Showing posts with label from other bloggers. Show all posts
Showing posts with label from other bloggers. Show all posts

Wednesday, April 08, 2020

Coronavirus CoVideo Corner: Rob interviewed by Rob

A fellow in the UK has started a Youtube series during his Covid 19 stay-at-home quarantine, and by sheer coincidence, he came up with the same name for his series as I made for my plague film series!

His name is Rob, just like mine, so naturally I agreed to be interviewed for his YouTube channel.

I'm fond of his channel and quite enjoyed this interview, so everybody, please check it out!



Wednesday, May 31, 2017

K-Pop Can Be a Genre If You Want, and some Other Stuff Too: Equivocations on Ask A Korean!

UPDATED: Now with headings and more links!


At long last, something has prompted me once again to set finger to keyboard (doesn't have the ring of set pen to paper, does it?) and, naturally, it is the wonderful old blog friend Ask A Korean! with whom I have disagreed before. Let's party like it's 2009!

This week on his blog, The Korean! (whose series on the recent Korean presidential election are excellent guides) is back talking about K-pop, one of my favorite topics for pontification. He is well-versed in the field: his series of "The Top 50 Most Influential K-pop Artists" is well-researched, interesting, and frankly up there with culturalism as one of the best things he has written on his blog.

But The Korean has, in my opinion, bitten off a little more than he can chew in attempting a be-all and end-all definition of K-pop. We'll get to why in a minute, but first, let's summarize his original argument, as found in his blog post. We'll try to be concise, and if you prefer the real McCoy, go read the original here and its follow-up here, instead of my distillation.


Summary of AAK!

The Korean appears to take issue with those who define K-pop specifically as what others would call "Idol K-pop" -- the image that comes to many peoples' minds (especially if you're on Tumblr or Instagram) of leggy young women and be-sixpack'd young men making cute faces and dancing in sync to highly produced music tracks in elaborately crafted, probably colorful videos. The Korean's definition is clearly in contrast with this, and some of the evidence he uses is solid on first pass:

He uses the examples of three artists who have almost nothing in common musically, but who are all grouped under "K-pop" to broaden the definition from that narrow "Idol Kpop" definition. IU (video here), BTS (video here - recent winners of a social media award at the Billboard Music Awards) and FT Island (video here - whose youtube channel, FTISLAND makes me want to read 'FISTland' which sounds more Chuck Tingle than JYP) are all called "K-pop"; he also points out the lineups of the "K-pop Stage" at the SXSW music festival, where groups ranging from idol pop to indie punk to hip-hop all appear on the same concert stage, under the K-pop banner. Most damning of all for "small wagon" K-pop definers, when Psy's "Gangnam Style" became a smash hit, those who were talking about K-pop in 2012 were, for the most part, perfectly happy to hitch their wagon to his comet, rather than making a stronger effort to clarify that Psy does not fit the mold of "Idol K-pop" in a number of ways.


Genres need boundaries but we're bad at describing them

When glimpsed through a closing elevator door whilst pelvis-thrusting, the Korean language lyrics, colorful video, electric, synth-heavy arrangement and rap sections were similar enough to what we'd seen on the latest Hyun-a single (not to mention her appearance in the video) that anybody anxious to boast that K-pop was taking over the world would gladly paper over the differences between Psy and those handsome, be-sixpack'd boy bands that fit the K-pop mold more accurately. More about Psy later. This is definitely the strongest part of The Korean's argument: that little or no effort has been made to draw boundaries for what is K-pop and what isn't, and genres need boundaries, even fuzzy ones.

Think about other music and this is intuitively true: there are songs that straddle the line between soul and R'n'B, or soul and hip-hop, or folk and twee pop, or grunge and punk, but there are also songs that are definitely one or the other, even if the genres are not clearly defined and people couldn't explain why they think one is and one isn't part of their genre. People argue about whether this song or that song is this genre or that, and when Taylor Swift stopped being country and whether Justin Bieber qualifies as R&B, but don't dispute that genres exist, and are different from each other. However, The Korean does his argument a disservice in his rejoinder post when he puts up pictures of white cats and brown dogs: music genres do not delineate as starkly as cats and dogs, which cannot mate and create viable offspring. Music genres are constantly mating and creating viable offspring in shocking combinations. The Korean is a smart guy and knows what false equivalence is, and he is guilty of it here. Sandwiches are a much better comparison because different people will pitch their "This is NOT a sandwich" flag on different squares of the chart, and be able to defend their choice.

This chart is culturally biased.

Words get more than one meaning all the time

The Korean's argument derails when he starts insisting that words -- the term K-pop in particular -- be defined and used more narrowly than what is actually done in practice. While it's one of the best-written paragraphs in the original article, it is also where his argument is weakest:
In our current, "post-truth" world, it is more important than ever to insist that words must mean what they say. "K-pop" plainly means "pop music of Korea," because "K" obviously stands for "Korea," and "pop" obviously stands for "pop music." Q.E.D. And in fact, that is exactly how the term was used when it first entered the English language. Most English speakers--i.e., non-Koreans--encountered pop music from Korea for the first time in the early 2000s, and called such music "K-pop." The term was essentially the equivalent of gayo [가요], the word Koreans use to denote popular music generally, without reference to any genre, style or era.
Besides the fact he never defines what "pop music" is, which is a baffling and difficult conversation of its own beyond the scope of this response (given that AAK did not address it either), The Korean slips here and gives up the fatal flaw in his discussion, mentioning that it was in the early 2000s that most English speakers first encountered pop music from Korea, and described it as K-pop.

Because the problem with using the term K-pop to describe "pop music of Korea" is simply that Koreans generally don't use it to describe Korean music, and certainly didn't before the early 2000s. I teach at a Korean university and sometimes ask my students what music they like, and they name genres like "ballad" or "dance" or "hip-hop" and even if they name a group known as "K-pop" to the world, they might describe it as K-pop, or they might describe it as girl-group or boy-band. The Korean cops to the fact the term K-pop is used differently in Korea than outside of Korea in his rejoinder post, written after reading some comments disagreeing with his original post.
...when one observes the actual usage of the term "K-pop" by non-Koreans, it is abundantly clear that the term is not the same thing as "idol pop." When the international fans encountered Korean popular music that was clearly not idol pop--such as Gangnam Style--there was no effort to enforce the conceptual boundaries of "K-pop" to exclude Korean popular music that was not idol pop. When the international fans recount the history of "K-pop," there is no effort to trace the development of idol pop as a distinct strand of style that exists within the broader universe of Korean popular music.
The term K-pop is used differently by Koreans than by non-Koreans. We can drill down into even more detail if we want. When we poke around the term K-pop, and learn about its origins, and look at how it's used in different places, the inescapable truth is this: the term is used differently by different people, for perfectly good reasons that are easy enough to grok. The only confusion comes when people start cross-talking, failing to pause and take seven seconds to clarify "Hey, random stranger on the internet, do you mean K-pop as in popular music in Korea, or K-pop as in manufactured Idol Pop from Korea?"

The Korean wants to insist that every word or term have one meaning, and one meaning only, across all contexts, regardless of who is saying it, but language doesn't work that way. The word "set" has different meanings, depending on whether you are a performer getting ready for a concert (a set list), lining up to begin a footrace (ready, set, go), a sailor (set sail), a tennis player (won in straight sets), making jello (put it in the fridge to set), programming your digital alarm clock (can you set my alarm for me?), collecting pokemon cards (two cards short of the whole set), work for a theater company (set design is fun but hard), or preparing for a corner kick (our team is good at set plays). Some of those meanings resemble each other, and so do the different meanings of K-pop, but the context and the speaker changes the meaning.

"Set" is not the best example because it's such a simple, flexible word that it's easily co-opted into new contexts, but there are other words we know have hugely different meanings in different contexts. Buffer means different things if you're talking about financial planning, diplomacy, car care, or Youtube videos. Suite means something different if you're a composer or a hotel manager or MS Office user. Pitch can be a baseball move, a tar-like substance, an attempt to sell something, a degree of darkness, a musical note, or the ability to sing the correct musical note. Words like insulate, program, developing, overture, advance, target, and on and on. Even within art circles, indie can mean a distribution model or musical aesthetic, dubstep refers to a completely different musical sound if you are from America or the UK. Meanwhile, wherever someone draws a line between genres, artists specifically flock to that boundary to defile it, just for the sake of argument, or out of sheer playfulness, or because they don't give a shit who says what is which genre: they're just making art they like. Ask Banksy or Marcel Duchamp, or Prince, or John Cage, or Lin-Manuel Miranda.

