, Andamiro, Hyuna, G.Na, Girls’ Day, and NS Yoon-G are just some of the female singers and girl-groups that have been embroiled in controversy about their excessive exposure and/or sexual provocation at least once in the second half of this year, or have sought it. But if you criticize either, invariably the rejoinder is that it is merely freedom of expression.

대중은 각박한 현실에서 판타지(Fantasy)적인 이야기와 동경의 대상을 찾기 마련이다. 대중은 일탈하고 싶고, 내가 하지 못하거나 할 수 없는 것들을 해내는 연예인을 보면서 대리만족, 카타르시스를 느끼기 때문이다. 앞서 소녀시대, 씨스타, 나인뮤지스 등은 특정 직업 ‘제복’ 같은 무대 의상으로 일종의 ‘타부(Taboo)’와 로망을 절묘히 배합해 대중의 욕망을 건드리기도 했다.

Wanting to escape from their harsh reality, it is natural that the public yearns for fantasies. So, while watching entertainers doing what they can’t do or won’t do, they gain a vicarious satisfaction and feeling of catharsis. Previously, groups like Girls’ Generation, Sistar, and Nine Muses did this by specializing in a uniform look, provoking the public’s desire with an exquisite combination of taboo [breaking?] and romance.

강태규 대중음악평론가는 “치열한 경쟁 속 대중의 이목을 끌기 위한 방송사나 연예기획사가 결국 대중의 판타지를 쫓고 있다”고 말했다. 스무 살도 안 된 미성년자 연예인을 ‘청순 글래머’, ‘베이글녀’ 등으로 성 상품화 하는 세태가 현실이다. 방송 카메라는 무대 아래서부터 위 방향으로 걸그룹 멤버의 몸을 훑고, 신체 특정 부위를 클로즈업해 촬영한다. 그는 “보다 자극적인 것을 요구하는 사회에서 시청률을 추구하는 방송과 ‘생존의 몸부림’ 치는 연예기획사가 성적 판타지를 쫓는 것은 당연한 수순일지 모른다”고 씁쓸해했다.

Kang Tae-gyu, a popular-music critic said, “In an intense war for the public’s attention, the media and entertainment agencies ultimately provide fantasies.” Yet it’s not just 20-somethings that are sexually-objectified with terms like “Innocent Glamor” and “Bagel Girl,” but even teens. Cameras will go over their bodies from bottom to top while girl-groups are on stage, lingering with close-ups on certain body parts. Kang continued, despairingly, Providing sexual fantasies may be natural with the media and entertainment agencies’ relentless pursuit of higher viewer rates.”

일부 매체 역시 어느덧 가수의 음악을 분석, 무대 전체를 평하기보다 그들의 선정적인 의상•퍼포먼스에 주목한다. 그게 쉽고 편해서다. 수요자(대중)와 공급자(방송•기획사)가 서로에게 원하는 것만을 주고 있는 ‘필요악’인 존재가 되어가고 있다.

But almost before we know it, we have some elements of the media not paying ever paying attention to singers’ music or what’s on stage, but only taking notice of sexually suggestive costumes or performances. This is because it is easy and convenient to do so. Both the public consumers and producers (both in broadcasting and in entertainment agencies) are only giving each other what they want, so in effect this is a necessary evil of the music industry.

역설적으로 코믹한 춤으로 세계적인 인기를 끌고 있는 싸이는 보는 음악뿐 아닌 듣는 즐거움까지 안겼다. 국내 가요계의 큰 수확이다. 하지만 싸이의 ‘말춤’ 역시 그 특유의 유쾌함으로 상쇄됐을 뿐 그 안에 ‘말’이라는 동물이 갖는 묘한 성적 상징성이 담겼다. 사실 ‘섹시한’ 매력은 남녀 누구나 갖고 싶은 본능이라 할 만하다.

Paradoxically though, Psy gained worldwide popularity [not by providing something sexual, but] by providing both a funny dance and listening pleasure, and the Korean music industry in general has benefited greatly from this popularity. Yet while Psy’s comedic “horse dance” is unique, ironically even the word “horse” has sexual connotations. Moreover, man or woman, who doesn’t want to be more sexually attractive?

대중음악 가수에게 순수예술을 바라서도 안 되고 그럴 필요도 없다. 퍼포먼스도 실력이고 잘 생기고 예쁜 외모도 개인이 가진 하나의 능력이다. 문제는 그들이 내세우는 ‘섹시’가 얼마만큼의 당위성과 명분을 갖느냐다. 단순히 눈길을 끌기 위해 속살을 드러내고 몸을 흔드는 것이라면 ‘예술’이 아닌 ‘외설’에 가깝다는 비판을 피하기 어렵다.

We cannot expect singers of popular music to only produce pure art, and not be influenced by commercial imperatives. Also, there is nothing wrong with performing well, and/or being physically attractive. The problem is when sexiness is presented where it is uncalled for, with no justification. Simply showing singers dancing in tight and/or faux nude clothes isn’t art but rather obscenity, and isn’t difficult to criticize.

성시권 대중음악평론가는 “국내 대중의 인식이 많이 변해가고 있으나 마돈나, 레이디 가가 등 유명 팝스타들과 지금 국내 걸그룹들을 비교 대상으로 삼기에는 무리가 있다”고 말했다. 음악과 퍼포먼스, 주객이 바뀐 경우가 많다는 게 그의 주장이다. 그는 “퍼포먼스는 음악에 담긴 메시지를 조금 더 잘 표현하기 위한 수단이어야 하는데 일부 걸그룹이나 여가수의 무대가 과연 그러한지 의문”이라며 “몇몇 그룹이 비슷하게 돌고 도는 섹시 콘셉트는 계속 양산되고 시장서 꾸준히 소모되겠지만, 갈수록 식상함이 더해져 그들 스스로를 가둘 것”이라고 평했다. 그는 “그들은 물론 더 나아가 K팝 발전을 위해 방송•언론•평단과 각 연예 기획사의 각자 역할에 대한 고민이 필요한 시점”이라고 말했다.

Song Shi-kwon, a popular-music critic, said “In Korea, perceptions are changing, but you still can’t really compare them to famous stars like Madonna or Lady Gaga.” But in many cases, girl-groups’ performances are now more important than their music. He continued, “Performance should be a tool to convey the message in the music a little better, but I have to wonder if some girl-groups and female-singers’ stages really do that,” and judged that “by all copying each other in providing a sexy concept, their music and performances will certainly be consumed in the market, but in the process people will becoming bored with it, and so the groups will come to limit each other’s’ development.” Ultimately, “For the further development of K-pop, broadcasters, the media, critics, and entertainment agencies need to seriously think about their own roles in it.”

(Source)

Update: With thanks to reader Lily for pointing it out, the notice I received says not to post it on the internet. I’ve replaced it with a screenshot of the Korean sex offender registry website, www.sexoffender.go.kr.

Received in my letter box this morning. And, presumably, every other one in the neighborhood.

I don’t have time to translate the entire thing sorry, let alone the advice and information provided on the back. But here is the information about his crime:

In October 2011, in Haeundae-gu, XX-dong, this person attempted to rape a teenage girl, but failed. On May 17 2012, he was convicted according to the “Protection of Children and Juveniles from Sexual Abuse Act,” imprisoned for 2 years and 6 months, with 4 years’ probation, given 40 hours of sex violence treatment lectures, and required to have his personal information be made available to the public for 3 years.

Apologies for the confusion — has he just been released? If not, why is this notice being provided now? — and would appreciate it if anyone could clarify.

Meanwhile, regardless of the country, how would you react if you received something similar? Has it happened to any readers before?

