K-pop redefining masculinity
K-pop (South Korean pop culture) has been recognized as a global musical phenomenon since the late 2000s. The musical genre involves audiovisual elements that incorporate singing, fashion and synchronized dancing throughout. South Korean pop music covers a range of styles, such as pop, R&B and hip-hop. The sensation of K-pop has been coined as the "Korean wave" to define the rapidly climbing popularity of Korean pop culture and entertainment at an international scale. As K-pop continues to expand into North America, new and clashing definitions of masculinity have emerged between the cultures. In the subcategory of male K-pop idols and groups, worldwide contemporary perspective and expectation towards Asian men emerge.
Beginning of Male K-pop
In 1992, a three-man boy band called Seo Taiji and Boys debuted with an unprecedented style. By fusing traditional Korean folk music with electronica and hip-hop, the boy band became an instant hit among the younger generations. Many have argued this overturning sensation as the template and inspiration for countless future bands and rising stars to challenge conventional musical trends and forms. Yang Hyun-suk, a former member of the band, became the founder and CEO of YG Entertainment, currently holding contracts with famous stars such as PSY, BIGBANG, and 2NE1.
In 2012, Gangnam Style by Psy revolutionary became the first ever YouTube video to reach one billion views. Turning the whole world's attention towards South Korea for its pop culture and entertainment. Furthermore, raising K-Pop's market to an international scale. The following is the link to the YouTube video: https://www.youtube.com/watch?v=9bZkp7q19f0.
Fashion
Shades of pastel, long dyed hair, sweeping bangs, abundance in eyeliner, tight skinny jeans, and extensive accessorizing are all common characteristics of male K-pop idols [1] As K-pop lessens the line between gender roles, Korean males are admired and appreciated for their compliance to Korean beauty standards. Fair and white skin, small V-shaped faces are highly praised in South Korea, even in men. As K-pop idols have constantly been portrayed with double eyelids and high-bridged noses, K-pop has become a major contribution for the popularity of cosmetic and plastic surgery in Korea. Discussed by Dr. Suk-Young Kim (2015), "The Korean notion of beauty is different than what we have in the west. Beauty is not something that you're born with, it's something that you cultivate." [2]
Versatile Masculinity
According to Sun Jung (2010) , the traditional Seonbi masculinity of South Korea is based off of the Confucian (scholar-official) masculinity[3]. The Confucian masculinity emphasizes the separation of domestic space and labor, continuing to follow the standard patriarchal norms of East Asia. During South Korea’s economic growth, the promotion of Confucian masculinity promoted manners of conformity and loyalty to the work force and authorities. As well as stressing the importance of knowledge, education and humility. However, as South Korea continues to expand its global influence, the success of the Hallyu (Korean wave) can be attributed to national branding driven by media liberation and globalization. By hybridizing and transforming into a more versatile masculinity, K-pop can travel freely across cultural boundaries. Due to its mugukjeok (non-nationality) aspects of K-pop masculinities, this media can become more globally, targeting the ambiguity of diverse audience desires. The manufacturing of K-pop divides bands and groups into the classifications of hard masculinity and soft masculinity.
Hard Masculinity
Tunstall (2014) discusses the hard/beast masculinity which male K-pop bands imagery complicates. The hard masculinity portrays physical prowess above intellectual capabilities, independence, hate of authority, intolerant of affection, uninhibited in the pleasures of drinking and gambling, and good in a crisis but laid-back. Good examples of such category include BIGBANG, Bangtan Boys, and 2PM . The music videos of such bands highlight the elements of expensive vehicles, luxurious lifestyles, high-class fashion and abundance in female extras. BIGBANG's 뱅뱅뱅 (BANG BANG BANG) Music video is now available on YouTube: https://www.youtube.com/watch?v=2ips2mM7Zqw. As seen in the video, props such as motorcycles, fire and black leather jackets are inputted to promote the vision of danger and impulsiveness. Most importantly, the physique of the male stars also sets the beauty standard to compliment well-toned muscular bodies and well-structured abdominals. Keith (2011) suggests the “beast-like” masculinity is a representation to specifically African-American R&B and hip-hop [4].
Soft Masculinity
Jung (2010) defines the key aspects of East Asian soft masculinity as the hybrid product constructed through the mixture of South Korea’s seonbi masculinity and Japan’s Bishōnen (pretty boy) masculinity, which is very marketable [5]. Roald Miliangkey (2010) claims that K-pop's lack of profanity sex befits Confucian morals and allowing it to appeal to more traditional fans across South Korea [6] While Japan's pretty boy phenomenon, refers to the play on gender possibilities by erasing the boundaries surrounding gender roles and expectations between males and females [7]. Metrosexual grooming allows men to reveal care and gentleness in their physical appearance and to consume clothes, cosmetics and accessories. Occasionally on reality televisions or game shows, male bands, even those who would normally be classified as beast masculinity, are invited to cross-dress and perform the choreography of fellow girl bands to exercise their feminized soft masculinity. [8]
The global metrosexual masculinity is widely appreciated by the masses. In the music video of soft masculinity boy bands, the male idols are perceived to be as sweet, gentle and humble. Good examples of such would include Shinee, Super Junior, and Boyfriend. SHINee (샤이니)'s Hello music video is now available on YouTube: https://www.youtube.com/watch?v=skZxb5sBoiU. Contrary to Big Bang's hard masculinity video example, Hello by SHINee is filled with pastel and bright colours and comparatively subtle in terms of make up and costumes. The male stars display their ideas of affection and emotions towards female partners. In cute masculinity K-pop bands, kawaii (i.e. cute in Japanese culture) gestures are also constantly reinforced.
References
- ↑ SoYoung, Kim. "Flower Boys" to "Beast-dols", 22 Oct. 2013, http://www.thecrimson.com/column/k-pop-generation/article/2013/10/22/Kpop_Men_Gender_Roles_Soy/. Accessed 5 Aug 2016. Web.
- ↑ BuzzFeedVideo, 24 Sept. 2015, https://www.youtube.com/watch?v=d2XB59EyGEk/. Accessed 5 Aug 2016. Web.
- ↑ Jung, Sun. "K-Pop Idol Boy Bands and Manufactured Versatile Masculinity: Making Chogukjeok Boys.", Hong Kong University Press, 2010
- ↑ Howard, Keith. "Sun Jung: Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols". 221 pp. Hong Kong University Press, 2011. Bulletin of the School of Oriental and African Studies, vol. 74, no. 3, 2011., pp. 528-530.
- ↑ Elizabeth Dori, Tunstall. Un-designing masculinities: K-pop and the new global man? 22 Jan. 2014, http://theconversation.com/un-designing-masculinities-k-pop-and-the-new-global-man-22335/. Accessed 5 Aug 2016.
- ↑ Roald Miliangkey. 2010. The effeminacy of male beauty in Korea. Australian National University. The Newsletter 5.
- ↑ Global Cultural Studies. I’m Your Man: Masculinity in K-Pop. 2013, http://blogs.stlawu.edu/evegs302sp2013/?p=1435/. Accessed 5 Aug 2016.
- ↑ Jung, Sun, Project Muse University Press eBooks, and Ebrary Academic Complete (Canada) Subscription Collection. Korean masculinities and transcultural consumption: Yonsama, Rain, Oldboy, K-Pop idols, Hong Kong University Press, 2011;2010