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Since the mid-2000s, the term '''''kkonminam''''' ({{ko-hhrm|꽃미남|꽃美男||}}; {{audio|Ko-Kkomminam.ogg|listen}} ''kkot/n'' [꽃] = flower, ''minam'' [미남] = handsome man) has been commonly used in South Korea to refer to young men with a great sense of personal style and fashion, popularized by [[South Korean idols|pop idols]], who may seem effeminate, in part because they are often shown with make-up, such as eye-liner or lip gloss. Another cause may be that as most of them are in their late teens to early twenties they look rather boyish. Although they are sometimes regarded as Korean [[bishōnen]], their gender is not commonly questioned, nor their sexual orientation.<ref name="newsletter">{{cite web|url=http://seoulbeats.com/2012/10/the-king-and-the-clowns-love-story|title=The King And The |
Since the mid-2000s, the term '''''kkonminam''''' ({{ko-hhrm|꽃미남|꽃美男||}}; {{audio|Ko-Kkomminam.ogg|listen}} ''kkot/n'' [꽃] = flower, ''minam'' [미남] = handsome man) has been commonly used in South Korea to refer to young men with a great sense of personal style and fashion, popularized by [[South Korean idols|pop idols]], who may seem effeminate, in part because they are often shown with make-up, such as eye-liner or lip gloss. Another cause may be that as most of them are in their late teens to early twenties they look rather boyish. Although they are sometimes regarded as Korean [[bishōnen]], their gender is not commonly questioned, nor their sexual orientation.<ref name="newsletter">{{cite web|url=http://seoulbeats.com/2012/10/the-king-and-the-clowns-love-story|title=The King And The Clown's Love Story.|publisher=newsen|year=2012|accessdate=2012-10-25}}</ref> |
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== History == |
== History == |
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[[File:Dam yeom rip bon wang hee do, from Gugong Bowuguan China, 6th century.jpg|thumb|Damyeom-ripbon-wang-heedo (唐閻立本王會圖), China envoy to visit. left-to-right: Wa, Silla, Baekje Ambassador]] |
[[File:Dam yeom rip bon wang hee do, from Gugong Bowuguan China, 6th century.jpg|thumb|Damyeom-ripbon-wang-heedo (唐閻立本王會圖), China envoy to visit. left-to-right: Wa, Silla, Baekje Ambassador]] |
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The ''[[Hwarang]]'', or "flower youths"/"flowering knights/gentlemen" were an elite group of male warriors in Silla, an ancient Korean kingdom. Chinese sources referred only to the physical beauty of the "Flower Boys", known for their use of make-up and cosmetic decorations and accessories.<ref>{{cite book|title= Rutt, Richard, The Flower Boys of Silla (Hwarang)|year=1961}}</ref> The emergence of ''kkonminam'' is a socio-cultural phenomenon associated with the influence of Japanese [[bishōnen]] or [[yaoi]] manga that became available after the [[Censorship of Japanese media in South Korea|ban on the import of Japanese culture]] was lifted in Korea in 1998.<ref name="newsletter" /><ref name=Sun2010>{{cite book|url=http://books.publishing.monash.edu/apps/bookworm/view/Complicated+Currents/122/xhtml/chapter8.html|title=Complicated Currents: Media Flows, Soft Power and East Asia|chapter=CHOGUKJEOK PAN-EAST ASIAN SOFT MASCULINITY|last=Sun|first= Jung|editor=Daniel Black, Stephen Epstein and Alison Tokita|publisher=Monash University ePress|year=2010|accessdate=2012-12-15}}</ref> Professor Kim Hyun Mee at [[Yonsei University]] attributes this to the growing independence and confidence of Asian women: "[they] can afford to be more selective when choosing a mate".<ref>{{cite web|archiveurl=https://web.archive.org/web/20051215055521/http://www.time.com/time/asia/covers/501051031/story2.html|archivedate=15 December 2005|url=http://www.time.com/time/asia/covers/501051031/story2.html|date=24 October 2005|title=Mirror, Mirror...|publisher=Time}}</ref> |
