My love for K-pop, or South Korean pop music, has been one of the driving forces of my life for the past one and a half years. It’s safe to say that if my college experience were a patchwork quilt, K-pop would be this giant sea of sparkly blue, smack dab in the middle of a quilt. I am fully aware of how pathetic this is (seriously, I should be stanning like, Bashō instead), but I don’t regret my fall. K-pop gave me a beautiful world as an escape, helped me make some wonderful new friends, and introduced me to the toe-curling pleasure of being part of a fandom.
More importantly, spying and vilifying the casual misogyny and homophobia in K-pop strengthened my feminist principles, and reading K-pop slash fan-fiction made me a better ally to the queer movement. Loving K-pop reinforced my notions of how utterly messed up capitalist transactions and soft power are. I know full well how the entertainment companies manufacture emotions of love for idols amongst the fans and then exploit those feelings for monetary gain.
On the other hand, fans only love these idols conditionally, and many of them see idols only as vessels for their kinks. Despite my knowledge and a thorough condemnation of this, it’s something I am party to, as a K-pop stan. Rest assured, though, that I go down kicking and screaming the whole time.
Being a K-pop stan taught me a lot about race, and how to properly respect a foreign culture in a globalized world. Almost everyone who gets into K-pop goes through a humiliating phase in their stanning life, in which they generalize their love for the genre to an obsession with a K-pop-based, horrendously stereotypical, candy-pink, misogynist, cutesy idea of Koreanness. These fans are called Koreaboos. They are full of nothing but sickly-sweet praise for what they think are all things Korean, but they actually hold a supremely narrow and offensive notion of South Korean culture.
Various fan portals online are teeming with fans who routinely express their desire to ‘be’ Korean. The problematic nature of this very desire is but the beginning; in thier eyes, being Korean means wearing sexy schoolgirl outfits, having colourful hair, doll-like makeup, and a high cutesy voice that repeats certain Korean phrases and words like a broken record, with no knowledge of their connotations. The Koreaboo crime lies in fetishizing South Korea and its people.
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My Koreaboo phase was short and mild, fortunately. It took place when I had very little knowledge of K-pop and the moral pitfalls facing an international fan of Korean pop music. There were lessons I learnt post my exit— how easy it is to fetishize, how immoral it is to fetishize, and how important it is to stop fetishizing. However, many ex-Koreaboos who are now ‘woke’ fall into the trap of singling out and criticizing South Korea as a House of Horrors for women and queer people. While it’s true that misogyny and queerphobia are deeply entrenched in the South Korean culture, these international fans conveniently write South Korea off for these reasons. They do this without considering how misogyny and queerphobia characterize almost every society on this planet, and how there is a need to censure such societies more or less uniformly.
Loving K-pop while simultaneously protesting against problems within K-pop and its fandom, thus gave me truckloads of food for thought, and made me way more sensitive to power dynamics. However, it also left me with a bunch of weird obsessions and silly anxieties, not to mention hours of lost time. In this piece, I will be introducing to you a particular labyrinth of irrational cognitions, one that stemmed from my shipping idols with each other, and reading too much K-pop slash fanfiction. I’ve christened this labyrinth as ‘Prostatantism’. A little theoretical background is necessary, however, before I get down to defining the term.
Thanks to their industry-mandated infantilization, idols, by their very name, exemplify objecthood. K-pop idols are put up on a pedestal and are meant to be emulated, but they’re little more than glorified Sims. It’s a routine to tear them down the minute their feet get too big or small for the pedestal. In K-pop culture, the entertainment companies encourage fans to fetishize idols. The companies themselves debut groups along with pre-ordained ships. As part of fanservice, idols are required to engage in “skinship” or physical affection with all other members, but especially with their ship partner—their first mate, if you will (natürlich, I saw the opportunity and carpe diem’d the shit out of it).
Ships can be either platonic or romantic, but it’s the latter that receive the greatest attention from fans, especially from fangirls. South Korea is intensely homophobic as a society, but company-mandated homoerotic displays are de rigueur for K-pop groups, girl- and boy-. The solution to this riddle lies in profit— the fans want their little kinks satisfied; one of these kinks is M/M or F/F, whatever the case may be; K-pop groups have multiple beautiful people; ergo companies shipping members within groups. While female ships from girl groups and heterosexual ships among boy- and girl groups exist, a) shipping is a cishet female bastion, for the most part, which results in male ships easily overpowering female ships in both number and popularity, for reasons which will be explored later, and b) most K-pop fans are notoriously possessive of their idols, and avoid heterosexual ships like the plague because they have a “greater chance of being real”. Can I get an H? An E? A TERONORMATIVITY?
