Jessi, Screen Feminism, and the Power of Complaisant Agency
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In contemporary K-pop there seems to be a rise in the amount of womanist cultural products that are part of a wave of home-grown, Korean-style “screen feminism” that must operate under semiotic cover, using the plausible deniability of the bukae in the name of art to not be accused of being a western-style “feminist.” I posit the notion of a “complaisant agency” that, like “docile agency” encompasses the meaning of willingly consenting to acquiring skills or the requisite tools needed in a field in which one cannot mount formal, visible resistance, while yet appearing to actively flourish and emotionally comply to standards and behaviors in the field. It is through the deceptive cover of “complaisant agency” that performers can stage cultural productions that are seemingly complicit in master narratives of subjugation but yet contain Trojan horses that explode with the potential to mount semiotic resistance and become a means to transgress. Counter to narratives that ascribe complicitly in the disempowerment of women to K-pop, in this paper I identify how some K-pop artists are engaged in the production of a new vision around women in Korean society.
Abstract
In contemporary K-pop there seems to be a rise in the amount of womanist cultural products that are part of a wave of home-grown, Korean-style “screen feminism” that must operate under semiotic cover, using the plausible deniability of the bukae in the name of art to not be accused of being a western-style “feminist.” I posit the notion of a “complaisant agency” that, like “docile agency” encompasses the meaning of willingly consenting to acquiring skills or the requisite tools needed in a field in which one cannot mount formal, visible resistance, while yet appearing to actively flourish and emotionally comply to standards and behaviors in the field. It is through the deceptive cover of “complaisant agency” that performers can stage cultural productions that are seemingly complicit in master narratives of subjugation but yet contain Trojan horses that explode with the potential to mount semiotic resistance and become a means to transgress. Counter to narratives that ascribe complicitly in the disempowerment of women to K-pop, in this paper I identify how some K-pop artists are engaged in the production of a new vision around women in Korean society.
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