Also, you may be interested in comparing this wanted notice sent to all Busan households in March 2010, after the rape and murder of a 13 year-old girl.

(For more posts in the Korean Sociological Image series, see here)

I’ve been asked to pass on the following:

★ YOU MUST RSVP via Email: womens.global.solidarity@gmail.com ★

In Korea, Japan and The Philippines, there are many women with diverse jobs and her stories. Among them, this film focuses on women who are called housewives, sex workers, dispatched workers, migrant workers, comfort women, homeless and so on. The camera tracks them as they go about their everyday lives. These women have never met one another, and their lives look quite different from one another. However, their lives are connected across national borders by the one thing they have in common. That’s their bodies and labor. How can such different forms of labor be linked to the women’s bodies in such a similar way? As we search for answers to this question, we are forced to confront another question: ‘the meaning of labor’ as an ideology that is reproduced in society.

* Entrance Fee: by donation at the door

* Languages: Korean, Japanese, Tagalog and English with English subtitles

* Naver map: http://me2.do/GDOEbSP

(Source)

Ga-in shared, “Our previous MVs had received R-ratings and we didn’t understand the reason why. So for my recent MV, I decided to give them one.”

(Daily K-Pop News)

And to help, she watched adult videos from many different countries, finding “that the porn from third world countries fit the most with [her] personal tastes.” Accordingly, Bloom (피어나) has many bed scenes, and — yes really — features her masturbating on her kitchen floor.

In contrast, Miss A‘s (미쓰에이) I Don’t Need a Man (남자 없이 잘 살아) speaks for itself, and the video is so family-friendly that my daughters (demand to) dance to it several times a day.* So to many, it might seem like a much more appropriate, softly-softly feminist anthem for “sexually conservative” Korea. Not least, by those who think the pornification of the media has already gone far enough, and/or that imitating porn stars isn’t something that should be celebrated.

To the latter, I would suggest that they actually take a look at the music video. Because while it is certainly erotic, it is by no means mere sexual titillation masquerading as art, nor is it provided exclusively for the male gaze. On the contrary, as Dana D’Amelio explains in a must-read at Seoulbeats (see this follow-up also):

Essentially, what Ga-in does is take female sexual desire, wrest it from the men who have manipulated it to their own device, and put it back in female hands. Ga-in’s sexuality is something that women can get behind, and that’s something you can’t much say for the rest of K-pop; that she herself is portrayed as taking pleasure as much as she is giving it is unique, fresh, and deeply relatable to female viewers.

(Source)

Dana and fellow Seoulbeats writer Mark both compare Bloom to Kim Hyuna’s (김현아) Ice Cream (아이스크림), which is just as sexually-explicit as Bloom, but strangely wasn’t banned by the Ministry of Gender Equality and Family. Arguably, precisely because it did conform to the male gaze and pervasive double-standards of K-pop.

In light of those, the sooner songs like Bloom rock the K-pop boat, the better. And for that reason, I’m going to wager that Bloom will have much more longevity than not just (frankly) vacuous songs like Ice Cream, but also, as explained below, those ostensibly empowering ones like I Don’t Need a Man that actually seem to be about nothing but men. Yet which, unfortunately, now seem to be the dominant from in pop music worldwide:

Lucy O’Brien, author of She-Bop: The Definitive History of Women in Rock, Pop and Soul, thinks the continuing importance of image and presentation is to blame. The key thing that ossified gender roles, she suggests, was MTV, which changed popular culture, leaving feminist punk bands such as the Slits and the Raincoats behind. “Image became the big thing, and angry women who didn’t care about it didn’t really fit that picture,” O’Brien says. There was a brief window of opportunity for women who didn’t fit the MTV template in the early 1990s, she suggests, a time when bestselling artists such as Sinead O’Connor ripped up pictures of the Pope on TV, and Tori Amos sang about her experiences of rape (though, equally, O’Connor’s greatest success came with her most MTV-friendly moment, Nothing Compares 2 U). But then came the Spice Girls, appropriating the vocabulary of riot grrrl, and proclaiming “Girl Power”, but within the conventional model of the pop group manufactured by men for young girls. “Everything became sophisticated and sanitised after that, and the industry has never got over it,” O’Brien says.

(The Guardian, March 25 2010; my emphasis. See Mark’s post “Manufactured Girl Power: Female Empowerment in a Male-Powered Industry” for more on K-pop specifically)

(Source)

Which brings me to today’s translation, found via Lost in Traffic Lights. Here’s her summary of it (emphasis in original):

…the main difference is…while Bloom talks about how a woman views herself, free from social constructs and how people view her. However, while Miss A’s “I don’t need a man” looks like it’s gunning for female empowerment, at the end it’s still feeding into a discourse that men made for a “good girl” or a “sensible woman” in Korea.

I see this a lot actually. On the internet, there’s always a guy-or a male figure-who argues that “all women do is buy luxury bags and leech off men blah blah blah” and the women are like “but we don’t. A lot of us don’t. I am special because I’m not like those other girls. I don’t buy luxury bags, I pay for my own stuff” and so on. But at the end of the day though, isn’t that gunning for another gold star from the men who criticize us?

For much more on that theme, see Nabeela’s review of the song (and especially the comments), and — for starters! — here, here, here, here, here, here, and here for more information about the “beanpaste girl” (된장녀/dwenjang nyeo) and “ladygate” discourses being referred to.

As for the translation, frankly I and my long-suffering wife found it exhausting, and there were many parts we found difficult — we apologize in advance for any mistakes. Also, there’s much to query in both the author’s generalizations and his details, starting with the confusion in the first part as to whether he’s talking about the music video (far above) or a stage performance (e.g. below, on SBS a few days before the article was published), and indeed I can’t find the part where she supposedly pretends to look into a mirror in either. But these don’t detract from the author’s main points, and I hope you all agree that comparing Bloom and I Don’t Need a Man is very valuable and worthwhile.

가인이 피워낸 100%짜리 여자의 욕망 / 100% Women’s Desire Blooms With Ga-in

Naver News, October 17 2012; 강명석 칼럼 / Column by Gang Myeong-seog (two@10asia.co.kr; Twitter).

붉은빛 스웨터를 입는다. 다리에는 가터벨트를 착용한다. 혀 끝으로 입술을 핥는다. 가슴을 내민다. 의자에 앉은 채 허리를 뒤로 젖힌다. 손이 온 몸을 훑는다. 가인의 신곡 ‘피어나’의 무대는 남성들에게 온갖 야한 상상을 불러일으킨다. 그러나, 정작 무대 위의 남성 댄서들은 무표정하다. 그들은 로봇처럼 동작을 소화할 뿐 가인의 춤에 반응하지 않는다. 가인은 그들과 한 번도 정면으로 눈을 맞추지 않는다.

She wears a red sweater. On her legs she has a garter belt. She licks her lips with the tip of her tongue. She sticks her breasts out. She arches her back while sitting in a chair. She touches her whole body with her hands.

Ga-in’s new song “Bloom” provokes all sorts of bawdy male fantasies. But those men actually on the stage with her are expressionless, behaving like robots that don’t even notice her dance. She, in turn, never looks any of them in the eye.

대신 가인의 시선은 무대 정면을 향한다. 정면을 바라본 채, 가인은 다양한 포즈들을 취한다. ‘피어나’의 안무는 동작과 동작을 하나의 흐름으로 연결하지 않는다. 대신 섹시한 느낌을 주는 각각의 포즈들을 취할 수 있도록 구성됐다. 댄서들이 사라지고, 가인 혼자 정면을 바라보며 여러 포즈를 취하는 무대 후반의 구성은 가인의 시선이 누굴 향한 것인지 짐작케 한다. 남자들이 사라져도, 가인은 자신의 섹시함을 표현하는 것을 멈추지 않는다. 마치 거울 앞에 선 자신을 보는 것처럼.