Avicii's country techno song.

How are people using the term?

K-pop also has different meanings depending on who's using it, and where. That's normal. The meanings are conceptually coherent within those contexts, to those using it, so... what's the problem?

Website developers want it to have as broad a meaning as possible, in order to use it for search engine optimization. If the tag "K-pop" gets more hits for their band EXP edition, then EXP edition is K-pop by gum! (Warning: this article might make you angry)! But lots of people say a group of North American boys making (mostly) polished pop and goofing off in a video like the "Orange Mocha Frappuccinos!" boys in Zoolander (spot Eric from True Blood) while singing Korean they are reciting phonetically isn't K-pop, even if they sing in Korean.

If you are trying to promote Korean cultural products, then anything that you think will generate interest (and then tourist dollars or cultural export dollars) for Korea gets a K- in front of its name. Anything popular (or profitable) is K-pop, and anything that garners international success or accolades becomes retroactively tagged "Korea's Representative X" (this explains Psy suddenly becoming the flag carrier for K-pop when, by the strict definition of Idol K-pop, Psy doesn't fit the mold).

If you are stocking shelves at an American record store in 2003, or making music more searchable in the iTunes library by categorizing Asian popular music by country, and you want to differentiate music from Korea and music from Japan (and this is my guess as to the reason it is specifically called K-pop rather than some other name), or you need a shorthand tag to let people know where all the Korea-originating acts will be performing at your music festival, then K-pop means any music from Korea other than traditional stuff... or from the other end, if you have so much Korean music in stock now that the "World Music" shelf is overflowing and Korean music needs its own shelf, K-pop is a nice catch-all for anything that comes from Korea.

If you are a PR or an economics lover looking at the infrastructure of music content distribution or promotion in Asia, K-pop is a business model, a content development model and/or a distribution model.

On the other hand, if you like looking at GIFs of sexy Korean boys with sixpacks, or leggy Korean women making aegyo poses, and you have a Tumblr account and use the word "oppa" a lot but don't know any other Korean, then K-pop means a specific type of look, a specific type of music, and a specific type of sexy people.

If you are looking for other people to join you in celebrating a set of shows, bands and whatnot you like, or that has a connection with something in your heritage, K-pop is a good term to use to find other people who want to celebrate it with you.


On Orwell's on language and retroactive naming of things

It is not Orwellian that different people have found different definitions of K-pop serviceable labels, in the different contexts where they use it: though Korea promotions has been involved, it has not been a sinister top-down attempt to manipulate or control people, or to make Korean culture or art into something it is not, just a bit of fuzzy-minded opportunism on the part of K-pop power players and Korean promotions folk hoping for a windfall. This has happened before: on his Hot Fives and Sevens albums, Louis Armstrong had a bunch of tracks with "Blues" in the title (14 by my count in the 4 disk set), even though he was making one of the foundational jazz recordings, because blues was selling at the time. Look at the number of songs with "Soul" in the title in the 70s, be they soul or not. K-pop's popularity abroad would have continued at, or nearly at pace without the Korean government's intervention, and K-pop would still exist if it weren't being marketed abroad, though it would look different and act a bit less grandiose. Not all meaning-slippage is Orwellian manipulation of meanings and reality, aimed at creating confused passivity in a populace. Sometimes they're just trying to sell units, or people are grabbing onto the nearest searchable tag to increase their platform's reach, or looking for others who also like their favorite genre, in order to celebrate it together, and engaged fans will figure out where they stand soon enough.



If you define K-pop as "popular music of Korea" like The Korean, then Shin Joong-hyun and Kim Wan-seon are K-pop, because their music was popular, and it was Korean. But here is the catch: Koreans never called those artists' music K-pop, and probably won't start. Sometimes retroactive naming can work -- for example, when the terms "Mansplaining" "Slacktivism" and "Vaguebooking" were invented, something clicked and people could relate the new term to things they'd been observing/practicing for years, but had no name for it until those terms were coined. How handy to have a word for it now!

In most cases, though, retroactive naming that goes back too far makes me uncomfortable, because it can bulldoze more nuanced stuff that was going on at a time in the past. The term K-pop appeared around 2001-2003, and going back a few years to call SES or Seo TaeJi K-pop isn't too much of a stretch, because early K-pop groups were intentionally, specifically trying to duplicate their success. But going back decades gets more and more spurious, because Koreans did have names for the music genres that The Korean is retroactively erasing under the K-pop banner.

Mansplaining, vaguebooking and slacktivism were terms that brought more clarity and understanding (though they are now also suffering meaning creep); calling everything K-pop does not. I would be interested to hear The Korean explain to me why HIS act of lumping groups that aren't K-pop like Jo-yong Pil or Kim Chuja under that banner are OK, but Korea Inc.'s effort and/or lazy-minded non-Koreans' lumping of disparate groups like IU or FT Island under that banner are Orwellian, other than that Ask A Korean is not a government ministry (which, to be fair, is a solid point if we are concerned about mass-manipulation). I would be happier still if he removed overdramatic claims of Orwellian manipulation from his discussion of meaning slippage in music genres as descriptors. (UPDATE: Beyond Hallyu discusses this much more concisely than I do.)


The foreign gaze in Kpop, and definitions that do too much

There is one other important thing The Korean seems to miss in his discussion: the term K-pop was invented to differentiate Korean music from other types of Asian pop music: a differentiation that only needed to be made once Korean music started gaining, or targeting, audiences outside Korea. It became popular at the time of (not necessarily because of) efforts to promote Korean culture abroad. From its very origin, the foreign gaze is baked into the term K-pop. This is why such disparate groups get lumped together. That is how Psy can be the most important K-pop artist, even though he doesn't fit the K-pop mold (foreign gaze don't care), yet also not rate a place on The Korean's "Top 50 Most Influential K-pop Artists" (he hasn't changed Korean music much; he's just made more people outside Korea aware of it, which doesn't affect the music scene in Korea very much at all). Psy's position relative to K-pop changes completely depending on whether you're looking at Korean music from inside Korean culture or outside, and any definition of K-pop that doesn't/can't account for this is suspect. The Korean gets quite close to realizing the importance of the foreign gaze in defining K-pop while addressing Jon Dunbar's objection in his rejoinder post, but stops a couple steps short of it clicking.

I would argue that The Korean's definition of K-pop is unhelpful, because it does too little (it ignores the crucial part the foreign gaze plays in lumping all modern popular Korean music together) and too much (identifies things as K-pop that are not and never have been called K-pop by people in Korea -- the ones who consume and care most about Korean popular music) at the same time. I would have no issue with this if he just said "Here is my working definition of K-pop. Got it? Got it!" But instead, he asserts that his definition of K-pop is the definitive one and others are incorrect. That is why I am writing to re-muddy the waters.

K-pop is a great tag for search-engine optimization and helping readers find his excellent countdown, but by naming it the "Most Influential K-Pop Artists" series, and even worse, insisting his definition is the correct one and others are wrong, he is flattening out the huge diversity of sounds and styles of Korean music that exists, and confusingly hinting at a foreign gaze upon a series in which he has worked very hard to take Korean music on its own terms. I would find it much more accurate if he titled it "The 50 Most Influential Korean Musicians" or "The 50 Most Influential Korean Popular Music Artists" because the term K-pop and the aesthetic Jaden Smith will shoot for when he plans to drop a K-pop single wouldn't exist yet for 30 years when some of The Korean's top-ranked artists made their music.

Let's have more language, not less (speaking of Orwell)

In the end, while I enjoy the discussion of what K-pop is, and really appreciate The Korean's engaging in the discussion, and especially sharing some great music in the video clips, I would advocate spreading and popularizing more names for the different types of Korean music, rather than butting his head against a wall, trying to change the common usages of a term that is already out there, being used by different people in different, understandable ways, for good reasons of their own. Instead of saying all popular music of Korea is K-pop, let's get K-punk, K-indie, K-folk, K-hip-hop, K-dance, hell, K-Britpop and K-Eurotechno out into the ether as well, so that people have more tools to describe the music they like, instead of torturing the one single term we've been working with into froot-loops of twisted and confusing definitions.

Let's get away from too much lumping-together-of-things: clearer, more accurate language is better, the term K-pop has its uses, and it's not that hard to clarify and avoid confusion. It is not necessary to insist words must all have only one, context-free definition when they don't, and trying to do so bulldozes all the other terms that are being used to talk about Korean music. Actual, engaged K-pop fans would happily learn that variety of terms, use and discuss them, while non-engaged observers would never bother to learn any of them no matter how much online huffing and puffing there is for them to ignore, but who cares what they think anyway?

