Draft:Gender Roles and Expectations in K-Pop
 | Draft article not currently submitted for review.
This is a draft Articles for creation (AfC) submission. It is not currently pending review. While there are no deadlines, abandoned drafts may be deleted after six months. To edit the draft click on the "Edit" tab at the top of the window. To be accepted, a draft should:
It is strongly discouraged to write about yourself, your business or employer. If you do so, you must declare it. Where to get help
How to improve a draft
You can also browse Wikipedia:Featured articles and Wikipedia:Good articles to find examples of Wikipedia's best writing on topics similar to your proposed article. Improving your odds of a speedy review To improve your odds of a faster review, tag your draft with relevant WikiProject tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the Biography, Astronomy, and Women scientists tags. Editor resources
Last edited by Citation bot (talk | contribs) 3 seconds ago. (Update) |
Introduction
[edit]K-Pop has been on the rise since the 1990s, fueled by the Hallyu Wave—a global cultural phenomenon where people were introduced to South Korean pop culture, games, food, and more. [1] Initially, South Korea's media was controlled by a monopoly that restricted access to radio and television content. However, during the 1990s, political liberalization led to the removal of this monopoly, allowing the music industry to thrive and expand. [1][2]
As K-Pop gained global popularity, its polished visuals, creative concepts, and highly trained idols are the key contributers to its success. These performers are trained not only to be skilled in choreography and music but also to embody the specific "concepts" that define their groups. However, this comes with idols being faced with extreme expectations that are often shaped by gender. Male and female idols are subjected to different standards, both in how they present themselves and how they are treated within the industry, reflecting broader societal norms.[3][4]
Appearance Standards
[edit]An idol's appearance is one of their most defining features, with gender specific expectations being applied to them. [3] South Korea is known for having some of the strictest beauty standards in the world, collectively referred to as the Korean Beauty Standard (KBS). Idols are expected to adhere to these standards to embody South Korea's idea of "perfection."[5]
Even though everyone should follow them, these expectations aren't applied as drastically on males as compared to females. Male idols are expected to be physically fit, have clear pale skin, and be tall. [5] Historically, the ideal for men in South Korea was based more on personality. [6] In contrast, female idols face stricter requirements, reflecting a preference for a youthful and innocent look. The Korean Beauty Standard for women emphasizes both body and facial features. Female idols are often expected to maintain an extremely slim figure and have pale skin, having longer legs is also very desirable. Significant attention is placed on their facial features, which are expected to combine characteristics such as a small face, pointed nose, large eyes with double eyelids, a "v-shaped" jawline, straight eyebrows, and plump lips. These features are considered essential to achieve the desired youthful appearance. [7]
In K-pop groups, one member is often designated as the "visual." This role is entirely focused on being the most physically attractive member, as defined by the Korean Beauty Standards. The individual chosen for this role is typically the one who naturally aligns most closely with these standards. In some cases, idols may undergo cosmetic surgery to better fit these expectations. [8][7][3]
Performances and group "concepts"
[edit]In K-Pop, performances and group concepts highlight gender differences. Female idols are often confined to "cute," "hip-hop," or "sexy" concepts, with choreography and costumes frequently catering to the male gaze. For instance, AOA's "Miniskirt" featured provocative movements and revealing outfits that highly sexualized the idols. These portrayals reinforce patriarchal standards, limiting female idols creativity with their concepts. [9][4]
In contrast, male idols have greater freedom to explore a variety of personas, ranging from "soft masculinity" to assertive, powerful men. Groups like BTS show this off, combining emotional performances with choreography emphasizing physical strength. This "soft masculinity" allows male idols to challenge Western stereotypes about Asian masculinity, while still retaining agency over their creative skill.[10]
The creative process also highlights gender disparities. Female idols rarely have input into their concepts, which are shaped by male-dominated teams focused on market appeal rather than personal or artistic expression. In contrast, male idols are more involved in creating their content, giving them greater control and agency.[11][10][4]
This gender divide shows how K-Pop highlights inequality, with female idols often objectified and infantilized, while male idols have more opportunities and recognition. However, some idols and fans are starting to challenge these norms and push for fairer representation. An example is Hwasa from MAMAMOO, who faced criticism from South Korean citizens for not fitting the traditional Korean Beauty Standard, with comments calling her "fat" and "not skinny enough." In response, she released the song "I Love My Body," a bold statement celebrating self-acceptance and challenging societal expectations. [4][11][12]
References
[edit]- ^ a b "Proliferation of Hallyu Wave and Korean Popular Culture Across the World: A Systematic Literature Review from 2000-2019" (PDF). Journal of Content, Community and Communication. 11 (10): 177–207. 2020-06-30. doi:10.31620/JCCC.06.20/14.
- ^ Willoughby, Heather A. (2006-01-01), "Image is Everything: The Marketing of Femininity in South Korean Popular Music", Korean Pop Music, BRILL, pp. 99–108, doi:10.1163/9789004213630_012, ISBN 978-90-04-21363-0, retrieved 2024-11-20
- ^ a b c Cafirma, Ronelaire (2024-02-29). "Visual Attraction of K-Pop: A Correlational Study on Visual Aspects of K-Pop Music Videos". Journal of Student Research. 13 (1). doi:10.47611/jsrhs.v13i1.6188. ISSN 2167-1907.
- ^ a b c d Lin, Xi; Rudolf, Robert (2017-12-31). "Does K-pop Reinforce Gender Inequalities? Empirical Evidence from a New Data Set". Asian Women. 33 (4): 27–54. doi:10.14431/aw.2017.12.33.4.27. ISSN 1225-925X.
- ^ a b Samizadeh, Souphiyeh (2022), "Beauty Standards in Asia", Non-Surgical Rejuvenation of Asian Faces, Cham: Springer International Publishing, pp. 21–32, doi:10.1007/978-3-030-84099-0_2, ISBN 978-3-030-84098-3, retrieved 2024-11-20
- ^ Han, Tae-Im; Kim, Hwewon (September 2020). "The Ideal Man and Woman: South Korean Children's Body Image Perceptions". Family and Consumer Sciences Research Journal. 49 (1): 24–36. doi:10.1111/fcsr.12370. ISSN 1077-727X.
- ^ a b "From Gojira to Goemul", Movie Migrations, Rutgers University Press, pp. 148–176, 2015-07-06, doi:10.2307/j.ctt18gzfp8.10, ISBN 978-0-8135-6999-4, retrieved 2024-11-20
- ^ KProfiles (2017-08-04). "K-Pop Positions Explained (Updated!)". Kpop Profiles. Retrieved 2024-11-20.
- ^ Jonas, Liz (2021-07-14). "Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry". Journal of International Women's Studies. 22 (7): 3–18. ISSN 1539-8706.
- ^ a b Lee, Jeehyun Jenny; Lee, Rachel Kar Yee; Park, Ji Hoon (2020-11-09). "Unpacking K-pop in America: The Subversive Potential of Male K-pop Idols' Soft Masculinity". International Journal of Communication. 14: 20. ISSN 1932-8036.
- ^ a b Primer, Payton (2023-02-01). "How Gender Shapes Music: A Comparison Within K-Pop". Senior Theses.
- ^ Chan, Michelle (2023-10-09). "MAMAMOO Hwasa's New Song 'I Love My Body' Inspires Fans to Break Free from Beauty Standards". BBOLD. Retrieved 2024-11-21.