Rather, Ga-in looks directly at us, while adopting various poses. In “Bloom,” the choreography isn’t seamless. Instead, each scene is defined by and constructed around a different pose, each providing a very sexy, sensual feeling.

Later in the performance, in which Ga-on looks ahead while continuing to do various poses, making people wonder who she is actually looking at. Then, the dancers disappear again, but Ga-in doesn’t stop expressing her sexiness. She continues as if she’s looking at herself in the mirror.

Caption: 가인은 남자들의 판타지를 자극하는 방식의 ‘피어나’를 통해 오히려 가장 주체적인 여성상을 그려낸다 / Rather than stimulate male fantasies, Ga-in provides a very independent symbol for women in “Bloom.”

가인, 타인이 아닌 나를 위한 섹시 / Ga-in: The Sexiness is For Me, Not For Others

거의 모든 여성 가수에게 섹시한 댄스는 타인의 시선을 끌기 위한 장치다. 걸그룹이 곡에서 악센트를 줘야할 부분마다 다리를 벌리는 춤을 추곤 하는 것이 그 예다. 섹시함이 콘셉트 그 자체라 해도 좋을 ‘피어나’도 당연히 시선을 끈다. 그러나, ‘피어나’는 특정 동작을 강조하며 시선을 끄는 포인트 춤이 없다. 대신 모델이 계속 포즈를 취하는 듯한 동작들이 이어진다.

Almost all female use a sex dance as a means to attract people’s attention. For example, girl-groups will often emphasize spreading their legs apart in their dance routines. Naturally, “Bloom” could also be seen in this vein. However, “Bloom” doesn’t have ‘point dances’ which are only used for the specific purpose of getting people’s attention; instead, the poses adopted are more similar to the ones real models use.

가인의 소속사 로엔엔터테인먼트 관계자에 따르면 ‘피어나’의 안무에도 원래 포인트 춤이 포함돼 있었지만, 그 포인트를 빼고 지금처럼 다양한 포즈 중심의 안무를 요구한 사람이 바로 가인이었다. 그 결과 ‘피어나’의 안무는 타인에게 어필하는 것이기도 하지만, 그 이전에 여성이 섹시한 표정과 포즈를 마음껏 해보는 구성이 됐다. 또한 ‘피어나’의 뮤직비디오는 황수아 감독이, 가사는 작사가 김이나가 맡았다. 두 여성은 그들의 시선에서 섹시함을 표현한다. 뮤직비디오에 가인의 베드신이 등장하지만, 가인과 관계를 갖는 남자의 얼굴도 제대로 안 나온다. 대신 카메라는 희열을 느끼는 가인의 표정을 잡는다. <김이나의 가사로 표현한다면, 남자는 ‘내가 선택한’ 존재고, 그가 사랑스러운 것은 나를 ‘high’하고 ‘fly’하도록 만들었기 때문이다. 남자가 어떤 매력을 가졌는지는 묘사하지 않는다. 중요한 것은 남성이든 섹시함이든 여성 자신의 욕망이 선택한 결과라는 점이다.

According to a representative of Loen Entertainment, originally the choreography did have point dances, but these were removed and replaced at Ga-in’s insistence. As a result, the choreography appeals not just to other people [men?], but has as many sexual poses and expressions as it could have too [James - That sentence sounds strange in Korean also]. Also, the director of the music video, Hwang Su-ah, and lyricist, Kim Ee-na [both women], express sexiness from their own perspectives. In the music there is Ga-in’s bed scene, but we can’t really see the face of the guy she’s with [James - The screenshot below would be the closest you get]. Instead the camera focuses on her expression of joy and ecstasy. According to Kim Ee-na’s lyrics, “This is the guy I chose,” and the reason is because he makes Ga-in “fly high.” Crucially, why she finds the man attractive is not described; rather, the important thing is that it’s her sexual desire that is paramount here.

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전체적인 윤곽은 남성의 판타지를 충족시키지만, 그 디테일은 섹시함이 ‘(타인의)시선 따윈 알게 뭐니’라고 노래하는 여성의 욕망을 드러낸다. 이 절묘한 공존은 이 곡의 구성원들의 독특한 조합 때문일 것이다. 안무, 가사, 뮤직비디오는 여성이 주축이지만, 프로듀싱과 작곡은 각각 남성인 프로듀서 조영철과 작곡가 이민수가 맡았다. 이들 중 가인을 제외한 네 명의 남녀는 아이유와 브라운 아이드 걸스를 제작한 바 있다. 아이유는 귀여운 여성에 대한 남성 판타지의 극단이었고, 브라운 아이드 걸스는 섹시함에 터프함을 가미한 강한 여자들이었다.

While the whole character of this song fulfills men’s fantasies, contained in the details is a depiction of sexiness and women’s desire that poses the question, “Who cares about the gaze of others?”. This exquisite coexistence is the result of the unique combination of the people involved in its production: the choreographer and lyricist are women, but the producer, Jo Yeong-cheol, and the composer, Lee Min-su, are men [James - What happened to the director Hwang Sun-ah?]. Moreover, in addition to Ga-in’s songs, these men and women have produced songs for the IU and the Brown Eyed Girls. IU projects a cute image that is an extreme men’s fantasy [James - Actually, this cute image is exaggerated and/or very outdated], while the Brown Eyed Girls’ image is a mixture of tough and strong women.

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가인은 이 네 남녀의 정확한 한가운데다. 남성들에게 확실히 어필할 수 있는 섹시한 콘셉트는 남성 스태프가 짠 틀일 것이다. 그러나 여성 스태프는 그들의 시선으로 섹시함을 표현했다. 여성도 성관계에서 오는 육체적, 정신적 쾌감에 대한 욕망이 있고, 그 욕망을 드러내자 가인은 가련한 소녀도, 남성의 시각적 만족만을 위한 쇼걸도 아닌 무대를 지배하는 주인공이 된다. ‘피어나’는 주체적인 여성에 대한 시각을 무엇을 보여주느냐가 아니라 어떻게 보여주느냐로, 바깥의 시선에서 내면의 욕망의 문제로 옮긴다.

Ga-in is positioned firmly in the center of these 4 men and women. Her sex appeal, which definitely appeals to men, would have come from the male staff; the women’s perspective on sexiness, from the female staff. Women too, find sexual relationships physically and mentally pleasurable, and here Ga-in owns the stage with that desire, rather than being turned into a miserable girl or a showgirl for the male gaze for it.

“Bloom” moves the question of what are independent women from not what they show, but how they show it. Or in other words, from outside appearances to inner perspectives.

미스에이, 타인이 만들어놓은 좋은 여자의 기준 / Miss A Conform to the Standards of Good Women Defined by Others

그래서, 미스에이의 ‘남자 없이 잘 살아’가 ‘피어나’와 완벽한 대비를 이루는 것은 흥미롭다. 박진영이 작사한 ‘남자 없이 잘 살아’의 여성은 ‘내 돈으로 방세 다 내’고, ‘내 차 내 옷 내가 벌어서 산’다. ‘남자 믿고 놀다 남자 떠나면 어떡할’거냐는 걱정을 하기 때문이다. 가사만 보면 ‘남자 없이 잘 살아’는 주체적이고 독립적인 여성을 칭송하는 것처럼 보인다. 그러나 남에게 폐 끼치지 않는 인생은 남자 역시 필요하다.

So, “Bloom” and “I Don’t Need a Man” provide a perfect, very interesting contrast. The lyrics to “I Don’t Need a Man”, written by JYP, say “I pay the rent with my own money,” “I bough this car and these clothes with my my own money,” and that “If you trust and fool around with a man and then he leaves, what will you do?”, which is a constant worry of women.

