My Delightful Girl Chun-Hyang

Yesterday afternoon I had some free time during my lunch hour and decided to watch a little of the drama My Delightful Girl Chun-Hyang. I already knew a little about the drama from wikipedia and friends who had already watched it, so the beginning sequence threw me off. The beginning sequence showed the setting to be a historical one, and at a very dramatic part of the Chung-Hyang story - where she is about to be killed for her actions. However, unlike Im Kwon-Taek's Ch'unghyang, the actions in this historical sequence are extremely caricatured and melodramatic. Instead of being realistic and seriously portrayed, Myong Ryong's cronies are flying kung-fu masters who leap over walls in an unrealistic manner. In this way, the drama has more similarities with CLAMP's Chun-Hyang in that the action is very fantasy-oriented and unrealistic.

As the episode progressed, it was clear that the drama wasn't a historical one at all, and actually based in the modern world. I don't know why the producers decided to have the historical sequence be a lead-in to a modern day teen drama, but I can guess. They might have wanted to emphasize the cultural importance of the Chun-hyang character, that she wasn't just another run-of-the-mill protagonist. It actually reminded me a lot of chapter seven in High Pop, "Film, Fidelity, and Literature", because it was so much like the many film examples cited in that chapter, such as 10 Things I Hate About You. Chun-hyang is an old legend and was adapted to modern-day settings to draw younger audiences in and to make Chun-Hyang that generation's "own" legend, regardless of the drama's fidelity to the original tale's plot and purpose.

I noted some more similarities between this Chun-Hyang tale and the other two we have studied in class. Like in Im Kwon-Taek's Ch'unghyang, Chun-Hyang and her mother are considered visibly lower class. Her mom is an entertainer in various nightclubs, which resonates strongly with the kisaeng role. Like in the CLAMP manga, this Chun-Hyang is a feisty, hot-tempered girl who is fiercely against "perverts". Early on in the episode, Chun-Hyang gets into a conflict with Myong Rong over being a pervert and taking inappropriate pictures of her. This misunderstanding leads to a mutual dislike, which is perhaps similar to the beginning of Im Kwon-Taek's movie.

Unfortunately, I only got to watch one episode of the series, so I don't know if they continue with the historical lead-in sequences in other episodes, or if there are any traditional themes "reinvented" in the drama.

If anyone is interested in watching this drama, you can find it here.

Chun Hyang and the Stereotype of Women

The legend of Chun Hyang is a story of a commoner named Chun Hyang that attracted the attention of a yang bang’s son, Mong Ryong. During Mong Ryong’s quest for Chun Hyang, they fell in love. However, Mong Ryong had to go away for three years to study for his scholarly test, promising Chun Hyang he would come back and telling her to wait for him. During his time away though, a new tyrannical yang ban came to reside in town. He desired Chun Hyang but Chun Hyang refused him repeatedly which resulted in her sentence to prison.
Chun Hyang is a renowned tale in Korean society, where a woman is made famous and celebrated because of her unwavering loyalty to her husband and unwaveringly honoring her marriage. Chun Hyang is viewed as a great woman figure that is looked up to and glorified. Why is this? Perhaps this is because Chun Hyang reflects Korean society’s value in women. While it is great for a man to be a famous war hero like Yi Sunsin and dedicate and sacrifice his life for his country, in comparison it is considered great for a woman to remain loyal to her husband and honor her marriage unconditionally.
This reflects the stereotype of women in general. Traditionally women are solely supposed to be wives and mothers; their dedication is to be to their family. Korean Society’s stereotypical view of women is portrayed through the legend of Chun Hyang. This legend which reflects a traditional view of women originates from a long time ago in history. Nonetheless, this legend is still popular and used frequently in media. Why is this so? Why does a legend that is old fashioned and stereotypical still hold a large popularity? Does the continuous use of the legend of Chun Hyang mirror modern Korean society and perhaps imply that modern Korean society still thinks of women in a traditional stereotype?