This image is sexist, but you know which one of these people will have more helpful conversations about colors?

Music genres do this. They just do. And outsiders don't care. Deal with it.

Let's play a game...


Let's play a game! (source: pinterest is rubbish for sourcing photos. Sorry.)


UPDATE:
You may notice that I have not offered a definition of K-pop of my own in this whole discussion. Is K-pop a genre? ¯\_(ツ)_/¯ sure! I don't really have a horse in this race: on an upcoming episode of the podcast I do with my buddy Eugene, (listen here!) I'll offer something of my own definition, but the point here is, K-pop works better as a term if we don't ask it to work too hard, or do too much. Beyond Hallyu's piece explains this admirably. If your definition of K-pop works for you, and either connects you with like-minded people, helps you find music you like, or gives you a framework for your top 50 Korean musicians countdown, go with it! But don't be too pushy insisting on your definition: language and culture tend to resist becoming overly tidy, and when it doesn't, that is when to bring Orwell back into the discussion.

There will always be big wagon and small wagon K-pop believers: people who think K-pop should be defined as broadly as possible, and those who think it should be more narrow. In that spirit, here's a fun game: let's make a rubric. Run your favorite group through this, and count up their score. Set the bar as high (small wagon K-pop) or as low (catch it all) as you want. Decide for yourself how many points a group needs to earn before they count as K-pop, and we can decide if Psy is or isn't K-pop, whether it's still K-pop when the Wonder Girls start playing their own instruments and singing in English, whether EXPedition is, or No Brain, or Diana Ross and The Supremes for that matter. Here is the checklist, with my own point values. Change the point values to fine-tune your own definition, and then check who clears it and who doesn't.


Group 1: Necessary? Sufficient? Disqualifying?

__ Marketed toward Koreans in Korea (50 points)
__ Sung in Korean (50 points)
__ Marketed toward Korean diaspora (15)
__ Group is signed with either: A Korea-based, Korean-owned label (15) One of the "big three" Kpop labels (YG, SM, JYP) (30)
__ Group promotes itself on Korean shows like Music Bank, Inkigayo and Music Core (40)
__ Group is NOT signed with a Korea-based, Korean-owned label (-60 not completely disqualifying, but close)
__ Group/singer was active before the 1990s (DISQUALIFIED)
__ Group/singer was active since 2007 (3 points)
__ They play their own instruments at live shows (-80: they're not K-pop anymore. They're K-something else.)

Group 2: Makeup and Formation

__ Add 5 points for every member the group has after the first five (so, a six-person group gets 5 points; seven-person = 10 points; a 12-person group = 35 points)
__ Subtract 3 points for every member of the group who was not born and raised in Korea
__ Subtract (__) more points for every member of the group who could not pass for Korean in physical appearance (ethnicity/race is important to some people, who will want to put a point value here. I don't really care as long as the next requirement is satisfied).
__ Subtract 8 points for every member of the group who is not fluent enough in Korean to make appearances on Korean television
__ Group was chosen and trained by the label (15 points)
__ Group members are on restrictive, probably unfair long-term contracts (7 points)
__ Group members are all gorgeous by conventional standards of attractiveness. (18)

Group 3: Aesthetics

__ Creative choices for songs, videos and dances are made by the studio, not the performers (8)
__ Music videos all have a "concept" (5)
__ 3 points for each group member with a designated role ("the visual" "the bad girl" "the vocal")
__ Music is driven by synthesizers and sounds like a mash-up of other popular music genres (4)
__ Features rap solos that add nothing to the songs, or dance breaks that sound like the trendiest EDM styles of the day. (4)
__ Cute poses and extreme close-ups feature prominently in videos (3)

Group 4: Promotion/Differentiation from other Asian pop

__ Subtract 4 points for every single released only in a language other than Korean (lose too many points, and you're not K-pop anymore: you're Asian pop, J-pop or something else)
__ Subtract 2 points for every single released with a Korean version and a version in another language
__ Subtract 5 points if the group has a "sub-group" targeting markets outside Korea
__ The Korean government has actively promoted their music (12)
__ Add 2 points for every advertising campaign they appear in in Korea.
__ Add 1 point for every advertising campaign they appear in in the rest of Asia.
__ Has an online fan club (10 points) with a quirky nickname (3 more points) run or closely managed by the label (8 more) pumping fans for more money through special offers and deals (5 more) whose fans will fucking dox you SWAT you and cut you if you diss their group (12 more)

Group 5: Other

__ White men over thirty living in Asia who don't listen to it sneer at it contemptuously and talk about it as if they were experts on it (7 points)
__ One or more performers were discovered on a Korean audition reality TV show (__) add value here: I don't care about this but some might.
__ Nobody has suggested a different hyphenated K-genre for their music (For example, "She isn't K-pop: she's K-indie!") 5 points
__ Somebody HAS suggested a different hyphenated K-genre for their music (-15 points)
__ Their fans in Korea insist upon this different hyphenated K-genre (-25 points)
__ Their fans abroad insist upon this different hyphenated K-genre (-40 points)
__ The fans abroad insisting on this different hyphenated K-genre name are organized, have a fan club nickname, and will fucking dox you swat you and cut you if you diss their group (cancel all above deductions)
__ When a new video comes out, fans mobilize to try and set Youtube "Fastest to X million views" threshold speed records. 


Add your own criteria in the comments, or change the point value in the comments if you want!

Thank you for reading, dear friends.



UPDATE!

Here are some suggested additions to the checklist from Facebook. Thank you, Jon Dunbar!

__ Band is mixed-gender (-20)
__ Band name could be mistaken for a chemical corporation (good one: wish I'd thought of it... DO THE BUZZFEED QUIZ!) (5)
__ Band wears a uniform or uniforms (5)
__ Minus one point for each year above 25 of the band members' ages

(Rob riffing on those:)
__ Band does a video in thinly veiled fetish gear (3)
__ Plus 3 points for each year below 19 of the band members' ages

Any further additions are gladly welcome!


MORE UPDATES:
Stephen Epstein has written a brilliant comment under AAK's rejoinder post.
Go read it!

Wednesday, February 17, 2016

Eulogy for The Marmot's Hole: The Official End Of The K-Blogosphere

After four years or so with the same layout, I've been making small tweaks to the blog and the sidebars: the names appearing there will be changing. If you know a blog or podcast that deserves a place on my sidebar, please let me know: I'd hate to be like one of those blogs I used to snicker at, with three-years out-of-date blog links in the sidebar (says the guy who just yesterday removed the link to ROKetship, who repatriated in 2011 or so).

Last December, something important happened in the "Korea-blogosphere" or "K-blogosphere." K-blogosphere is a term first used by GI Korea in a comment at Metropolitician Michael (now Dr.) Hurt's blog (here - sez google). I used it a lot myself around 2008 and 2009, when I blogged the most. It was a word that imagined there to be a community of Korea bloggers, who were connected, and that those connections meant something. One could (or at least, I did) talk about the "K-blogosphere" as if it were an organism, the way many Korea-bloggers like to talk about "Korea" as if the country were a character in a drama.

At that time, there were a handful of blogs that one could probably refer to as the go-to Korea blogs: a group of blogs that referred to each other, and that everybody kind of assumed everybody else was reading. We even met up sometimes. We teamed up on projects like The Hub of Sparkle. You could rattle off their names. Zenkimchi. Expat Jane. Scribblings of the Metropolitician. Korea Beat. The Grand Narrative. The Marmot's Hole. Gusts of Popular Feeling. Brian in Jeollanamdo. ROK Drop. A little before my time were The Big Hominid and a couple of others.  K-pop K-blogs created their own little ecosystem, led by Dramabeans and Allkpop and Eat Your Kimchi. Outside those "big ones" there were a swack of others that were a little less famous, but part of the web of connection, linked on the sidebars and in articles.

As time went by, more blogs, both "big" and "small" fell defunct, the bloggers repatriated or started repeating themselves or moved on to other projects or had kids, changed jobs, and got busy. Or the commenters went berzerk. Or people eventually noticed they sucked, or the authors found better ways to get attention/notoriety. A few bloggers got harassed and bullied into removing their blogs.