If you only look at the lyrics to the song, they do praise self-reliant and independent women. [Although] men, too, need a way of life that isn’t dependent on others.

(Sources: top, bottom)

Caption: 반면 ‘남자 없이 못 살아’를 발표한 미스에이는 타인의 시선에 의해 결정되는 여성의 단면을 보여준다 / On the other hand, with “I Don’t Need a Man,” released by Miss A, they show a side of women defined by others

그리고, 이런 경제생활이 당당한 여성의 기준은 타인의 시선이다. ‘남자없이 잘 살아’의 뮤직비디오에서 멤버들이 콧수염을 붙여보거나, 이두박근을 강조하는 것은 우연이 아니다. 미스에이가 노래하는 독립적인 여성은 사실상 남성들이 요즘 ‘개념녀’라고 말하는 이상적인 여성이다. ‘피어나’가 남성들에게 어필하는 코드로 여성의 욕망을 말한다면, ‘남자 없이 잘 살아’는 당당한 여성을 어필하면서 ‘된장녀’와는 정반대인 ‘개념녀’라는 남성의 욕망을 말한다.

Also, these financially confident women are conforming to the standards of others. In “I Don’t Need a Man,” it is no accident that the members of Miss A stick on a fake mustache or emphasize their biceps. The independent women that they are singing about are actually the gaenyeomnyeo, or “good girls,” that men say are their perfect women these days.

While “Bloom” appeals to men while also articulating female desire, “I Don’t Need a Man” provides an image of confident women and also the good girl image that males desire, an opposite of the dwenjang-nyeo, or “bean-paste girl” one.

(“miss A I Don’t Need A Man Chibiby,” by jinsuke04)

‘피어나’는 타인의 시선 대신 내면의 욕망을 더 적극적으로 드러내는 여성의 목소리를 반영하고, ‘남자 없이 못 살아’는 남자, 또는 사회가 원하는 좋은 여성의 기준을 더욱 더 강화한다. 출산과 결혼을 선택하지 않는 여성에 대한 논의가 사회적 화두로 떠오르고, 인터넷에서는 남녀가 수많은 문제들로 논쟁을 하는 이 시점에서 두 곡의 등장은 어떤 징후처럼 보인다. 많은 남자들은 명품 백을 사느냐 마느냐에 따라, 결혼할 생각이 있느냐 없느냐에 따라 ‘개념녀’와 그렇지 않은 여성을 가른다.

Rather than emphasizing the male gaze, “Bloom” reflects more the inner desires and voices of women, whereas “I Don’t Need a Man” does more men and/or society’s standards for women. These two songs are a reflection of how many women choosing not to get married and/or have children has become a hot topic of debate in Korean society, and of the discussion, arguments, and problems as many men and women discuss that on the internet. In which many men are dividing women into good girls or beanpaste girls, or who want to get married or not, [simply] according to whether they buy brand-name bags or not.

반면 많은 여성들은 타인에게 폐 끼치지 않는 한 돈을 쓰고 싶은 곳에 욕먹지 않고 쓸 권리와 결혼과 출산을 하지 않을 자유에 대해 말한다. 주체적인 욕망과 타인의 시선이 정한 기준 안에 들어오는 것 사이의 대립. 남녀 모두 주체적인 여자에 대해 말하는 것 같지만, 그 층위는 전혀 다르다. ‘피어나’가 예상치 못했던 카운터펀치인 이유다. 인터넷에서 끝없이 반복되던 남녀의 가장 중요한 논쟁점이 흥미로운 방식으로 수면 위로 떠올랐다. 그것도 모두가 답 없는 논쟁을 할 때, 여성의 욕망을 놀라울 만큼 잘 드러내면서 남성도 즐길 수 있는 판타지의 접점을 만들면서 말이다.

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But as long as women do not trouble others with their spending choices, then they have a right not to be sworn at and criticized by others, and the freedom not to choose marriage or children. [However], there is a contradiction between the desire for self-reliance and the standards set by the male gaze. Men are women are talking about the same self-reliant women, but the amount of what they say about them are totally different.

This is the reason why “Bloom” has a surprising counter-punch. The most important thing men and women are unceasingly arguing about on the internet [James - What is that?? Sex?] arose in an interesting and amusing way. That is, in an argument which has no answers, this song provides a rare point of contact in which women can enjoy their desires just as much as men have their fantasies fulfilled.

강하거나, 세거나, 독특한 여성 걸그룹들의 노래들이 하나의 흐름을 형성한 지금, ‘피어나’가 대중음악 시장에서 얻는 반응은 지금 이런 목소리에 대한 수요를 알 수 있는 척도가 될 수도 있을 것이다. 그것은 반대로 ‘남자없이 잘 살아’에 대한 반응도 마찬가지일 것이다. 지금 우리는 주류 대중음악, 또는 걸그룹으로 대표되는 아이돌 시장에서 여성을 표현하는 방식이 아주 조금은 달라진 순간을 보고 있다. 그게 결과적으로 누구의 목소리가 더 크게 멤돌지는 알 수 없지만 말이다.

Now, bold, strong, and unique girl-groups are forming a new trend, and how well “Bloom” does commercially will demonstrate how much of a demand there is for this new voice. The same goes for “I Don’t Need a Man.” Now, in popular music, we are seeing the beginning of a new phase in the way women express themselves. Ultimately, whose voice will be loudest? (end)

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*Truth be told, I let my daughters watch Bloom as well, which isn’t that explicit really; they really like the song and colors, and at 4 and 6, they’re much too young to understand what’s really going on anyway. And I hope that their happy childhood memories of it spur a renewed interest in it much later, just like mine of She-Bop (1984) did for me!

Update: While I’m at it, see here for 10 more songs about female masturbation.

Related Post(s):

• Lee Hyori: Korean Pin-up Grrrl #1?

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First, please read “Man Tries to Take Advantage of Drunk Girl on Seoul Subway” at koreaBANG. Then, with permission, my friend’s response to it:

Line 2 [in Seoul] really disturbs me, I try to avoid it because I have too many weird experiences. I have also made interventions like the one in this video, to ask someone if they know another passenger or if they need help.

In one of the comments, 니애미종범 basically writes “she should have moved” which seems like a simple thing, but I can speak from my own personal experience. On three different occasions a stranger has sat uncomfortably close to me and I moved, and they FOLLOWED me. Two of those times I moved again and they left me alone. I was lucky that there were other passengers around because I just said to them to (politely) leave me alone. But in one of those cases, the guy CONTINUED to sit next to me and talk about my appearance, ask me questions, even though I kept politely declining conversation and then said directly that I do not like to talk to someone I do not know. At that point, I decided to get off the train with a larger group of people… I pretended to go toward the stairs but when out of view I dashed onto another car and walked through the train 3 more cars… I called my boyfriend and asked him to hurry and meet me at the station and described the guy to him and told him I needed him to meet me… I debated whether to try to call the police and how to describe the situation or ask if there was a security box at the station where I would exit… All this time, I thought I had been out of sight… but then he appeared at my side AGAIN… he had seen me and followed me further. At that point, there were no people standing to get off the train and I was really afraid to get off onto an empty train platform again, so I stood up in the middle of the car and just walked around and made light conversation with random people so that people would notice me… and he finally stopped, but when I exited the train I was looking behind my back.

This is besides the frequent (monthly?) ‘accidental’ butt groping on a crowded bus or subway that does not seem so ‘accidental.’ I have taken to wearing my backpack even though it would be more ‘convenient’ to other passengers if I stored it on the top shelf, because wearing my backpack creates a buffer between me and other people and creates a little bit of space so that it is not so easy to discreetly grope and pretend it is ‘by accident.’ Even so, I still have to often tell someone not to touch me.

