K-Pop as a Contributor to Patriarchal Continuity

K-Pop is a form of media which is driven by image and beauty (Epstein with Turnbull 2014: 316). This holds true across the world: if viewing a K-Pop music video, or Korean Idols, it is difficult for many people to say that they, or the visuals around them, are not beautiful. However, the extensively sexualized content of K-Pop, with both genders but particularly women, and its emphasis on image can only be regarded as obvious to many audiences (Lin and Rudolf 2017: 28). This content will take effect in various ways depending on those who are consuming it, whether consciously or subliminally. While complex ideals and stereotypes of a given country will affect the way that its people analyze the underlying misogyny of K-Pop, whether through the understanding or lack thereof for lyrics or through the visuals and behavior of the idols in music videos and clips, the genre ultimately contributes to the continuity of patriarchal societies.

According to Lin and Rudolf, “K-pop organizes or manipulates young female idol’s femininity in order to meet socially prescribed role expectations in a male-dominated society- either the Western stereotypes of Asian women as exotic sexual objects or the Korean patriarchic role as submissive, fragile, and innocent maidens” (Lin and Rudolf 2017: 28). Seen through male gaze, these women are both filmed provocatively and conditioned to use infantilizing aegyo as a means to “soften the atmosphere of certain situations, entertain or amuse superiors or gain career benefits” (Puzar and Hong 2018: 13), which solidify and sell these roles as sexual objects and innocent maidens. It should be mentioned that while there is a clear divide between collectivism and individualism, the people of a diverse country, such as the United States, may experience different views of gender based on regional, ethnical, and religious factors. Furthermore, the nature and frequency of sexual content in pop culture can desensitize people to the subliminal background of misogyny seen in advertising, film, music, and other media.

Additionally to the East/West divide, there is also the divide between Korean-speaking fans and Non-Korean-speaking fans. Those who cannot understand Korean may translate or find translations, but these will always be flawed in that two languages cannot directly translate the cultural significance and semantic index behind any given word. In other words, translations cannot bridge the gap between cultures. Despite this, the translated lyrics of girl group songs can still show a sexual and belittling view of women which equates worth to a man’s love.

Due to the fact that K-Pop is widely seen from the perspective of male gaze, with both provocative and infantilizing lyrics and visuals, it supports a misogynistic way of viewing women. The vast popularity of the genre has only further sold these ideals to young Korean girls who are looking to succeed, as well as to consumers. The specific ideals that are supported by this content do vary based on cultural contexts, but despite this they still may be simplified to support the continuity of misogynistic roles in patriarchal societies.

Epstein, Stephen with James Turnbull. “Girls’ Generation? Gender, (Dis)Empowerment, and K-Pop.” The Korean Popular Culture Reader, edited by Choe Young-min and Kim Kyung-hyun. 314–36. Durham and London: Duke Univeristy Press, 2014.

Lin, Xi, and Robert Rudolf. “Does K-Pop Reinforce Gender Inequalities? Empirical Evidence from a New Data Set.” Asian Women 33, no. 4 (2017): 27–54.

Puzar, Aljosa, and Yewon Hong. “Korean Cuties: Understanding Performed Winsomeness (Aegyo) in South Korea.” The Asia Pacific Journal of Anthropology 19, no. 4 (June 2018): 333–49.