The very idea of a K-blogosphere has always had its skeptics. A few commenters, one who is a good friend now, always argued it was a stretch to call K-bloggers a community. This became more and more true as tumblr, twitter, reddit, Facebook groups and pages, vlogging and podcasting all came into their own, and each developed its own niche, and all the "original K-blogs" that vanished were replaced by newer blogs. Finally, there wasn't really a K-blogosphere anymore, but many. The tumblr k-blogosphere. The social justice K-blogosphere. The teaching K-blogosphere, the K-pop one. The foodie one. The military/security one, and they intersected less and less. Somewhere around the time ATEK imploded, I became disillusioned of the idea expat teachers could align their scattered interests. Likewise, I stopped believing expat blogger community could be called into existence simply by using the term K-blogosphere a lot. Little knots of convergence would remain, but social media seemed to supply quicker, richer connections, and seeking "likes" "shares" and "upvotes" was more fun than taking the effort of writing out blog posts and hoping for comments. Eventually, the very idea we needed a K-blogosphere kind of dissipated. Or maybe I just got married and decided to invest my energy in a different set and type of connections. I won't rule out that I'm just out of touch now, but I'm unwilling to participate in That. Facebook. Group. just to get dialed back in. So be it.

Through all that, there was one go-to, one lodestone in the ever-changing Korea blogosphere. Or maybe it was the last tent peg stopping the entire tarp from blowing away. For everyone who'd graduated Dave's and gotten bored of those Facebook groups where the new wave of teaching first-and-second-years k-eep k-omplaining, there remained The Marmot's Hole.

One of the original K-bloggers, Robert Koehler's blog went through a number of phases, but spent a longer period with a higher level of sustained output, popularity and relevance than any other Korea blog. And really, it wasn't even close. Robert Koehler has been cited by more major western news sources than any other Korea blogger and over a longer span of time, and he has also had more foreign journalists commenting and visiting his page. I don't think there is anybody who would dispute that. In December, The Marmot announced his retirement from blogging, and the last intersection of the increasingly dispersing venn diagram of Korea blog niches vanished. With The Marmot's retirement, I don't think the idea of "the big k-blogs" exists, or is a useful term anymore, and if it hasn't been for a while (probably the case), this is the locking of the door as it shuts.

It was a great run though, so my hat is off to The Marmot, Robert Koehler (you can see what he's doing now by following his photography tumblr). Everybody blogging in Korea owes him a debt, so thanks for the links, the fun, and for being the biggest tree in the wooly ecosystem that was the K-blogosphere for so many years.

Where to now? Who's to say? Now that all the touchstones have been pulled up, I think everybody's going to crawl further into their little niches. Nobody will be filling The Marmot's shoes. Dave's, Facebook and Reddit aren't generating the combination of diversity, cumulative knowledge of commenters and liveliness found at The Marmot's Hole. I expect things to continue fragmenting, and I expect that the best thing I get out of blogging (as has been the case for a few years now) is no longer some measure of fame (snicker) but the chance to send up a flag to find some small number of interesting, like-minded people to find me.

The Marmot's Hole is gone. I am sad that the archives have been pulled offline, for the sake of history. The other legacy I hope continues is this: The Marmot never claimed to be an expert, and often said that the longer he spent in Korea, the less he knew. I hope that kind of humility and uncertainty remains an undercurrent in the attitudes of future K-bloggers.  It's sure nicer to read than the pretense of unearned authority. But I'll take curiosity over the fear of saying anything substantive, if it comes to that. As for the comment boards... they're probably gone forever, and I don't think they're coming back.

Good luck in the future, Mr. Koehler.

Tuesday, July 29, 2014

You'll Never Guess the Top Five Things That Happened After K-blogs Got Too Self-Referential

Ouroboros. Source
This might be the worst K-blog list infection since that CNNgo troll article prompted a spat of countdowns (links to others at beginning of post)

Lists are the thing again. And posts about bloggers who make lists. And lists about bloggers who make posts about bloggers who make lists. And this is a post about a list about a post about lists. If others write similar posts, we could make a list of posts about bloggers who write posts about bloggers who make lists. And then the K-blogosphere will crawl up its own butt, die of auto-rhetorical asphyxiation, and probably not be mourned.

Listception!

Image belongs to this guy. Buy one!

However, when even a scholar like Cedarbough, over at her blog Footnotes, has made a top 10 list of how to Korea correctly, I guess my memo must have just been lost in the mail. And so, in obligatory clickbait fashion, lest they take away my K-blogger card, here are the topics we've seen so far. In list form, of course.

1. Perhaps Paul Ajosshi got it started with his "6 Dangers That Await You at the Boryeong Mud Fest" - a cautionary listicle that totally neglects the looming threat of a zombie apocalypse. (By the way, don't you love the word listicle? It sounds just similar enough to the word "Testicle" that it not only conveys that something is an article that is a list, but makes people go "uh... kinda ew." As listicles do.

What I imagine when I hear the word "Listicle"


2. Following Paul, Charles Montgomery wrote "Top 10 Newbie Mistakes in Korea" the most useful of which is #2, that if you're an HBC expat hipster... you're not actually rebelling when you dress the way everybody else in HBC dresses, and hang out in the same dives. On the other hand... Charles is hardly breaking new ground in making fun of hipsters, which even Mike Myers did, way back when he was still really really funny.

(So I Married An Axe Murderer (1993): people have been making fun of hipsters since before the latest batch of hagwon teachers were born.)


I wish they would get off your lawn, too, Charles!


3. William George answered Charles with "Noobs, You're Doing Fine"

I don't think we'd realized listicular circlejerkititis was the thing infecting the K-blogs yet with Mr. George's "Don't listen to the grumpy guy" response. But then, the ball was just getting rolling.

4. Epidemic status was reached when Sweet Pickles and Corn published "10 Things In Korea that I'll Never Ever Do" including things like "I'll never go on a temple stay" (fair enough). Mostly, I think he must be doing well here, if the worst thing he can think of to do here is overpaying shitty foreign food (10th on the list). Somewhere out there, perhaps on one of those blogs that got cancelled, there's a person who could make a much more sordid list with a much better grasp of "How Expats Hit Bottom In Far-Off Lands".

5. Cedarbough weighed in with 10 things to do if you live in Korea -- one of the better lists I've read, and wish I'd written myself. I especially like 4, 5, and 6, and I can only hope she'll follow up #3 - "Read Real Books About Korea" with a second top ten (or 15, or 80) suggestions of places to start.

6. Burndog takes the piss out of everyone who writes a list, or grumbles about those writing lists, with "10 things I'll Never Write a List About in Korea Something Something Noob"

7. Finally, Dom and Hyo have, in cartoon form (squee) "9 Different Types of Expats You Will Come Across in Korea" -- a list I like, because it seems to be written neither to vent unhappy expat rage, nor to ingratiate themselves to an imagined Korean audience. However, they missed the "know-it-all" of whom I am one.


Now that I've done a list about lists, let's include it in a list of your favorite conglomerations of lists, like Cracked cannibalizing itself, until we have a list of the best lists about lists about collections of lists. And put each item of the list on a separate page, to squeeze out extra clicks. Ads in the sidebar, all hail google ads revenue!

Pertinent to all this listification is the fact that every week, I go on TBS radio and present a list myself, in a segment titled (by my predecessor in the spot) "The Lone Ranker" - I do little countdowns about whatever topic I like that week, ranging from heavy stuff like "6 ways Sports Mega Events Helped Create The World We Live In Today" to frippery such as "The Five Most Annoying Things About Spring" (both actual topics I've done). I may start turning more of my topics into posts for ze blog (especially given how sparse posting has been lately.

Stay cool my loyal readers.

And now, here is a video of Kim Jong-un dancing, that went viral in China.

Looking silly is the worst thing possible for North Korea (hence the report that a Seth Rogen movie will be considered an act of war) - no nation has ever screamed louder "Take me seriously" in all its policies and actions, than North Korea. I guess if you can't walk softly and carry a big stick, the next best thing is to wave your wet noodle as threateningly and loudly as you can in everyone's faces.


Put your list in the comments if I forgot yours!

