Multiplying Femininity: Diversification of Sexualized Bodies in Korean Dance Divas in the 1980s
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Dance music in modern popular culture is a tool for the body to be seen and consumed in capitalist society, and especially the female dancer is easily recognized as both body and commodity. (Susan McClary 1991; Ann Cvetkovich 1993, 155-169; Stan Hawkins 2004, 180-190). In South Korea, dance music emerged as a main genre of pop music during the 1980s and became the most important pop musical genre in the 2000s, along with the huge success of K-pop in both domestic and international markets. In looking at Korean female pop dance music, earlier studies also heavily focus on the K-pop girl groups’ display and commercialization of sexuality, the sexualized femininity, sexual objectification of K-pop female idol groups with their bodies as a consumed commodity in both domestic and international markets. However, during the 1980s, when dance music first appeared as a major pop music genre in Korea, female dancing divas of the time not only brought sensational issues to Korean society in various ways but also (re)presented various femininities - mature and charismatic femininity, urban life style, self-confident, erotic sexuality, de-feminized femininity, Gangnam young female subject- which could not be framed using stereotyped femininities in Korean society or typical sexuality represented by female K-pop idol groups. They created a diversity, not a uniformity, of femininities in modern Korean society, the ambivalent nature of which—both calling for and resisting gender politics. This paper seeks to reveal these female dance singers as active agents and pioneers of a new style, creating their own positions in the contemporary entertainment industry, as major figures in the tapestry of modern South Korea.
Abstract
Dance music in modern popular culture is a tool for the body to be seen and consumed in capitalist society, and especially the female dancer is easily recognized as both body and commodity. (Susan McClary 1991; Ann Cvetkovich 1993, 155-169; Stan Hawkins 2004, 180-190). In South Korea, dance music emerged as a main genre of pop music during the 1980s and became the most important pop musical genre in the 2000s, along with the huge success of K-pop in both domestic and international markets. In looking at Korean female pop dance music, earlier studies also heavily focus on the K-pop girl groups’ display and commercialization of sexuality, the sexualized femininity, sexual objectification of K-pop female idol groups with their bodies as a consumed commodity in both domestic and international markets. However, during the 1980s, when dance music first appeared as a major pop music genre in Korea, female dancing divas of the time not only brought sensational issues to Korean society in various ways but also (re)presented various femininities - mature and charismatic femininity, urban life style, self-confident, erotic sexuality, de-feminized femininity, Gangnam young female subject- which could not be framed using stereotyped femininities in Korean society or typical sexuality represented by female K-pop idol groups. They created a diversity, not a uniformity, of femininities in modern Korean society, the ambivalent nature of which—both calling for and resisting gender politics. This paper seeks to reveal these female dance singers as active agents and pioneers of a new style, creating their own positions in the contemporary entertainment industry, as major figures in the tapestry of modern South Korea.
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