When my fangirl self was a mere foetus, she naïvely believed that gay ships would cure her of the malaise that is pining for her biases (viz. favourite members within a group) and wanting to waterboard herself, her biases, and the female idols that shady news portals and other fans linked them with. Being utterly deprived herself, she was gleeful knowing that- no one could have ‘HIM’, except for another HIM who also had a special place in her lil heartie, and would function, almost, as a golden cage for the nation’s greatest treasures—her bias’ heart and body. This second Him would be loved as an individual, but would function more or less as a vessel for her bias-directed affections (N.B. this is the way my shipping tendencies go—all the ships I’ve had were born out of a tragic passion for one particular member, i.e. my bias. There are, of course, many people out there shipping members who are not their biases).
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I have chats chock-full of hysterical voice notes to prove this feverish faith I had. What was this faith powered by? Naturally, by proof videos on Youtube and proof posts on Tumblr, by fanpages dedicated to ships, by fandom lore regarding the interactions between the ship, etc. But what really fueled my obsession with ships was slash fanfiction, i.e. fanfiction centered around a ship comprising n members, usually a couple.
So began my sad little experiments with gay ship salvation. I embarked on a grim quest to prove the facticity of my ships. For some unhinged reason, I believed that these ships being real would provide me with anchors for my fangirling. While photographic evidence should’ve clinched my belief in the truth of ships, it was actually fanfiction that insidiously did a better job of it. Reading about two names falling in love in a thousand different ways somehow convinced me that the idols, who are real individuals and not characters in a fiction, could totally be together in real life. Now believe me, I know that fanfiction is just that- Fiction. I know full well that I could replace that ship’s names with the names of any other, completely improbable ship, and the story would still work. I know that no ship is canon, to the best of our knowledge.
However, rationality eludes me at the best of times, especially if we’re dealing with something I feel as strongly for as K-pop. Disavowing the reality of these ships makes me feel like a heteronormative prick sometimes, and at other times I’m railing against people trying to prove ships because they’re fetishizing these idols. The point is, irrationally speaking, I’m always afraid that my bias might just be taken by a fellow member; someone who is so perfect for them (duh, because the fics say so) that I wouldn’t stand a smidgeon of a chance (yes, because, of course, that’s the only reason I wouldn’t stand a chance, my socio-historical location be damned).
As I define it, ‘Prostatantism’ refers to a condition that resulted from surrounding myself with exclusively gay fanfiction, written about almost exclusively one couple, of which one idol was my ultimate, or ultimate bias, in K-pop-speak. This condition manifested itself in me devaluing my female self (especially my female body) when it came to being romantically and sexually desirable. Somehow, my irrationality made me a one-man-woman for my ultimate bias, who might very well be heterosexual in real life, but totally wasn’t in all the fanfiction I read. I convinced myself that my ultimate bias could never want me, or any other girl; not with his first mate in the ship existing.
Basically, my old mind-trick of making myself believe that my ships were the realest backfired. Now, I wanted out from this new rabbit hole, but I’d convinced myself so thoroughly that the ship was canon that there could be no takesy-backsies. I was stuck in an irrational mental rut that takes the crown for irrational mental ruts—I wanted out of the false knowledge that my ship was real, but I couldn’t dismantle the monumental edifice of proof I had constructed, purely because the ship might just be real in the real world.
Why did I name this condition Prostatantism? Well, almost all of these M/M fics are written by women, who can never produce a genuine representation of gay sex. They include a lot of badly written material on the male prostate as an instrument of sexual pleasure, almost as if (shocker!) it’s a stand-in for the female clitoris. Gay sex is all wrong in the fanfics, for the most part. But in my more irrational moments, I’ve fake-sobbed “Ugh my bias will never want meeeeeeeee”, to which an exasperated friend went “ARRE why not” to which I replied, “because I don’t have a prostate”. Hence, Prostatantism.
Ahem. Yes. Does this read like a crack piece? In my mind, it’s only like 60% crack. To remind you all of my sizeable intellect in the face of this irrationality, I shall proceed to quote Chaucer: “regardez, messieurs, je suis blushing!”
I have never been into anime, and hope never to get into it for fear of falling down the mother of all rabbit holes. Thanks to my interest in M/M, though, I’ve read up on the ins and outs of yaoi. Yaoi, also called Boys’ Love (BL), is a Japanese term, signifying fiction regarding romantic or sexual relationships between/among male characters. It is defined as a genre of literature written by women, for an audience of mostly cisgender, heterosexual women. Yaoi is characterized by the seme-uke trope, which is a species of heteronormative typing. In a typical male pairing, the submissive and passive character who bottoms during sex is called the uke, while the top or the dominant figure is called the seme.