The ''[[Hwarang]]'', or "flower youths"/"flowering knights/gentlemen" were an elite group of male warriors in Silla, an ancient Korean kingdom. Chinese sources referred only to the physical beauty of the "Flower Boys", known for their use of make-up and cosmetic decorations and accessories.<ref>{{cite book|title= Rutt, Richard, The Flower Boys of Silla (Hwarang)|year=1961}}</ref> The emergence of ''kkonminam'' is a socio-cultural phenomenon associated with the influence of Japanese [[bishōnen]] or [[yaoi]] manga that became available after the [[Censorship of Japanese media in South Korea|ban on the import of Japanese culture]] was lifted in Korea in 1998.<ref name="newsletter" /><ref name=Sun2010>{{cite book|chapter-url=http://books.publishing.monash.edu/apps/bookworm/view/Complicated+Currents/122/xhtml/chapter8.html|title=Complicated Currents: Media Flows, Soft Power and East Asia|chapter=CHOGUKJEOK PAN-EAST ASIAN SOFT MASCULINITY|last=Sun|first= Jung|editor=Daniel Black, Stephen Epstein and Alison Tokita|publisher=Monash University ePress|year=2010|accessdate=2012-12-15}}</ref> Professor Kim Hyun Mee at [[Yonsei University]] attributes this to the growing independence and confidence of Asian women: "[they] can afford to be more selective when choosing a mate".<ref>{{cite web|archiveurl=https://web.archive.org/web/20051215055521/http://www.time.com/time/asia/covers/501051031/story2.html|archivedate=15 December 2005|url=http://www.time.com/time/asia/covers/501051031/story2.html|date=24 October 2005|title=Mirror, Mirror...|publisher=Time}}</ref> |
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The [[National_Security_Act_(South_Korea)|National Security Act]] affected South Korea in the 1990s as there were regulations placed on international imports. Due to The National Security Act, Korea experienced a lack of television programming. Television companies to turned instead to establishing channels such as [[Mnet_(TV_channel)|Mnet]] in order to commercialize [[K-pop]] . Mnet is a South Korean pay television music channel which has a variety of programs through talk, game, and live music shows.<ref>{{cite thesis |last=Taylor |first=Constance |date=2007 |title=Kkonminam: An Exploration of Representations of Masculine Identities in the K-pop Industry |publisher=University for the Creative Arts|url=https://www.academia.edu/34120903/Constance_Taylor_Dissertation_EFPI6006_Kkonminam_An_Exploration_of_Representations_of_Masculine_Identities_in_the_K-pop_Industry |access-date=2018-10-23}}</ref> |
The [[National_Security_Act_(South_Korea)|National Security Act]] affected South Korea in the 1990s as there were regulations placed on international imports. Due to The National Security Act, Korea experienced a lack of television programming. Television companies to turned instead to establishing channels such as [[Mnet_(TV_channel)|Mnet]] in order to commercialize [[K-pop]] . Mnet is a South Korean pay television music channel which has a variety of programs through talk, game, and live music shows.<ref>{{cite thesis |last=Taylor |first=Constance |date=2007 |title=Kkonminam: An Exploration of Representations of Masculine Identities in the K-pop Industry |publisher=University for the Creative Arts|url=https://www.academia.edu/34120903/Constance_Taylor_Dissertation_EFPI6006_Kkonminam_An_Exploration_of_Representations_of_Masculine_Identities_in_the_K-pop_Industry |access-date=2018-10-23}}</ref> |
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== Korean Boy Pop Bands == |
== Korean Boy Pop Bands == |
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===Fan Reception=== |
===Fan Reception=== |
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Crystal S. Anderson, a Research Scholar of Cultural Studies at [[Longwood_University|Longwood University]], found a variety of ways of which global fans talked about the unique masculinity of male K-pop groups. One respondent wrote, “I am also really curious about flower boys and the varying expressions of masculinity in Korean boy bands.” Another respondent noted, “The first thing that attracted me when I was small is that Korean artists are exceptionally handsome/beautiful and possessed unique style, both in their music and fashion,” linking appearance to a certain style.<ref>{{cite book |last1=Anderson |first1=Crystal S. |editor1-last=Kuwahara |editor1-first=Yasue |title=The Korean wave : Korean popular culture in global context |date=2014 |publisher=Palgrave Macmillan, New York |isbn=978-1-349-46832-4 |pages= |
Crystal S. Anderson, a Research Scholar of Cultural Studies at [[Longwood_University|Longwood University]], found a variety of ways of which global fans talked about the unique masculinity of male K-pop groups. One respondent wrote, “I am also really curious about flower boys and the varying expressions of masculinity in Korean boy bands.” Another respondent noted, “The first thing that attracted me when I was small is that Korean artists are exceptionally handsome/beautiful and possessed unique style, both in their music and fashion,” linking appearance to a certain style.<ref>{{cite book |last1=Anderson |first1=Crystal S. |editor1-last=Kuwahara |editor1-first=Yasue |title=The Korean wave : Korean popular culture in global context |date=2014 |publisher=Palgrave Macmillan, New York |isbn=978-1-349-46832-4 |pages=117–131 |language=en |chapter=That’s My Man! Overlapping Masculinities in Korean Popular Music|doi=10.1057/9781137350282_7 }}</ref> |