Challenging Channeling the Inner Feminist

Although llankhof makes some good points I would like to clarify some things and defend Chunhyang as an independent female hero.
First off the "independent woman is not one who just has power, but also knows how to deal with that power and with her own emotions as well" is a tall order to ask of any woman at all times let alone a fourteen year old.
Could it be that Chunhyang, like you pointed out is only fourteen years old and does have the emotional issues of most fourteen year old girls. She is a wonderful role model for younger girls because of her wit and how she stands up for what she believes in. It is true that she is a bit immature with her emotions, but that makes her more relateable to a young girl. The point made about her physical ability is, I believe, shed under the wrong light. In the first chapter of the manga it shows a girl who took revenge by killing the man (the yang ban) responsible for her mother's death. Later on in the manga it shows her as a young child fighting with imperial guards for freedom (of using a playground, but it is freedom nonetheless). This girl is an independent girl who is out traveling, has power, and has some emotional issues but is strong and consistent in her beliefs and morals.
The Yang ban woman that took over a town with the help of her Mudang is not very strong physically. While this is true, the Yang ban has emotional control over her Mudang which I'm assuming is her lover as well as her personal warrior. I do not agree with taking complete control over a man, but the yang ban manages to do exactly that. She is not independent in the sense that she can do it all on her own, but she takes control and does what she needs to do. She's a woman in control. She not only has great control over her own emotions but the emotions of a man who does her ever will. (Besides the points made before, I feel like this whole issue of the female Yang ban not being an independent woman, as defined by llankhof, does not really matter because she is the villain and not the hero or role model to be followed.)
ChunHyang's mother is least emotionally weak of all. It is true that she kills herself, but that is not because she could not defend herself from the Yang ban, but because it was the last thing she could do to preserve her beliefs and the safety of others.
The manga Legend of Chung Hyang portrays multiple women who are independent both physically and emotionally who are perfect role models for the girls reading the mangas.

Similarities Between "Sassy Girl Chun Hyang" and "Goong"

Although the television show “Sassy Girl Chun Hyang” is based on a fairy tale and “Goong” is based on the popular manhwa by Park So Hee, I found many similarities between the two when I watched at least one episode of each. This lead me to believe that many Korean TV dramas, or at least the ones directed at teen girls, are very similarly formulated.

“Sassy Girl Chun Hyang” is based on “The Song of a Faithful Wife, Ch’unhyang” in the same way that the American movie “Clueless” is based on Jane Austin’s Emma-- that is, very loosely and in a modern sense. “Sassy Girl Chun Hyang” takes place in modern day Korea and the main character is a fashionable, fun-loving teenage girl. High school plays a large role in the series, as do her friends and boys. Everybody has already seen the first episode of “Goong”, but I will sum up “Sassy Girl Chun Hyang” for anyone who hasn’t seen it.

Chun Hyang is a very smart high school-aged girl living with her single mom (her dad is dead) who has trouble paying the bills. One day she jumps over a high wall into a local garden and lands on top of Mong-ryong, the rich son of a police officer who just moved to town. He accidentally takes a picture up her skirt with his cellphone so she breaks it by stomping on it. He steals her phone in revenge, and that is the start of one bad interaction after another until they both hate each other. Then it turns out that he is in her class at school, and all her female classmates think he’s very attractive. One night Chun Hyang is sick and her mother has to go out for the night, so Chun Hyang’s friends Dan-Hee and Ji-hyuk come over, and Mong-ryong, who is good friends with Ji-hyuk, tags along. Mong-ryong ends up drinking an entire container of what he thinks is juice but what is really plum wine, and becomes very drunk. He falls asleep outside in a corner and Dan-Hee and Jo-hyuk leave, thinking Mong-ryong has left before them. During the night he gets cold and crawls into the house, strips down to his boxers, and crawls into Chun Hyang’s bed and under her blanket. She is still sick and asleep and doesn’t realize he is there until her mom returns in the morning and finds them sleeping there. Their parents don’t want to be dishonored, and Chun Hyang and her mom can’t move away because her mom would have to find a new job and Chun Hyang would not be able to keep her place at Hanbok University. So Mong-ryong’s parents and Chun Hyang’s mom decide that their kids will get married even though they are still in school. That way Chun Hyang will be able to go to the university, and Mong-ryong’s dad is convinced that she will transform his slacker son into a respectable man.

As you can see, this story line is similar to “Goong” in many ways. A fashionable, funny, cute yet strong-willed teenage girl who wants to be a clothing/accessories designer is the main character. She and a rich, handsome teenage boy meet accidentally numerous times through a series of incidents and soon begin to hate each other. Then their parents announce that they must get married and the girl must move into the boy’s house, even though it is modern day and they are still in high school. In both stories the girl’s mother or parents have trouble paying the bills and making ends meet. I think these stories play into the theme that we discussed in class a while ago, the “every girl/woman’s fantasy”, where a poor but intelligent girl gets married to a rich and handsome man, and although they hate each other at first, they end up falling in the love and living happily ever after. Since all of these “teenage love” shows are turning out to be so popular, it really must be something that many Korean women are interested in. Why is this type of show so popular in Korea, yet we have little or nothing (I don’t think-- I don’t know much about popular TV shows in the US) of that genre in the United States? If TV producers here tried to make a modern TV drama out of Cinderella or some other fairy tale, would people be interested?