There are also a number of posts that criticize the person who intervened. I think it is important to be supportive to other people in our community. I try hard to avoid sending a friend home alone, or drunk, but sometimes you can’t control that. So, I take photos of taxis or other things. If my friend has been drinking, I tell the taxi driver directly where she/he is supposed to go, that someone is waiting, and photograph the name plate in the front seat of their taxi that says their name and taxi ID, etc. as well as the plate #. I ask about how long it will take and how much it will be and verbally confirm to the passenger so taxi driver avoids arguing the bill, etc. I do this because I think it “discourages” the idea that my friend is vulnerable, but it isn’t enough because there are still predatory people, complex situations and laws, and we need to support each other in navigating these scenarios.

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While she’d like to remain anonymous, she adds for the sake of context that she is a (Caucasian) foreigner, with intermediate Korean skills. Also, another issue is the perception that police will not help and that self-defense might be dangerous to legal liability and visa status, which unfortunately happened with two of her friends that were assaulted

As a non-Seoulite, I was aware that Line 1 was dangerous, but had no idea about Line 2 (although to a certain extent, traveling on any line can be an unpleasant experience for non-Koreans and non-Caucasians). But as my friend tells me, apparently it’s a magnet for sexual harassers because “it connects a number of universities with stops like Gangnam, Sillim, Sadang and others that are very crowded.”

What are readers’ own experiences? How do you recommend dealing with harassers on the subway?

Related Posts:

• Groping in Korea: Just How Bad Is It?
• Korean Poster: Etiquette for men at night
• Sexual Assault on Subway Caught on Camera
• Slutwalk Korea (잡년행진): 2011; Follow-up Report; 2012

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I make a brief appearance in the Korea Herald today, in an article by John Power on the recent government crackdown on pornography. With his permission, here are all of his original questions and my replies, with some links for further reading:

1. Do you foresee the Korean public becoming increasingly unhappy with the heavy censorship of pornography and other sexual content in the short term? Or do you think a largely conservative Korean public will remain happy with the status quo?

In all my 12 years in Korea, ordinary Koreans have loudly and consistently complained of being treated like children by censors. But the censorship of movies has been considerably relaxed in recent years (recall that the Korean Supreme Court overturned a ban on Shortbus for instance), and even the Ministry of Gender Equality and Family has begun to acknowledge its own excesses with music videos. So this latest crackdown actually goes against recent trends, and I expect it to face a lot of opposition.

2. Often, censorship is justified to protect young people. Do you think there is a feasible way of protecting youth, while not controlling what adults wish to see?

Frankly I don’t, but this is a dilemma faced by every democracy. Most, however, don’t resort to the draconian restrictions imposed by the Korean government, yet somehow have equal or lower rates of sex crimes by and/or against minors nonetheless.

(“Because I’m a man / 남자기 때문에.” For English subtitles, click on “captions”)

3. A local site pornography site called Soranet had 600,000 subscribers before it was shut down in 2004, showing the widespread nature of its consumption. Do you think the government is fighting a losing battle in trying to ban such material?

If nothing else, banned sites will remain available via proxy servers, but I’m sure young, tech-savy Koreans won’t need to resort to using those. With the proviso that of course the government should continue to monitor the pornography industry as a whole, to prevent exploitation and the use of minors, you have to question the government’s zeal in attacking an otherwise victimless activity, and which there is clearly a huge demand for. Surely the time and resources could be better spent? Perhaps on more up-to-date and effective sex-education, so people could better judge the supposed harmful effects of pornography for themselves?

4. What do you think is the true motivation for censorship of adult content in Korea? Or, put another way, do you think there are sometimes hidden agendas at play?

As someone who notoriously devoted Seoul to God as mayor, and who believes that (re)criminalizing abortion is an effective method of raising the birth rate, clearly Lee Myung-bak’s conservative and religious beliefs are playing a big role here. That aside, blaming pornography for sex crimes, and censoring it on that basis, is also an easy way for the ruling party to appear to be doing something to address public concerns during its candidate’s presidential election campaign, yet without doing anything about their real causes whatsoever.

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5. Do you think there are double standards at play in the how and what content is restricted?

If we’re talking specifically about pornography, then no. As for K-pop however, both fans’ widespread perceptions and the empirical evidence suggests that female entertainers are disproportionately censored, often for things that make entertainers are allowed to do scotfree. In particular, whenever female entertainers present themselves as sexual subjects rather than just objects for the male gaze, then the ironically-named Ministry of Gender Equality and Family can be expected to come down hard on them. A good recent case of this is the ban placed on Ga-in’s Bloom, a rare song about sexual awakening from a woman’s perspective, whereas the Ministry had no problem with the gratuitous skin shots in Hyuna’s Ice Cream.

What do you think?

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Just a quick note to apologize for the slow posting everyone. Actually, I’m not taking a holiday (although Christmas was a little busy), it’s just that my next post is taking longer than expected. But rest assured that it’ll be up on Monday sometime next week (update: forgot that my kids were off next week sorry!).

In the meantime, my latest article for Busan Haps, “K-girl Power: The emerging trend of empowerment and sexuality in K-pop,” is available here, a condensed version of this post. And, as a Christmas present to myself, I’ve just ordered — squeee! — the third edition of She Bop above, just released this month; The Beauty Myth, by Naomi Wolf (my other copy is in my mother’s spare room, and my friend’s gift of a PDF just isn’t cutting it!); Behind the Red Door: Sex in China, by Richard Burger; and finally, belatedly, Tune by Derek Kim.

If anyone’s read any of them, I’d love to hear your thoughts. And Happy New Year everybody!

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I showed my (Korean) wife this thread. Her response:

“They think Koreans can’t talk about gay rights? How insulting. We’re more advanced than you think. Gay issues are talked about all the time on talk shows and in the media. [Those commenters] clearly do not understand Korean culture.”

(Comment at Gusts of Popular Feeling)

I would have said more “ignorant” of Korean culture, but you get the idea. And, as if to prove her point, somehow the very next thing in my browser was the new Kim Soo-yong’s 19 [R18] Show, hosted by (obviously) comedian Kim Soo-Yong and announcer Kim Min-jin, and also starring psychologist Dr. Choi Chang-ho and comedian Yun Sok-ju.

Although this particular show may not have talked about LGBT issues (yet), it hit home because it provided a second healthy reminder that Koreans are frankly talking about sex at least, despite foreign stereotypes of their extreme sexual conservatism. Indeed, there’s actually been shows like this for many years now.

Here’s the introduction to it on the Kukitv station website:

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My (very quick) translation:

Men and women,

Out of feelings they share when they love each other, there’s some things they don’t understand, or they do understand but feel strange about, or they thought they understood but can be easily mistaken about.

From the first date, skinship, and sex to proposing and marriage, we need to something to clear the wish-washy, hidden, unspoken things between men and women.

For the hidden sex stories in your heart, to the secret urges of your partners whom you thought you knew well…

And fortunately for something that plays at 1:10am on weeknights, all of the 5 shows so far — and shorter segments of shows — are available on Youtube here. Here’s the full first episode to get you going:

Alas, language-wise, it’s not for the faint-hearted: the Korean subtitles are minimal, and there’s unlikely to ever be English ones available. Can anyone please recommend any similar shows that are more accessible for non-Korean speakers, and/or — seeing as they inspired this post — pass on any of those that have dealt specifically with LGBT issues? Thanks!

(Update: I should also mention the Talk on Sex podcast that I’ve been following on and off for years, but again that’s entirely in Korean).