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===Hybrid Bands=== |
===Hybrid Bands=== |
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Korean boy bands that exemplify this phenomenon are [[2PM]], [[Highlight_(band)|B2ST]], and [[MBLAQ]].<ref name="Leung2012" /><ref name=KimSoyoung>{{cite web |last1=Kim |first1=Soyoung |title=Men in K-Pop: From |
Korean boy bands that exemplify this phenomenon are [[2PM]], [[Highlight_(band)|B2ST]], and [[MBLAQ]].<ref name="Leung2012" /><ref name=KimSoyoung>{{cite web |last1=Kim |first1=Soyoung |title=Men in K-Pop: From "Flower Boys" to "Beast-dols" {{!}} Arts {{!}} The Harvard Crimson |url=https://www.thecrimson.com/column/k-pop-generation/article/2013/10/22/Kpop_Men_Gender_Roles_Soy/ |website=www.thecrimson.com |accessdate=24 October 2018 |language=en}}</ref> These bands draw on elements of "gangster" and [[Hip_hop|hip-hop]] themes in their performances. The hybridized aspects are made to appeal to other audiences and their taste based on these elemental features. Those that have analyzed these boys bands note that the boy bands display masculinity of both [[Kawaii|kawaii]] and kkonminam elements.<ref name="KimSoyoung" />These boy bands question stereotypical masculinity in their performances. |
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Due to their display of the tough masculine image 2PM has been nicknamed by local Korean media and [[Netizen|netizens]] as Jimseungdol.<ref>{{cite book |last1=Jung |first1=Sun |title=Korean masculinities and transcultural consumption : Yonsama, Rain, Oldboy, K-Pop idols |date=2011 |publisher=Hong Kong University Press |isbn=978-988-8053-63-6 |url=https://www.jstor.org/stable/j.ctt1xcrmm |accessdate=18 October 2018}}</ref> |
Due to their display of the tough masculine image 2PM has been nicknamed by local Korean media and [[Netizen|netizens]] as Jimseungdol.<ref>{{cite book |last1=Jung |first1=Sun |title=Korean masculinities and transcultural consumption : Yonsama, Rain, Oldboy, K-Pop idols |date=2011 |publisher=Hong Kong University Press |isbn=978-988-8053-63-6 |url=https://www.jstor.org/stable/j.ctt1xcrmm |accessdate=18 October 2018}}</ref> |
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Revision as of 00:52, 6 February 2019
 | This article may require copy editing for style, tone. (January 2019) |
Since the mid-2000s, the term kkonminam (Korean: 꽃미남; Hanja: 꽃美男; ⓘ kkot/n [꽃] = flower, minam [미남] = handsome man) has been commonly used in South Korea to refer to young men with a great sense of personal style and fashion, popularized by pop idols, who may seem effeminate, in part because they are often shown with make-up, such as eye-liner or lip gloss. Another cause may be that as most of them are in their late teens to early twenties they look rather boyish. Although they are sometimes regarded as Korean bishōnen, their gender is not commonly questioned, nor their sexual orientation.[1]
History
The Hwarang, or "flower youths"/"flowering knights/gentlemen" were an elite group of male warriors in Silla, an ancient Korean kingdom. Chinese sources referred only to the physical beauty of the "Flower Boys", known for their use of make-up and cosmetic decorations and accessories.[2] The emergence of kkonminam is a socio-cultural phenomenon associated with the influence of Japanese bishōnen or yaoi manga that became available after the ban on the import of Japanese culture was lifted in Korea in 1998.[1][3] Professor Kim Hyun Mee at Yonsei University attributes this to the growing independence and confidence of Asian women: "[they] can afford to be more selective when choosing a mate".[4]
The National Security Act affected South Korea in the 1990s as there were regulations placed on international imports. Due to The National Security Act, Korea experienced a lack of television programming. Television companies to turned instead to establishing channels such as Mnet in order to commercialize K-pop . Mnet is a South Korean pay television music channel which has a variety of programs through talk, game, and live music shows.[5]