Monday, May 05, 2014

A Few More Links On Culture

Here:
Read two examples of ways to talk about culture (in the broader sense)

From the New York Times - "The Case For Disobedience" which includes these lines, which I think are crucial to understanding the public response, and the most relevant cultural angle to the issue:
“The elder generation’s responsibility for the younger generation has always been a central Korean value,” Christopher Hill, a former U.S. ambassador to Seoul and the Dean of the Josef Korbel School of International Studies at the University of Denver, told me. “It’s absolutely counter-cultural to have crew members not take responsibility, which explains the national revulsion.”
From Jason Lim, for The Korean Herald - "But Korean Culture Is To Blame" talks about the culture of unbridled capitalism and profit-seeking, the way too many Koreans, for too long, have been willing to sacrifice too many other concerns, for profit. If you stretch the meaning of culture one way -- to mean the behavior and values reflected in every day life, then it's a cultural argument. If you stretch culture the other way, to mean the framework of ideals reaching out of the past, you'd say "that's not culture: profit isn't a Confucian value!" Defining terms helps. The other most relevant way culture plays in:
But it’s not just the love of money. After all, who doesn’t like money? But it’s the almost Machiavellian pursuit of money, growth, and success that has reached its peculiar zenith in Korea and trampled any other considerations in its way, including safety. The Washington Post quotes Professor Lee Chang-won of Hansung University as he poses the question, “The thinking is, is it worth stalling progress to deal with these regulations if there’s only a 1-in-10 million chance of something going wrong?”
In my book, this is a legitimate cultural argument, because profit is one of the values and priorities by which Koreans make judgments and decisions for action. Held up to survey results like these - wherein 2010 a larger percentage of Koreans listed wealth as the most important determiner of success than any other country, and had a top 5 result in this one. Is that a slam dunk proof? No. But it's enough to warrant further investigation.

Sky Kauweola's Tumblr blog has a piece about Cultural Determinism and the "Fundamental Attribution Error" I name-checked but didn't really expand upon in my last post. I encourage you to read it.

That article also links to a discussion of the obedience issue, in the context of older studies on "destructive obedience" - obedience of authorities, even when it goes against one's better judgment: the famous Milgram experiments (where doctors told subjects to administer electric shocks to unseen victims, and the rate at which people delivered strong enough shocks to kill -- even while hearing screams of pain -- because the Doctor told them to, was shockingly high.

Bringing the Milgram experiments into the discussion of hierarchy and obedience to authority is an extremely useful addition to the conversation. Humans do seem wired to obey authorities and leaders, which is why (as protests online and offline gain steam) the point comes home, again and again how important it is for us to choose the right leaders.

Monday, March 24, 2014

Hollaback Korea: Taking a Stand Against Street Harassment

Street Harassment. From Lefty Cartoons.

Before reading further, we're just going to have to agree that street harassment -- catcalling and other such sexually (or racially, etc.) charged attention, toward strangers (or non-strangers, really) is wrong and inappropriate and ugly. If you can't agree with me about that, go find a corner of the internet more amenable to your views. The different types of sexual street harassment are points on the spectrum of sexual violence, just as racist street harassment is located on the spectrum of racial violence, and homophobic street harassment... you get the idea. Make no mistake about that.

Plus, it only takes about three seconds of walking in someone else's shoes to realise that bellowing come-ons, or pejoratives, to strangers in the street -- of any gender and orientation - is really rude and intrusive. Verbal and other harassment, and also brushing it off and treating it as if it's nothing, creates an atmosphere where targeted people can feel threatened and oppressed, nervous to do things that everybody should be free to do without fear. Stuff like walk down the street. Or wear something they like. Or be tall.

You may have heard of the "Hollaback" movement. Start with iHollaback.org, which was founded in 2005. Frustrated with the silence around street harassment in New York, the website allowed the victims of street harassment to upload photos of their harassers, or stories of their harassment, on the internet, to give victims of harassment a voice, and a means to fight back.


Awareness has grown since then, and Hollaback has now spread to 71 cities, 24 countries, and 14 languages.

Including... Hollaback Korea. The site is almost entirely bilingual, and it's quite easy to use. There is a map of Korea where you can drop a pink pin to locate your harassment incident, or a green pin to locate a harassment incident where you, or somebody else, stepped in to defuse or defend the victim. In my opinion, this is pretty damn cool. Posting is totally anonymous, so you don't have to expose yourself to tell the story that's been on your mind, or share the picture you took, or you can peruse other stories to remember that you're not alone. Any type of harassment, whether it's based on gender, sexual orientation, race, or anything else.

In December, I was contacted by the leaders of Hollaback Korea, who launched the Korea iteration of the Hollaback website on December 3rd. I've been in touch with Chelle B Mille, who's also a contributor to the Korean Gender Cafe, and suggested an e-mail interview, to suit our busy schedules.

Here is another Q and A here about Hollaback Korea that you might find interesting. This is the Hollaback Korea crew:

And here are the questions I sent, and the answers Chelle B Mille sent me,

Rob: 1. What inspired you, and the other contributors to this project, to create this page? Why now, and why Korea? 
Hollaback Korea: Our website and mobile app draw on great resources that Hollaback! chapters utilize in 24 countries worldwide. Several contributors to this project, such as Hany (돈두댓/Don’t Do That), Lisa (Stand Up to Sexism), and Maria (Jeolla Safety Alliance), had already been involved in or established their own Facebook or Twitter communities to address sexual violence or harassment in their regions. Hollaback! Korea is a way to connect us all to this national and international issue so that we can share stories and resources. The “why now” is really more of a personal journey, I had wanted to be involved in a project like this for a long time. I had participated in sexual harassment counseling training with Korea Women’s Hotline 한국여성의전화 (see what they do at http://www.hotline.or.kr) and helped 돈두댓 recruit participants for their Slutwalk event in Busan. After 8 years of study and life in Korea, I felt I had learned enough to start a venture like this and was connected to great people in citizen and expat communities that I could partner with.

2. Part of the goal of Hollaback is to create a safe space to talk about street harassment. Can you talk briefly about the existence, and condition, of safe spaces in Korea to discuss issues like sexual violence and harassment, both in English and in Korean? 
HK: There are some fantastic organizations, several that we refer to as resources on our website. There are not as many resources to talk about street harassment, compared to other forms of harassment or violence. We need to do more outreach to the folks who wouldn’t already be attending an event or already study street harassment, we need to bring the project TO them if they don’t come TO us. For example, outdoor events and sidewalk chalk events (see below) are something we’d like to do all over the country, so we’re looking for virtual volunteers all over the nation. 

3. I've noticed that the Hollaback Korea website makes as much content as possible available in both Korean and English. Can you talk about why you think that's important? 
HK: In my opinion, in general, spaces to talk about these issues tend to be spaces that feel “safe and comfortable” for either nationals or aliens, and we hope that our project and our efforts to provide bilingual content can build a bridge so that we can all communicate and learn from each other. Inclusivity and intersectionality are our core values. We have generally had excellent media coverage but unfortunately, once or twice a major news outlet has decided to tell a different story and to pretend that this is a “foreigner issue” or come up with made-up headlines like “Foreigners say Koreans harass too much” which couldn’t be further from our message. I think this is a strategy to diminish the project and the issue, and a way to silence people who could come forward. It’s easier for some people to avoid questioning their behavior and to squash a discussion if they tap into the idea that ‘outsiders’ are the only ones making noise. On our site and in our discussions we take great pains to emphasize that these are problems that are not unique to any particular nation, culture, etc. and to make it feel as inclusive as we can for all to participate. We are always seeking Korean and English language content contributors, contact us at korea@ihollaback.org for volunteer opportunities. 

4. When I [Rob] attended Slutwalk, a journalist asked me if having a Slutwalk was an appropriate way to deliver its message in the cultural context of South Korea. If somebody asked that same question about Hollaback, what would you say? 
HK: Hollaback! Korea really isn’t much different from what you already see happening on Twitter, Nate Pan, Cyworld, Facebook, etc. in online spaces that are run largely by and for Korean citizens, so I think our use of social media reflects a great adaptation of an international movement to a local context. I think the idea of sharing a story anonymously can provide a tool to those who might want support, but struggle to find it. 

5. Do you have any other causes or upcoming projects that you'd like to draw readers' attention to? Is there something “next” after Hollaback is established and running well? 
HK: Over the winter, we were focused on spreading the word and working with adults. After 6 successful events with adults, we feel we started a discussion and that Facebook (https://www.facebook.com/HollabackKorea) Twitter (https://twitter.com/HollabackKorea) and our website (http://korea.ihollaback.org/) are good spaces for adults to contribute. Now we are focusing our attention on youth programming. We have upcoming workshops for high school youths in Jeju and Gwangju. For adults, we will plan some future events but in the meantime we’d like our community members to participate in localized and even Korean-language white board campaign we’ve been running on Facebook. 