While the genre itself originated with Japanese manga, K-pop slash fanfiction between male idols is a variant of yaoi. This can be explained by how most fangirls seek to project themselves and their desires onto one of the male idols in the ship. Thanks to gender socialization, the projectee is usually the uke (the bottom, or the submissive). Often, he is written as a grossly overfeminized shell of his real personality, while the idol written as the seme is less a person and more of a grunting alpha wolf in CEO gear, with masculinity streaming from every pore, and usually a serving of mommy/daddy issues (here you see the fanfiction-roots of 50 Shades of Grey). Please note, however, that there are hundreds of thousands of breathtaking exceptions to this trope, and it’s the exceptional fics that leave me coming back to AO3 for more.
Yaoi is frequently and rightfully accused of being misogynist and heterosexist, thanks to the seme-uke trope and its notorious under-representation of women. The way women are written in yaoi is often as messed up as the way masculinist texts slot women into neat little boxes of whore/Madonna. Case in point: most of the fics that are written in the second person (the fangirling reader is the protagonist, being pursued by her handsome Oppa who won’t take no for an answer) or that have an original character (OC) who is a girl. Fanboys and transgender fans who might have romantic/sexual feelings for their idols aren’t usually represented in these fics.
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Luckily, there exists a great amount of K-pop fanfiction written by female fans who have a working knowledge of feminist tenets and would prefer not to be complicit in their own dehumanization. Nonetheless, K-pop fanfiction is a species of RPF, or real-people-fiction. As such, we fans commit a morally dubious act by creating and consuming such ultimately fetishistic stories. There have been cases in K-pop of idols expressing their discomfort at having smutty fanfiction starring them and a fellow member shoved in their faces at fansign events.
The seme, or the bottom, is usually submissive in bed, bath, and beyond. He is commonly written as having conventionally feminine traits, like docility, gentleness, kindness, and weakness. Physically, the seme is typically described as being beautiful in a soft, feminine way, and is usually smaller than the uke. However, he is still a man. Therefore, these traits don’t emanate from his biology. Unlike women, who often feel chained to conventional femininity and to their submissive position in cis-het relationships, the male protagonists in yaoi enter relationships with very few a priori boxes for them to be shut in. They also have equal amounts of gendered social privilege, since they are both male.
Of course, the seme-uke formula implies an unequal division of power, but there are many works of yaoi wherein both males are equally large, equally beautiful, and have the same amount of social power. In such a context, if one male overpowers the other, the overpowering isn’t a function of sexual difference; it is, in a way, free of sexist oppression. Yaoi is often seen as a way for heterosexual women to fulfil their vicarious fantasies of inhabiting a world where one has the license to be meek as a lamb and merit the rescue of the lion, regardless of one’s sex. Boys’ Love literature could be seen as a protest against biological determinism, in the context of gender roles.
As a cishet, upper-caste Hindu woman, I’ve never experienced any sort of oppression or marginalization. I’m as privileged as women come. I’m fully aware that the kind of invisibility and loss of worth that I experienced psychologically have no material value, and were the product of willful immersion in a fiction subculture which is known to have a meager and often demeaning representation of female characters. Weird, huh? Since yaoi is defined as gay male erotica written by women for women? There’s an explanation for this stabbing-oneself-and-one’s-sisters-in-the-back phenomenon, drawn from amateur sociology.
I can personally attest to this explanation, much to my chagrin. Here it is: if I can’t have my Oppa/Daddy/babyboi, then neither can any of my compatriots in fandom. However, it behooves us to sexually and romantically objectify idols. Who can fill the gap we forcibly EXOdus-ed our fellow fans from (product placement for my ride-or-die K-pop group EXO? I don’t know what you’re talking about)? Well. It’s got to be someone realistic, but not some female idol. No, the coveted position must go to someone whom we love almost as much as our bias, someone who visibly cares for our bias. Ergo, intra-group shipping and the resultant pitfalls.
TLDR; loving K-pop caused me to dip my toes in various seedy waters. With time and experience, I’ve learnt how to deal better with my own instances of K-pop-induced irrationality. I’ve grown as a moral creature over the past few years, and so am ever on the lookout for problematic facets of my stanning mindset. Hence, I’m sure that if I come back to this article in a month, I will end up biting my own fingers off for typing such caca. Until then, dear reader(s?), stay safe and sexy. I’ll be off, because I’ve had an AO3 tab with a cowboy! AU Chanbaek fic open for like three weeks now.
The post What Misogyny And Homophobia In K-Pop Did To My Feminism As A Straight Indian Woman appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.