In the late 1990s, Kkonminam images became notable in the Korean entertainment industry. There came the glorification of pretty boys, with smooth, fair skin, silky hair, and a feminine manner. This replaced the previous images of tough and aggressive Korean men in television commercials, dramas, and on billboards.[3]The Kkonminam phenomenon is existent in many of Korean popular culture. It can be seen in fashion, music, photography, advertising, or television.[6]
Television
In 2009, a Korean television series called Boys over Flowers (based on Japanese shojo manga Hana Yori Dango) gained much popularity in South Korea and across Asia. The plot follows an average high school girl who gets involved in the lives of an arrogant rich boy and his friends. In Boys over Flowers, the male leads bear childlike and boyish features in contrast to their strong and muscular bodies. The popularity of the show influenced South Korean Men to take their appearances more seriously. This led to an increase in South Korean males wearing cosmetics, preppy and cruise like outfits, and sporting traditionally more feminine looks, colors, and prints.[7]
Korean Boy Pop Bands
Fan Reception
Crystal S. Anderson, a Research Scholar of Cultural Studies at Longwood University, found a variety of ways of which global fans talked about the unique masculinity of male K-pop groups. One respondent wrote, “I am also really curious about flower boys and the varying expressions of masculinity in Korean boy bands.” Another respondent noted, “The first thing that attracted me when I was small is that Korean artists are exceptionally handsome/beautiful and possessed unique style, both in their music and fashion,” linking appearance to a certain style.[8]
Hybrid Bands
Korean boy bands that exemplify this phenomenon are 2PM, B2ST, and MBLAQ.[6][9] These bands draw on elements of "gangster" and hip-hop themes in their performances. The hybridized aspects are made to appeal to other audiences and their taste based on these elemental features. Those that have analyzed these boys bands note that the boy bands display masculinity of both kawaii and kkonminam elements.[9]These boy bands question stereotypical masculinity in their performances.
Due to their display of the tough masculine image 2PM has been nicknamed by local Korean media and netizens as Jimseungdol.[10] 2PM, in their on-stage performances, showcase total wildness and manliness. In the various end performances of Heartbeat, the title song of their first full-length album, the hyper-masculine beast-like performance is displayed. In the performances Taecyeon tears off his shirt off; Nichkhun rips out Taecyeon’s heart out, symbolically and in a brutal manner; while Chan-Sung breathes fiercely while lifting Nichkhun over his head.[6]
See also
References
- ^ Rutt, Richard, The Flower Boys of Silla (Hwarang). 1961.
- ^ a b Sun, Jung (2010). "CHOGUKJEOK PAN-EAST ASIAN SOFT MASCULINITY". In Daniel Black, Stephen Epstein and Alison Tokita (ed.). Complicated Currents: Media Flows, Soft Power and East Asia. Monash University ePress. Retrieved 15 December 2012.
- ^ "Mirror, Mirror..." Time. 24 October 2005. Archived from the original on 15 December 2005.
- ^ Taylor, Constance (2007). Kkonminam: An Exploration of Representations of Masculine Identities in the K-pop Industry (Thesis). University for the Creative Arts. Retrieved 23 October 2018.
- ^ a b c Leung, Sarah (2012). Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music (Thesis). Vassar College. Retrieved 23 October 2018.
- ^ Lee Hyo-won (12 February 2009). "Men, Be Beautiful for Spring, Summer". The Korea Times. Retrieved 24 October 2018.
- ^ Anderson, Crystal S. (2014). "That's My Man! Overlapping Masculinities in Korean Popular Music". In Kuwahara, Yasue (ed.). The Korean wave : Korean popular culture in global context. Palgrave Macmillan, New York. pp. 117–131. doi:10.1057/9781137350282_7. ISBN 978-1-349-46832-4.
- ^ a b Kim, Soyoung. "Men in K-Pop: From "Flower Boys" to "Beast-dols" | Arts | The Harvard Crimson". www.thecrimson.com. Retrieved 24 October 2018.
- ^ Jung, Sun (2011). Korean masculinities and transcultural consumption : Yonsama, Rain, Oldboy, K-Pop idols. Hong Kong University Press. ISBN 978-988-8053-63-6. Retrieved 18 October 2018.
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