Male Femininity and Female Dominance

Korea seems to have begun a new trend where stereotypical gender roles have been swapped. Korean men who were previously viewed as the typical "macho" man (i.e. strong masculine features, number one in the househould, the family's "moneymaker", somewhat emotionally indifferent, etc.) are now beginning to focus on the latest fashion trends (metrosexuality), and sharing the work in households with their wives; these were traits in men that Korean society had previously labeled unnacceptable a couple years back. Similar "backward" trends can be observed in contemporary women. Women of Korea are no longer excpected to be the fragile, innocent individual obiding by their husband's rules and needs before their own. Women can now be strong, independent, high-powered career women without being considered too "masculine". It has also become more lenient as to what age women are to be married; women can also choose whether they want to marry or not a little more freely than in the past. But why is there this great forward movement in Korean culture?

This might be a bit of a stretch, but I believe this trend is due to Korea's efforts in globalization. Koreans might believe that following the trends of other powerful nations could keep their nation considered just as successful. Korean male teens have begun following high fashion trends of American or European apparel, wearing what westerners might wear, like the "skinny jeans": http://image.auction.co.kr/itemimage/017/27/96/0172796192.gif. There are also numerous fashion magazines now dedicated for men, as well as women. Women are also no longer restricted from working as well as housekeeping. Just out of personal experience, my mother's friend is a professor, and another is an insurance agent. They are actually admired, not discriminated against, for being able to keep two jobs: being a wife/a mother, as well as keeping their current occupation in the work field.

However, as much as Korea may be progressing towards change, the population is still wary and cautious. The men still "...worry about what those around them might think"* if they were to act more like a housewife than a business man, as is expected of him. Also, if I remember correctly, Chae-Gyung's parents (from the drama "Goong"), who have reversed roles in the household, were quite poor and amongst the lower class. Could this be suggesting something to the public? For instance, could this mean that Korea isn't quite ready to completely accept the idea of reversible gender roles ("androgynous", as Chosunilbo describes the matter)?

*This is the article I found the quote in, if anyone is interested: http://english.chosun.com/w21data/html/news/200412/200412260015.html

Channeling the Inner Feminist – Manwha & Manga

Something that bothers me the most about romantic manhwa and manga is the way the “strong female” is presented. Not because I have a problem with there being strong females, but because no matter how “strong” the female is, she is portrayed as emotionally weak and unstable underneath it all.
The reason I bring this up is because of Clamp’s “The Legend of Chunhyang.” While this piece may seem to portray women in a positive light, there is something that really bothers me about the story. It just seems to me that, even though the women are so seemingly independent, the men often become the dominant figure in the end. Clamp’s Chunhyang is young and high-spirited, but is only really able to channel her emotions through violence. I know the violence is essentially there for comic relief, but I find it all extremely annoying. I realize I’m asking a lot of a thirteen-year-old girl, but it really bothers me that women are often portrayed as emotionally unstable and immature. Chunhyang can deal with matters easily when the right and the wrong are so obviously defined, but when it comes to confusing emotional matters she either breaks down or kicks somebody or both. Not exactly what I would call a role model. Not to mention that when it really comes down to a trial of emotional and physical strength, the Am-Hang-Osa has to help her out. Chunhyang is not the only case of this in the comic, either. The female Yang Ban in the second scene seems like an independent (albeit a bit corrupt) woman, but in reality she can’t really do anything without her male Mudan. This can be seen in the scene where Chunhyang and the Am-Hang-Osa confront her after defeating her Mudan. She calls for him, and when they tell her that he is no longer there for her, she breaks down. Again, not my idea of an independent female.
I think I feel this way because my idea of an independent woman is not one who just has power, but also knows how to deal with that power and with her own emotions as well. Ninety-nine percent of the time, the leads in romantic comics don’t know how to do any of that and they come off as blubbering, whiny, violent and apparently “cute” and it just frustrates me to no end.