6. Why street harassment? Do you see this as a first step toward other discussions, or as an end in itself, and what do you hope this website will accomplish? 
HK: There tends to be greater social awareness of and action around workplace and school harassment, but street harassment is an issue that requires more attention. Every time that a community member visits our website and reads a story, they can click “I’ve got your Back” and the author knows that even if no one on that street, subway car, in that store, etc. had their back, the reader online is empathetic. That is a first step toward people being more aware of the harms of street sexual, racial, homophobic and gendered harassment, and taking a stand in-person when they witness street harassment. On our map, pink dots reflect shared stories and the green dots highlight incidents in which a bystander intervened. I’d like to see more green dots. 

7. What advice do you have for someone who's been through an experience that's been humiliating or violating, and who doesn't know who to talk to -- or has been told to hide, ignore, or cover up their experience, by someone they trust? 
HK: Please share your story with us, we’ve got your back. Each person makes their own decision about how to respond and what actions to take after being harassed. I’m not here to tell anyone what to do or judge them for their decisions. We are here to show our support, and to educate the public about the seriousness of this issue, so we need people to come forward and share their stories. It’s a brave and difficult act, but in our community we have zero tolerance for anyone who would second-guess, judge, or criticize someone reporting their story. We want to hear from you and we want to support you. Together we can make sure that this issue gets the attention it warrants.  

8. What have been some of the obstacles in starting discussions about this topic here in Korea? How have you tried to deal with them? 
HK: There haven’t been many unique obstacles. Generally, any new project needs to get the word out. We all work hard to educate ourselves and our community about what it means to be inclusive and intersectional, so we are constantly unlearning some of the sexist, racist, homophobic and gendered ideas we may have been raised with, which is an ongoing learning process for all. I alluded to the attempts by a few to diminish the project by pretending that it is a ‘foreign’ issue, but I think there is generally great reception to the project and the people we meet are very open to sharing and learning with us. 

9. Can you compare the state of these sorts of discussions in Korea now, compared with, say, three or five years ago? Are you generally satisfied with the pace of change, or not? 
HK: I have lived in Korea since 2006 and I think social dialog around sexual harassment has increased quite a bit in that time. I’d like to see more discussion of homophobia and racism, but I think these are issues that are also getting more consideration compared to 8 years ago. It is hard to be ‘satisfied’ with the pace of change, though, when you read stories. It is hard and frustrating for our volunteers to hear about violence. We just have to keep working together to push these issues and to create opportunities for people to unlearn their prejudices. 

10. What are some ways men who support the Hollaback idea can help in real life, and online?
HK: We have had 5 men who volunteer with the project, so I’d welcome volunteer contributions to help us run events, spread the word, and to create opportunities to discuss these issues with friends, co-workers, and family. Visit our website and click “I’ve got your back” and read the section on our website about how to “Be a Badass Bystander - 우리가 도와줄게요".  Be more aware of and open to learning about the issue, don’t judge people or diminish their stories.

11. You just used the phrase "don't judge people or diminish their stories." Can you explain to my readers what it means to diminish somebody's story, and why it's a problem? Maybe this is asking a lot, but can you either guide my readers to a place where they can read examples of phrases or arguments that diminish someone's story, and learn why they do so, or give some examples and tell my readers why these examples diminish someone's story?
HK: Derailing is one common way that people might diminish stories, here are a few examples relevant to safe spaces like Hollaback! Korea where people share their experiences. If I were to typecast some common examples of derailing, I could start by pointing these out:
Contributor to the Problem #1: This contributor might intentionally use what they call 'humor' to bait people who are already suffering from offline harassment, or likes to be a "Devil's Advocate." A Badass Bystander would focus on calling out harassers instead. This link is a good one to read.
Contributor to the Problem #2: This contributor tries to tell someone that what they experienced was "not harassment" or that someone is being over-sensitive or not paying attention to what was intended as flirtation, etc. Harassment is defined by the person who experiences it; we don't care about the intentions of bullies. A Badass Bystander would listen and learn, maybe even pick up some tips on how to be a better human along the way. 
Contributor to the Problem #3: This contributor asserts that only XYZ person has "the right" to do something about street harassment, as if people who are targeted for abuse don't have the right to stand up for themselves. A Badass Bystander knows that everyone deserves to feel safe in public spaces. 
Contributor to the Problem #4: This contributor really wants to protect women, but doesn't really feel comfortable with women sticking up for themselves. Or they view themselves as really open-minded, until they hear that their joke about bisexuals is hurtful and are challenged to think about that. A Badass Bystander really cares about empowerment, intersectionality [Rob says: see note below] and is truly open to unlearning their own biases. 
We all have some things to unlearn, we have all said and done things we come to regret. When I think about the last few years of my life, it has been a great privilege to have had the opportunity to learn from a lot of people that I've come to love, and an even greater privilege to learn how to apologize to people that I have hurt.

That's the end of the interview. I'd like to thank the Hollaback Korea people again for the time and the interest in sharing. Personally, I'm quite an idealist, insofar as I really do believe that talking about social issues is the first step in improving things, and because of that, I salute the courage of people like those in the Hollaback movement, for starting conversations where there used to be nothing but shame and silence.

*Note from above: The word Intersectionality is used a few times in this interview. Intersectionality is the study of how different groups experience oppression, discrimination, etc., in different ways, due to the same structures of power and injustice. Race, gender and sexual orientation, for example, are important parts of someone's identity, but can't really be separated from each other in any individual's case, so it's hard to study them in isolation. The idea of intersectionality helps people try to look at justice issues in a more integrated way, by thinking about how these different aspects combine or interact. One of the main things  intersectionality has added to the conversation is the idea that all groups benefit when they support each other and try to understand each other, even if on the surface, they don't always seem to have much in common.

Whether or not you have experienced street harassment, or any of the other kinds of sexual violence out there, Hollaback Korea is a worthy effort to start conversations that can lead to change. And that's good, and you should support them.

That is all.

Here is the Hollaback Korea Facebook page.
Learn more about Street Harassment.
Learn about Rape CultureLearn more about Rape Culture. And more. With examples. Seriously, it's worth it. Rape jokes are part of rape cultureMen, this is on you, too.

Oh yeah: have you seen this hidden camera? CNN Cairo dressed a man up as a woman to experience street harassment. Watch this. And 9000 other videos about Street Harassment on Youtube, from all over. It happens, and it matters.

Thursday, September 26, 2013

Tumblr Feminists: So What?

This is a re-worked version of a post I wrote last month. If you read that one, don't bother with this one. I don't like editing posts after people have already left comments, so instead of just editing that one, on the advice of a friend, I'm putting this one out as the version of record.

Removed: a bunch of stuff about gendered spaces, which I blundered through last year, and, on the advice of said friend, which I'm going to leave alone until I have the tools and background to write on it more credibly. To sum up: I got it wrong before, perhaps got it less wrong with that last post, and I'm still working on getting it right.


Last week I came across a new term in my internettings: "Tumblr Feminist" -- this is a very obnoxious description of what that is (and the phrase's possible origin). This is the search of "tumblr feminist" on Reddit, where I came across the term. And the reddit thread "Explain Like I'm 5 What a Tumblr Feminist is" has this as the "top" (most upvotes) comment - a pretty good at-length description - and for its "best" comment (highest ratio of upvotes), a concise one:
"The perception is that tumblr users are passionate but not very informed on gender issues, so the term is used derogatively."

Tumblr feminist probably fits in a category with pejoratives like "armchair quarterback" and "slacktivist" and "Randroid"... but the term, strikes me as mean-spirited - more than those others.

To be clear now, not every feminist on tumblr is a "tumblr feminist," just like not everybody linking events and causes on facebook are slacktivists (some back the "likes" up with action). The term seems reserved for the bottom rung or two of the hierarchy of disagreement (source), and not writers and thinkers who ply in the top section of the pyramid, those who've done their background reading, invested time and thought into making a meaningful contribution. But then, the term is not clearly defined, which makes it more useful for name-calling -- moving goalposts is an easy way to avoid taking responsibility for making generalizations.



The term "tumblr feminist" set off alarms right from the start. Google tricks (a keyword timeline search mostly) confirmed my suspicion: "tumblr feminist" was probably coined in that obnoxious youtube clip above: the first time that exact word combination appears is the month he published it. Subsequent mentions up until last month, when I suddenly came across it four or five independent times, had that same tone: contemptuous, and originating almost entirely in men's rights-type forums. It ventured outside of those realms mostly in response to comments or potshots from within it.