(Source: by Janine, Flickr)

Kramare and Treichler (1996): “Feminism is the radical notion that women are people.”

Geher (2009): “Evolutionary psychology is the radical notion that human behavior is part of the natural world.”

There is no reason on earth to believe that these two “radical” notions are irreconcilable.

(Feminist Evolutionary Psychology Society)

Yet evolutionary psychology still has such a bad reputation among feminists.

Partially, that’s because many feminist criticisms of the discipline and its researchers — and vice-versa — are really just based on strawmen and stereotypes.

That said, it’s also true that evolutionary psychologists can indeed sometimes make outlandish, sexist claims based on little to no evidence.

Or at least, they can seem to. More often than not, it’s actually journalists that are doing that for them, who rarely have time for their caveats and qualifications. Also, journalists can sometimes simply make mistakes and/or misunderstand too, or evolutionary psychologists fail to clearly explain the purpose, methodology, and conclusions of their research.

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These maxims are worth repeating, especially when you read a headline that brings an instant, smug satisfaction of being proven right. In this case, with “Why Dating Women With Slim Waists Lowers Men’s Risk for Erectile Dysfunction” by Christine Hsu in Medical Daily, which not only makes sense given everything else I’ve read about women with hourglass figures — that they’re significantly more fertile than those with other body types, which likely plays a strong role in why that one is so popular amongst heterosexual men (to the extent that even congenitally blind men prefer them) — but, sharing that preference, also reminds me that I’ve got great taste in women too.

Just taking Hsu’s word for it though, would be nothing more than confirmation bias. So, starting with her introduction (my emphasis):

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Possessing a ‘figure 8′ body has long been a trademark of feminine beauty, and now new research has revealed the reason why men tend to prefer women with a waspish waist.

The study also linked the middle proportion of a woman’s body to the likelihood of satisfaction and erectile dysfunction in her partner.

Researchers found that the slimmer a woman’s waist, the more satisfied her partner and the less likely he is to suffer impotence in the bedroom, according to the study published in the [December 2012 issue of the] journal Archives of Sexual Behavior.

That study is “Slimmer Women’s Waist is Associated with Better Erectile Function in Men Independent of Age” by Stuart Brody and Petr Weiss, and I’ve highlighted that last section because — admittedly in hindsight — it should already raise alarm bells: sexual satisfaction isn’t actually mentioned in the title of the article, nor the original study. That doesn’t necessarily mean that it’s not there, but the combination of the titles and the highlighted part does strongly imply that, somewhere within, the study will mention that female participants’ waists were measured and the sexual satisfaction and levels of impotence of their male partners.

At first glance, it appears to be done so in the abstract, (my emphasis; source, right):

….To assess the association of women’s waist size with a more tangible measure of perceived sexual attractiveness (as well as reward value for both sexes), we examined the association of women’s age and waist circumference with an index of men’s erectile function (IIEF-5 scores), frequency of penile-vaginal intercourse (PVI), and sexual satisfaction in a representative sample of Czechs (699 men and 715 women) aged 35–65 years. Multivariate analyses indicated that better erectile function scores were independently associated with younger age of self and partner and women’s slimmer waist. PVI frequency was independently associated with women’s younger age and women’s slimmer waist. Sexual satisfaction was independently associated with men’s younger age and slimmer waist for both sexes. Better erectile function, greater PVI frequency, and greater sexual satisfaction were associated with women’s slimmer waist, independently of both sexes’ ages….

But then I moved on to the methodology (the first 2 pages are available at the above link), which ends the section on how the participants were chosen with (my emphasis):

The rationale for using participants who were not both members of the same couple includes prioritizing a representative sample and decreasing risk of a couple comparing responses (Weiss & Brody, 2011). The 649 women who provided complete data had a mean (SD) age of 48.1 (8.6) years, and the 685men who provided complete data had a mean (SD) age of 49.6 (8.7) years.

Which begged the question of how on Earth, if data on the waist sizes and sexual satisfaction of both partners in a couple was not gathered (and erectile function of the male partner), it was determined that “the slimmer a woman’s waist, the more [sexually] satisfied her partner and the less likely he is to suffer impotence in the bedroom.” This in turn spawned an interesting all-day conversation on The Grand Narrative Facebook page, and ultimately led — thank you! — to my getting my hands on the full study itself.

As it’s only 8 pages long, I highly recommend that you read it for yourselves (please email me or let me know in the comments if you would like a copy) so let me just sum it up here. As it turns out, Hsu did indeed make some mistakes (source, right).

First, the methodology:

• Page 3, paragraph 1, mentions that “The same wording for the IIEF-5″ — the test of erectile function — “was used for both sexes with the added instruction that the woman should complete it on behalf of her partner.” Earlier, it also mentions that the test is very reliable, with men’s and their female partners’ assessment of the men’s erectile function being very similar (obviously, their female partners would know!).
• Page 3, paragraph 2, mentions that only participants completed the survey on sexual satisfaction;  and page 3, paragraph 3, that participants measured only their own waists. In short, it’s these points that already prove the error of Hsu’s link between male sexual satisfaction and female waist size that I highlighted in the introduction.

Next, the results (source, right):

• The younger the men and women, the less problems with erectile dysfunction the men (or the women’s male partners) had.
• The slimmer the women’s waists, the less problems their male partners had with erectile dysfunction.
• The slimmer the women’s waists, or the younger the women, the more often they had sexual intercourse.
• The slimmer both sexes were, the more likely they were to have satisfying sex lives. The younger the men were (not the women) the more likely they were to have satisfying sex lives.
• The more often men and women had sex, the less problems with erectile dysfunction they (or the women’s male partners) had; and the younger the men (not the women), the more likely they were to have satisfying sex lives.
• Women with slimmer waists tended to have sex more often; their male partners had less problems with erectile dysfunction; and they (the women) were more likely to have satisfying sex lives.
• And finally, crucially, “It was noteworthy that the association of women’s slimmer waist with all measures of sexual function was independent of both partners’ age” (from the end of page 6).

(Source: ~PinkieNekoGirl)

That’s a lot to take in, many points seem obvious and to follow naturally from each other, and there’s certainly the possibility that I’ve misunderstood and/or misrepresented some of them myself — if you think so, by all means please correct me. Also, I don’t mean to harshly criticize a reporter who undoubtedly had less time to spend on the study than the 3 days of my semester break(!) that I ultimately did. But, although it’s very very easy to take away the message that “the slimmer a woman’s waist, the more satisfied her partner” from it, with the conclusion stating —

The findings were generally in accord with evolutionary perspectives. Men’s erectile function scores were independently associated with younger age of self and partner, and women’s slimmer waist (all factors generally associated with greater reproductive fitness). Similarly, PVI frequency was independently associated with women’s younger age and women’s slimmer waist. Sexual satisfaction was independently associated with men’s younger age, and slimmer waist for both sexes. Better erectile function, greater PVI frequency, and greater sexual satisfaction were associated with women’s slimmer waist, independently of both sexes’ ages. Thus, capacity for potentially reproductive sexual behavior, frequency thereof, and a psychological response that might support pair-bonding were all linked to women’s slimmer waist.

— for instance, Hsu does appear to have misunderstood it, also mentioning that “researchers also recorded how often the 699 study participants — Czech men between the ages of 35 and 65 years old — had sexual intercourse,” whereas actually (page 2, paragraph 5) 699 men and 715 women were surveyed, and of those 685 men and 649 women provided complete data.

Either way, I can just imagine what many journalists and advertisers would — and probably will? — make of a study which seems to say that men with slimmer wives and partners have more satisfying sex lives!