Globalization vs. Nationalism

We discussed the two ideas of nationalism and globalism in previous classes and I was glad to find a few articles in the news that somewhat demonstrated these ideas. The first article I read discussed the rise of imports with the simultaneous decrease in exports and of the Korean “Hallyu” Wave. Over the past few years, there has been a significant spreading of the Korean culture through various goods and other representations of the Korean pop culture such as soap operas, television dramas, and popular music, which later on extended into films, computer games, musicals, and sports.

However, despite the spread Hallyu Wave in the previous years, it seems as though nowadays, the imports from other countries are more noticeable than the exports going out. American TV shows such as “Sex in the City” and “Prison Break” have also become big hits in Korea, as well as Japanese dramas like “Nodame Cantabile” and other Japanese music. Globalization seems to be occurring more so in Korea, rather than the spread of Korean culture into other outside countries.

Another article described the growing emphasis that is being placed on the English language in the education system in Korea. The demand for English is high and so children are being taught the language beginning at elementary schools. In addition, some forms of the English study comes at a cost whether it is through private school tuitions and the money it takes to attend tutoring sessions after school (hakwon). This importance placed on the English language is due to Korea’s eagerness to “conduct business” in the global market. It has come to the point where fluency in English is now often required for jobs. This could perhaps show globalism of the Western culture into Korea.

In the final article I read “The nation’s profile is changing”, it introduced a man named Syedanjum Hussain, who faced discrimination in the workplace and society due to his skin color. Hussain, a Pakistani man married a Korean woman. As a result, he was fired by the owner of the factory where he had been working. Cho Won-Ki, the secretary general of the Korean Migrant Worker Welfare Society described discrimination as being the result of “deep-rooted pride Koreans have in their racially homogeneous nation”. It was also noted in a magazine that Koreans often use the term “pure-blood” to describe their nation. The mixing of cultures in the future seems inevitable, but with these notions of “pure-blood” that still remains in Korea, how far could globalization go? Also, can there be globalization of Korean culture out into the outside world without the globalization and integration of the outside world into Korea? Or, can nationalism and globalism coexist together and if so, how would that balance be maintained?

Kayageum vs Beatbox

I was browsing around some Korean commercials, and came across a particularly interesting one promoting some Daelim (a company name) Korean apartments called "e-pyunhan-saesang".

This is the link if anyone's interested in watching; it's only 3~4 minutes long, so it won't take up much time!:http://www.youtube.com/watch?v=MtaMH9d3B2Q

I found it intriguing that several women were playing their "kayageum", a traditional Korean intstrument, to the sound of beatboxing and DJ record scratching. The kayageum vs beatbox, traditional vs new. It was also interesting to see that the women playing their kayageums were all in a more traditional black uniform, while the hip-hoppers were in a more casual outfit. It was as though not only their instruments, but also their styles of practice and living were fused together in one commercial. Once again, I thought of the matter of simultaneous nationalism and globalization.

This reminded me of something that Gi-Wook Shin stated in his article, "The Paradox of Korean Globalization". Shin stated that, "...English is considered the necessary means to secure Korea's position as a first-rate world nation... all of the school's courses, except Korean language and history, are taught in English. KMLA (Korean Minjok Leadership Academy) stongly emphasizes the cirriculum aimed at enhancing Korean national identity."(Shin, 5). I know we discussed this a number of times in class, but I wanted to expand on this a little more. Korea is so keen on saving its traditional values, but at the same time is equally keen in keeping the nation just as developed as other countries. Like in KMLA or the kayageum vs beatbox commercial, they try to blend together two large concepts that, as Shin's title suggests, creates a great paradox.

I understand Shin believed that globalization and nationalism are not paradoxical, but in fact "compatible". However, I still don't understand how a nation could thrive with both concepts so strongly in mind. Wouldn't the population lean a little more towards one or the other? According to Shin's statistics, I found that the majority of Korea appears to lean towards nationalistic ideas. For instance, more of the population in Korea could not use computers skillfully (something that could arguably be considered a more recently developed task, and not much of a "traditional" task). Also, although most agreed that English should be the second language of Korea, most everyone would defaintely agree that English should not replace Korean (Shin, 14&18).

In conclusion, this brings up another thought in my mind. Perhaps Korea isn't trying to blend globalization and nationalism together. Maybe they're actually trying to buffer the globalization, which inevitably occurs within every country, with some nationalistic ideas. Maybe the commercial attracted so much attention because the director found a way to incorporate more recent trends of hip-hop and breakdancing with the traditional ways of the kayageum.

Any thoughts?