Since the start, the term has been used as a "straw man" (straw person) to whom people have ascribed the views they want to argue against -- basically, the Men's Rights folks have been using "tumblr feminist" the same way Fox News uses "the liberal media" or "the gay agenda" as a boogeyman. And that'd be the Men's Rights folks who use that flag to mostly act like sexist pricks, not the group that are said to exist, who have done all the same gender studies reading as feminists have, but are picking up the stories and issues on the male end of the gender spectrum. (As a side note, that latter group might do well to find a different name for themselves that doesn't confuse them with the former group. Perhaps one with enough jargon, or long enough, that online misogynists find it cumbersome to co-opt.)

In the last month though, people outside of Men's Rights forums have been using it in name-calling exchanges, in "am I really a TF?" "why ____ is a TF" or "I'm not a TF because" type blog posts. It's gained a little traction. Personally, I don't like that: labels are useful for introspection -- asking myself "is there mansplaining in this blog post/comment? Am I gaslighting?" But this label has been weaponized from the start, and using labels as weapons leads to defensiveness (follow-up with gaslighting), or anger (follow-up with tone policing) to derail conversations.



Along with its troublesome origins, my other problem with the term is this:

Every topic on the internet draws responses ranging from knee-jerk reactions to clear, informed reasoning, and discussion on every topic features too much knee-jerk and not enough clear, informed reasoning. Every single one.

Naturally, the same is true of women's issues. Writing that lacks clarity, rigor, or perspective? That's about 70% of the entire internet, isn't it? (That statistic is made-up. It might be more.) "Tumblr feminists" may or may not be an actual thing, but I know for sure I haven't heard a satisfying reason why they should be singled out over everybody else also using the internet less like this...

(Plato and Aristotle, by Raphael)



and more like this...
(Statler and Waldorf, by the Muppets)

or this.

Everybody's using the internet this way. Lots and lots and lots of men do. Every discourse has a few worthwhile voices and a lot of noise and people simply out of their depth. So if the group that becomes a target for derision is a subset of feminist writers (though if the term becomes common, wanna bet it remains reserved only for those feminist writers it originally applied to?) and they're simply acting the way most people (most men included) on the internet act, it's time for a motivation check. Does the simple existence of the term automatically indicate feminists, or women online in general, are singled out for persecution? Not all by itself, though given the term's origin (first yellow flag) and patterns of sexism on the internet (Food for thought.  --Patterns which trace right back to the origins of the internet, when the photo used to test compression algorithms was part of a playboy centerfold) it'd be worth looking into. A cursory look around suggests that we might be onto something.

To tie this to Korea: it's like the __ __ 녀 or "ladygate" videos (more about Korea's online misogyny at Koreabang and Yonhap News): after a while, it stops seeming like a coincidence that every viral video about shameful public behavior features a woman behaving unacceptably, and we have to ask what's behind the singling out of women for shaming. You think men never fight, smoke, or act out drunk on subway cars? (You've never been on line 1, have you?) Yet it's the women doing the above whose videos go viral. Weeeird. Or maybe not.

I remember my first blog posts about Korea culture... they're painful to read, and full of mistakes and signs that I was way out of my depth, talking about stuff I didn't really know much about. My enthusiasm far outstripped my understanding. I got better: I learned more, and my comments got more moderate and thoughtful. I'm glad I didn't get too badly bullied, shamed, or disparaged, back there during my starting point... that would've sucked. If I had been using my blog for emotional catharsis, I hope nobody would have mistaken my writing for attempts at elevated discourse: that mismatch of expectations leads to misunderstandings, and people forget that not everybody who writes on the internet is actually doing it for an audience. I hope that as so-called "Tumblr feminists" use the internet to sort through, hash out, and ripen their ideas about gender issues, or just to vent pent-up emotions that their everyday life doesn't let them, their readers are as patient as mine were, or are discreet enough to look the other way, rather than singling them out for bullying and disparagement, the way a phrase like "Tumblr feminist" does. The internet is big enough, and there are enough people writing thoughtful, well-reasoned things about gender issues, that we don't have to seek out the "tumblr feminists" to pick on them, do we?

No. No. Nope. No, we don't.

Monday, August 06, 2012

High Street Low Street: Seoul Photography by Dayv Mattt

Dayv Mattt, also known as Chiam, is a photographer I've admired for quite a while now- he's had a handful of different blogs, and can currently be found at http://www.dayvmattt.com/dm/

Disclosure: he contacted me and offered to send me a copy of his book for free, in exchange for a review. I insisted on paying for it, because I admire his photography and want to support it, and because I still don't want my readers to feel like they have to doubt my writing because I've used my blog to get free stuff.



But more to the point... I simply love his photography. The man seems to wander around the same parts of Seoul that I do -- not to say the same parts geographically, but the same types of corners and  neighborhoods seem to attract his camera's eye. The search for a good subject leads him up hillsides and into alleyways instead of down the main streets - the grittier and more crumbled, the better, so his photos end up showing a Seoul that City Officials and Official Guidebooks rarely highlight in their urgent attempt to dazzle visitors with shiny lights and huge displays of pointless technology: places that pretend war in the long past, dictators in the nearer past, and poverty and class strife right goddamn now have never touched Seoul, which is a well-meant, but an outright lie.

Mattt's camera's eye also gives clear evidence that he has lived in Seoul for a long time, paid his dues: the tourist would not notice from their hotel room, or not realize how important and common an element of Seoul life they are, to include uniformed school kids swarming into the streets when the hogwans close, or the way people react when a pigeon explodes into flight. It takes a long time living here, and an observant eye, to know that some of the things documented in his book, actually are important parts of living in Seoul: more so, even, than touchscreen thingies on streetsides in Kangnam, or the ornate corners of austere hanok buildings against blue skies - which you have to go looking for, rather than walking by them on the way to the subway stop every day, and which even tourists can  catch in a point-and-click, and feel like they've captured something about Seoul that matters.

The crumbling stoop where somebody's grandmother is husking garlic cloves, the side-alley where middle-school kids linger between hogwan classes, or taxi drivers pull over for a smoke and a piss, where even the chicken delivery guy gets lost; random stoops decorated with drunken salarymen and graffiti-covered police buses get perceptive, and even loving treatment here, and this is why High Street Low Street is a new favorite book of Seoul photography.

The book is huge - A3 size, for those of you who feed paper into photocopiers, and beautiful, glossy and rich in color, with around a hundred full color, heavy paper pages. Mattt has self-published these beautiful editions, and is selling them independently, to help himself buy a replacement for his old camera.

Maybe the best thing I can say about the book is this: after spending some time with it, I feel like DayvMattt lives in the same Seoul I live in, and I bow to him for capturing in images the feelings of the Seoul I've lived in, and loved, cracks, uneven cobblestones, blind corners with sudden night views, pig faces and foul-mouthed middle-schoolers and night streetlights making old houses magical, and all.

I highly recommend this beautiful book of Seoul street photography. I will protect it from my baby for as long as I can, and I recommend you buy a copy at his website, through bank transfer or paypal, to support an artist trying to make something beautiful on his own terms.

The "buy my book" link. You won't regret it. I might order two more copies for my dad and step-mom when they come to Seoul.

Friday, June 01, 2012

Racist MBC Video: Some Perspective and Marching Orders

Scroozle has posted a subtitled (translated) version of a video made by MBC, one of Korea's major broadcasting corporations, about "The Shocking Reality About Relationships With Foreigners."

The video is exploding on Facebook, and I dare not open my twitter stream...

I have a few thoughts about this piece, and a few ideas about how to respond effectively. I'll try to be as brief as I can.

But first...
Meet Babyseyo. I don't want him to grow up in a country that tells him his mother was a victim of his father.

1. Things are getting better.
As upset as we all are, things are getting better here in Korea, when it comes to this kind of race-baiting.

In 2005, SBS ran an episode of a show based on a controversial post at a website called "English Spectrum" (that post) (that episode)
And this happened. (Chosun Ilbo)

Immediately after the broadcast, the bulletin board on the program's website was flooded with over 1,000 furious posts. "I was so infuriated after the broadcast that I couldn't sleep," one read. "I'm frightened to send my children to an English academy," read another. "Foreign language institutes must do some soul-searching," said a user giving their name as Han Seon-yeong. "We must quickly deport all those low-quality foreign English teachers who try to pick up girls near Hongik University or Apgujeong." 
The extreme nature of some of the attacks has led to concerns for the safety of foreign residents in Korea. "After watching the broadcast, I began to look differently at the native English speaker who teaches in the elementary school where I work and the Korean English teacher who works in the same classroom," a user giving her name as Yun Eun-hwa said.
This time, when MBC does another hit piece, according to Busan Haps, "The video has spawned thousands of comments, overwhelmingly negative, against the broadcaster, with thousands of views and over 600 video shares in a matter of hours."