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Update — For those who *cough* don’t understand the title of the post:

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Starring: Son Yae-jin (Joo In-Ah), Kim Ju-Hyeok (Noh Deok-Hoon), and Joo Sang-Wook (Han Jae-Kyeong). Written by Song Hye-Jin (original novel by Park Hyun-Wook) and directed by Jeong Yoon-soo.119 minutes.

Before the mid-1990s, very few Korean movies featured a wife leaving an unhappy marriage. Of those that did, either she would ultimately return to her husband, tail between her legs, or she would face an untimely death, so great was the inevitable spiral into destitution and despair.

So, when Kim Tae-kyun (김태균) directed The Adventures of Mrs. Park (박봉곤 가출사건; 1996), who not just successfully pursued her lifelong dreams of becoming a singer, but found new romance with a second husband too, he softened the subversive social message by making the movie into a romantic comedy. But even then, he would later confess to Cine 21 magazine, he was extremely concerned at how audiences might react to such “an unexpected ending”.

Fast forward to 2008, and My Wife Got Married, about a woman who demands 2 husbands, was one of the most popular movies of the year, and even won Son Ye-jin the Blue Dragon Film Award for best actress. Not quite a comedy, and sparking minimal complaint or controversy (although women were careful not to publicly identify too closely with her character), it’s difficult not to see it as a sign of how quickly and irrevocably Korean attitudes had changed in the preceding decade. I’ve projected feminist empowerment onto it ever since.

It’s somewhat ironic then, that it turns out that the movie is *ahem* actually told exclusively from the perspective of the main male character, Noh Deok-Hoon…

*Minor spoliers follow*

Opening in Spring 2002 with Deok-Hoon bumping into Joo In-Ah on the subway, next they’re at a coffee shop, where he reminisces about missing his chance to ask her out back when they worked together, and speculating with his male coworkers about whether she wore a bra or not (as one does). Discovering a shared love of football, specifically the rivals Real Madrid (him) and FC Barcelona (her; expect many ensuing football/relationship metaphors in the movie), soon they’re having drinks, then sex at her place.

In a surprisingly erotic scene, Deok-Hoon has the best sex of his life, and instantly makes such an emotional, almost spiritual connection to In-Ah that it’s easy to see how wounded he would be by what audiences already know will come. But, by no means does she merely humor him in response. So, even without that benefit of hindsight, it’s no surprise that they do genuinely fall in love.

This is more important than it may sound. Because, before falling in love, first they are lovers (what an oxymoron!), with one scene in which she encourages him to very explicitly talk about his sexual fantasies — he struggles to think; she’s well aware of hers — hinting at her much greater sexual subjectivity, and willingness to act on it. Considering that just 13 minutes in, audiences were — à la Basic Instinct — reflexively craning their necks to get a better glimpse of her exposed(?) nipples, it would have been very natural and easy for writer Song Hye-Jin to have continued on that salacious, titillating basis, portraying In-Ah as a emotionally manipulative nymphomaniac that can’t be satisfied with just one man, with all the double standards that that implies.

Instead, as soon as we’re shown that they’re in love, In-Ah also says that despite that, she can’t guarantee that Deok-Hoon will be the only person she loves for her entire life. Her surprise at his umbrage with that seems both authentic and naive (a constant theme), as is her not realizing how he might feel at her continuing to drink and socialize until all hours as if she were still single.

Not that she can’t or shouldn’t mind you. Rather, it’s how secretive she is about it that is the problem, never answering her phone; it’s only when he eventually, desperately confronts her at her apartment after one such session that it seems to click. Only slightly drunk and still impeccably dressed, you sense maybe she is only testing him when she retorts that she was sleeping with someone. Either way, he leaves her.

After a month of moping around, he’s encouraged by a friend to forgive her, but also to ensure it doesn’t happen again by marrying her and then knocking her up. Surprised at his call, let alone his marriage proposal, she takes a lot of persuading, only finally acquiescing during a World Cup game.

Those that were here that magical summer, will surely understand.

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Domestic bliss ensues, only briefly interrupted by her moving to a different city for 4 days a week for the sake of her job; after all, such arrangements are completely normal for millions of Koreans. This movie being what is though, soon his world comes crashing down when she reveals that she’s not just fallen in love with a second man — Han Jae-Kyeong — there, but she would like him to also be her husband — not just boyfriend — just as Deok-Hoon is in Seoul. Angry, emotional, and this time also physical confrontations follow, with Deok-Hoon resolving not to let her to “win” by divorcing her.

Let’s pause for a moment here, as many viewers may well have needed to take a deep breath at this point in the movie. Because, victim or perpetrator, likely most would also been affected by cheating spouses, partners, or parents at least once in their lives. Equally likely, they resolved to never let it happen again, or to them. So, if Deok-Hoon returning to In-Ah the first time didn’t already, his acquiescing to this new arrangement surely brought many of those same feelings of rage, hurt, impotence, and frustration back to the surface.

Or perhaps I’m just projecting? Either way, frankly, if I wasn’t already committed to a review, I would have stopped watching at that point, for the same reasons I turn off most Korean dramas within 10 minutes: it’s difficult to be sympathetic to — or interested in — a character you constantly want to grab by the shoulders and just shake some damn sense into.

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Yet, for a time, the trio — well, technically two duos — does seem to work, providing one takeaway message that polygamy (specifically, polyandry) is neither as absurd nor as evil as it’s usually assumed to be. Moreover, in the process the movie pointedly questions many of Korean society’s double standards regarding marriage, especially how prostitutes and mistresses are tolerated for men while wives languish at home, resigned to continuing their loveless, sexless marriages out of financial dependence and fears they will lose custody of their children (yes, these are generalizations; but they can’t be merely be dismissed as such either). Many reviewers erroneously claim these are shared by Deok-Hoon; however, but for sneaking glimpses of In-ah’s breasts at work, then complaining of her not wearing a bra in public (after sleeping together just one time!), he’s only guilty of firmly believing in monogamy. Indeed, he’s the one that repeatedly lashes out his male friend’s hypocrisy, although it’s true that he could have done so with much greater gusto with his brother’s.

However, no matter how positively it portrays polyandry, the movie also demonstrates how unfeasible it is in a society where it’s both illegal and there’s strong social prejudices against it. And, with that coming from a movie which can be described as a romance only by default (to those reviewers that call it a comedy, I’m perplexed at what they laughed at), you’re left wondering what the point of the 2 hours was exactly.

*Major spoilers follow*

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Specifically, it’s the birth of a daughter that starkly demonstrates how the trio’s arrangement simply can’t be sustained in the face of family and official obligations. Questions of paternity aside (In-Ah wants him to love the child regardless of the who is the father, so never reveals that. Later, it’s Jae-Kyeong that reveals that they always used contraception when they were together), it soon becomes apparent that Deok-Hoon and Jae-Kyeong’s families are none the wiser.

This facade comes tumbling down when Deok-Hoon’s colleagues in Seoul see In-Ah, Jae-Kyeong, and daughter in a magazine article written by (unknowingly to them) the latter’s cousin, and assume that he’s secretly gotten a divorce. Fearing he’s slowly but surely losing both wife and daughter, and partially out of spite (really, he hasn’t felt in control of his life since the start of the movie), he responds by crashing the first birthday party Jae-Kyeong’s family has for “their” daughter.

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In response, In-ah disappears with her daughter, and her two husbands — this is much more believable than it may sound — come to live together and even become friends; as they say, they have nowhere else to go. When a postcard from Spain arrives 5 months later, the movie ends with both of them joining her there to watch football games and live happily ever after, as if somehow questions of employment, visas, schooling, custody rights, and social prejudice didn’t also apply there.

*Spoilers End*

Was it too much to ask that the movie delved a little more into some of those questions? Do any movies know any Korean movies that do cover alternative living arrangements a little more realistically, but are still entertaining? Thanks!

Update, Feb. 3: By coincidence, today The Atlantic had an interesting article titled “When Taking Multiple Husbands Makes Sense,” with the byline “Historically, polyandry was much more common than we thought.”

With her permission, here is a reader’s email I recently received. While I don’t usually post things that aren’t specifically Korea-related, I thought I’d make an exception this time!

Dear Mr. Turnbull,

I thought you might be interested in this video since your blog is about gender studies (Apologies for the long e-mail, but I want to explain myself thoroughly).

I was just curious about your and others’ thoughts on it. I remember watching the Korean street harassment video with the bikkis (nightclub workers?) and thought this was an interesting contrast. It’s not often that you can see a compilation quite like this.

One of my subscriptions posted a video called “Cute lines for Cute Girls” with the description “Everyone dreams of using corny but sweet pickup lines on random unsuspecting women. My friend and I show you the reactions we got :)” (My emphasis added)

I watched it and instead of making me smile, it just made me cringe. The video consists of him and his friend approaching random women in the street and in buildings with corny pickup lines. What made me uneasy is that I couldn’t help but see that some of the women did not seem to enjoy it. Sure, the background music makes it seem light-hearted and fun, but mute it and look at their body language. Some did have fun with it and laughed, but to me most 1) couldn’t walk away fast enough, 2) gave an uncomfortable laugh and smile (that “what the hell just happened” smile).

(Source)

I think most people can see that whistling and making lewd comments are wrong. What complicates things and divides opinions is that these are “nice guys.” They are not your typical catcallers lurking in a doorway, but “regular, non-threatening” guys on the street. But does this make it ok? I would say not.

Perhaps I was wrong about the video, but his replies really disturbed me. Even if you do not agree with me about the video, the conversation we had was really telling about attitudes about street harassment today.

I don’t know if he’ll remove my comments or not, so I’ll paste the conversation here (my emphases throughout):

Me: I don’t know about this. I mean, you’re going after women you have no interest in other than to make a video so people can laugh at them. Most of them just laugh uncomfortably and walk away. This is like one step above cat-calling.

Him: Hey waterlily6782001, this is an exercise in overcoming false constraints that many individuals place on themselves. Also, many of these girls played along when they heard these lines because they were cool and fun girls who knew how to banter back. If anything, this is a great profile on the decent quality of women at University of Pennsylvania.

(Almost feels like he’s saying I’m not cool or fun or of decent quality because I do not like his “exercise”)

Me: Yes, I understand and I do like your other videos, but this one… From your videos, I don’t think you’re a mean person and I don’t think you ever intend to hurt anyone, so I wasn’t too upset. Yes, some of them bantered back, but can’t you see that some were also clearly uncomfortable? It’s just that when you have to deal with totally insincere guys chatting you up all the time as a dare or just to get a reaction, it goes from flattering to tiring.

Him: They could’ve been having a bad day; school could’ve been stressing them out. Even if our lines caused the discomfort, my friend and I were simply giving them compliments. If they can’t take a compliment, then their frame of mind needs work. For example, I love your constructive criticism. But I could easily have said, “This person is a hater. I should delete the comment.” But if I did that, we wouldn’t be having a great discussion. Frame life positively. You’ll be much happier =)

Me: Please read this, it explains it better than I ever could ^_^

I think what we have here is just that you, as a man, will never experience life as a woman. So it’s difficult to grasp that what you see as “compliments” can mean different things to different women. There’s just no way for me to make you fully understand, but I appreciate your replies and wish you the best. ^_^ (end)

(Source: leftycartoons)

He implies that I’m 1) a hater 2) pessimistic and 3) unhappy because I do not like his video. I’ve read hater comments before and I thought my commentary was pretty tame. I’m also pretty sure haters don’t promote your videos on their blogs as I’ve done with his in the past (He did a student documentary on Asian male and white female relationships).

It was clear that I couldn’t make him understand, and he implies that he made no one uncomfortable (“Even if our lines caused the discomfort”). But you can’t tell me that the girl at 0:53 is not uncomfortable while she’s speeding past, head down, eyes averted, walking around him, and not even stopping. The girl at 2:10 is also clearly not amused even though you can’t see her face. Listen to her voice! I also wonder if the girl at 2:30 was really having fun having a guy 1) corner her at work and 2) continue to talk to her even after she emphasizes TWICE that she has a boyfriend.

This in particular really disturbed me: Even if our lines caused the discomfort, my friend and I were simply giving them compliments. If they can’t take a compliment, then their frame of mind needs work.

…which is probably the #1 argument guys have for when girls don’t like their advances. It’s a COMPLIMENT and if you’re uncomfortable YOU need to change. So if I don’t like a guy following me along the sidewalk giving me an insincere “compliment” I need to change my attitude.

(Source)

Do I hate compliments? No. I appreciate heart-felt compliments.

Do I hate jokes? No. I make them all the time.

Do I hate corny pick-up lines? No. In fact, they can be cute and are good ice-breakers.

What I do hate is a stranger who has absolutely no genuine or honest interest in me, and:

• 1) cutting in front of me
• 2) following me
• 3) giving me a completely fake compliment just to see my reaction,
• 4) walking away,
• 5) laughing
• 6) recording the whole thing, and
• 7) posting it on the internet.

So what do you think? Do these guys get a free pass because they aren’t dirty old men hanging on the street corner?

Thanks for reading this long e-mail and have a good day!

James: What do readers think? I’m in complete agreement myself!

Update, Feb. 3: Just for everyone’s interest, here’s something I stumbled across in a review of a book on the history of online dating:

Of course, single people have always had means to boost their odds. You can move to a city, where the population of as-yet-unclaimed hearts will be larger. You can lower your standards to broaden the radius of your dating pool. You can also just toss out game 24-7 with utter indiscretion. One acquaintance likes to tell random women on the street that he thinks they’re beautiful. “Like 1 in 5 will slow their roll a little and give me a smile,” he says. “And like 1 in 5 of those stop and talk to me and let me hand them my business card. And like 1 in 5 of those actually call me.” I would assume that at least 2 in 5 women he approaches think him a frightening skeezball. And I think, for better or worse, he’s OK with that ratio.

Related Posts:

• Korean Poster: ETIQUETTE FOR MEN AT NIGHT
• Quick Hit: Living as a female smoker in Korea
• Victim Blaming: Why “she should have just moved” isn’t a solution to harassment on public transport
• Groping in Korea: Just How Bad Is It?
• Korean Boys: “Wearing Hot Pants Says Something About You”
• Sexual Assault on Subway Caught on Camera
• Seniors Routinely Sexually Harass Juniors during “Membership Training”?
• Slutwalk Korea (잡년행진): 2011; Follow-up Report; 2012

I’ve been asked by Jerry Liu, the maker of the “Cute Lines for Cute Girls” video featured 2 weeks ago, to ask what readers’ reactions are to the above video.

As explained by the makers of this one (Simple Pickup), “all the faces, we interacted with, which aren’t blurred were given consent forms because their reactions were too funny.”

What do you think?

Related Posts:

• “Cute Lines for Cute Girls”: Street Harassment Framed as Fun
• Korean Poster: ETIQUETTE FOR MEN AT NIGHT
• Quick Hit: Living as a female smoker in Korea
• Victim Blaming: Why “she should have just moved” isn’t a solution to harassment on public transport
• Groping in Korea: Just How Bad Is It?
• Korean Boys: “Wearing Hot Pants Says Something About You”
• Sexual Assault on Subway Caught on Camera
• Seniors Routinely Sexually Harass Juniors during “Membership Training”?
• Slutwalk Korea (잡년행진): 2011; Follow-up Report; 2012