Comparing the release of photos from 2005's "Playboy Party," which inspired the Anti-English Spectrum, and for example, the appearance of the "See These Rocks" video, which got a week or so of coverage, maximum, and then kind of faded from memory as After School released a new video or something... things are getting a LOT better. Let's remember that, and be willing to mention that when we talk with people about this video.

When the awful awful Suwon rape/murder/dismemberment story was in the news, we got "Half of Foreigners Still Not Fingerprinted" (Chosun), but we also got "Don't Paint All Foreign Workers With Same Brush"

That said... a video like this is still bad, and wrong, and DOES merit a response, every time, until MBC and other outlets figure out that "Korea doesn't roll that way anymore."

Interestingly, a quick scan of headlines shows that the Chosun (the conservative paper) is more likely to  race-bait than the Hankyoreh, the most influential progressive paper.

Oh... and Scroozle mentions the 2018 Olympics, as in "Korea's on the global stage now... this kind of thing won't wash anymore" ... sorry to say it, but the 1988 Olympics were awarded to Seoul barely more than a year after Chun Doo-hwan had massacred hundreds and maybe thousands of democracy protesters in Gwangju, and a mere two years after Tiannanmen Square, the head of the IOC was encouraging China to put in a bid for the 2000 Olympic games that went to Sydney. As blind eyes go, the IOC clearly knows where their bread is buttered, and will cheerfully turn a blind eye to this, and secretly high-five each-other if this is the worst thing they have to ignore in the build-up to Pyeongchang 2018.


2. Let's not forget foreign men are not the only victim of this video...
Along with the old "Korea throwing Foreigners under the bus" thing, let's not forget, and let's be quite loud in voicing the other major problem with this video: the way it treats Korean women as if they are idiots with no self-agency, ripe and passive victims to the blue-eyed voodoo of white males. 

Because this video is just as much about women being easily duped and victimized, as it is about foreign men, and the idea that Korean women are helpless, faced with foreign men, is insulting to the intelligence and freedom of Korean women. It also has hints of possessiveness -- "they're OUR women..." which is also insulting and degrading to Korea's smart, dynamic, diverse, well-educated and self-determining females.


3. The ideal response (to this video)
There's a facebook group that appeared really suddenly, and has amassed over 4500 members as of this writing. They are talking about different ways foreigners could respond to this video. There aren't enough of us to make a boycott matter. E-visa holders run the risk of deportation if they protest something openly. Crashing MBC's website won't do much good in the long run.

So what IS needed?

Well, to begin with, it'd be awesome if there were a civic group in Korea, composed of expats and migrants, who basically acted as a watchdog for stuff like this. An anti-defamation league of language-savvy expats keeping an eye on media in general, publicizing cases, and making sure that racism in Korean media doesn't pass unchecked. But that doesn't exist yet.

I think the most powerful response to a video like this would be another video. A video that reminds MBC of the impact of spreading hateful messages. A video of long-term expats who speak Korean. Or who have families: multicultural families with kids who are Korean citizens, who attend Korean schools, who speak Korean, who have Korean grandmothers and grandfathers who adore them. Speaking to a MBC, and the rest, in Korean, saying, "Don't tell Koreans my father has HIV. Don't tell Koreans my mother is probably a criminal. Don't tell Koreans my wife is a victim. I CHOSE to marry my foreign wife. I CHOSE to marry my foreign husband, because we love each other. Pretending foreigners are all criminals hurts Korean families. It hurts your kid's teacher. It hurts the fathers and mothers of Korea's next generation. It teaches children to hate people, and hate hurts Korea."

Cue slideshow of cute biracial kids playing with their fathers, mothers, and grandparents.

It wouldn't take that much to put together such a video: the cooperation of a handful of multicultural families, a photo editor, a video editor, and someone who's bilingual and has a nice narrator's voice. That's it. If you're interested in being one of those people, e-mail me.


3.1 The ideal long-term response

The long-term response has to be two-pronged, because there are two main ways Koreans decide what they think about foreigners: the foreigners they hear about from politicians or TV shows (the macro level), and the foreigners they meet (the micro level).


3.1.1 At the macro-level (policy, laws, and media representations), here's what we need:

A. A group of expats, migrants and sympathetic Koreans who...
B. form an "anti-defamation league" or something like it, that... 
C. watches, and responds, to things like this. Every time. And... 
D. sends out press releases and communications in Korean,...
E. builds ongoing connections and relationships with the bureaucrats and politicians making policy choices about Korea's expat populations...
E. informs the expat community (in their languages) about what's going on, and...
F. perhaps also stages events or...
G. produces materials (classroom lessons, instructional videos, awareness PSAs) that...
H. raise awareness that expats in Korea have a voice, and are stakeholders in Korea, too.

It would be good if some members or allies of this group were long-term, well-connected expats. People who have published books about Korea, or who have sat across from government ministers or top policy makers to talk about these things.
If there were enough, nobody would have to carry the main part of the work load. And when the group is starting out, it wouldn't have to perform ALL those tasks: some would be for a future time when the group is better established. 
It would be good if this group were connected with the embassies of the various countries that send expats and migrants to Korea.

It is CRUCIAL that this group comprise members from EVERY country that sends a lot of expats to Korea. Canada, USA, UK, Ireland, South Africa, Australia and New Zealand? Yeah sure. Also Vietnam, Cambodia, Singapore, China, Russia, Indonesia, Thailand and the Philippines. First world expats often forget our migrant/expat status makes gives us more in common with citizens of these other countries than we realize. Our voices are stronger if we're unified.

These kinds of organizations and movements will probably have to be organized and powered by long-term Korea residents: people with families here, for whom it's WORTH fighting the good fight. People with the language skill to complain in the language of the land, so it gets heard. Short-term residents will, I'm sure, be welcome to lend their energy to this kind of cause, but the stability needed to build the kinds of relationships that will lead to an expat anti-defamation league having a legitimate voice will be provided by long-termers.

3.1.2 At the micro level:

There have been other times I've written long lists of things that are good to do, or things that are bad to do, and ways to avoid alienating potential Korean friends (who are also potential allies). 

So have others. (best one by Paul Ajosshi: "Don't be a wanker")

Also: a quick reminder, especially for non-Asian males: NEVER talk about Korean women to a journalist. They won't necessarily identify themselves as a journalist, if crap as shady as this video gets made (it looks like they were holding the camera at their side, perhaps pretending it wasn't on, when interviewing a few of these people), so watch for hidden cameras and intrusive questions, and remember: in Korea, it's OK to do all kinds of fun stuff, as long as you don't talk about it.

So for now, I'll encourage you to check links, and just say again, that we're all ambassadors, wherever we go. For our home countries, and for the idea of multiculturalism and change in Korea in general. Just, kinda, remember that, maybe?
4. Who are our allies?


We have tons of potential allies, and the sooner we can get organized enough to start reaching out to these different groups, the better off it will be for us.

Among our potential allies:

Parents of english students.

Hogwan owners.

Members of the conservative party who are advocating for multiculturalism and globalization - multiculturalism policy is part of LMB's big plan for "Korea Branding."

Non-first-world expats and migrants living in Korea

The progressives who are arguing the social welfare and social support side of the multiculturalism issue, in terms of marriage migrants.

The ministry of gender equality and family (both on the scapegoating Korean women side, and the multicultural families side)

Chambers of Commerce from countries trying to run or establish foreign owned companies in Korea, or trying to employ foreign experts and professionals in Korea

The Canadian, American, South African, Australian, New Zealand, British, Irish, Indonesian, Philippine, Thai, Cambodian, Chinese, and Vietnamese embassies (all countries that send expats to Korea, and have to deal with expats who end up in bad situations because of racist acts or laws)

The National Human Rights Commission of Korea.

And more, I'm sure.


In closing

My views on Korea's expat community have changed over the years. I'm not as optimistic as I was before I joined ATEK, and before ATEK crapped the bed. 

We're a fractious and diffuse community, in a lot of ways, and too many of us are transient. I've written about expat community here, and here: I stand by most of my points in these two community self-assessment-ish posts.  The first one.  The second one.

But it doesn't take THAT many people to form an anti-defamation league, if the right skills (language, writing) are present. And if such a group turned out to have the moral support of tens of thousands of first and second-world migrant workers... that'd be a pretty powerful thing. And a useful thing. And a thing Korea needs, if Korea is to continue down the same road towards being an increasingly diverse society.