Popular Culture Review
Counterhegemonic Masculinity:
The Budding of the Kkonminam
gender norms that are occurring throughout various cultures, such as the
introduction of the “new man” (Frederick, 2006). The “new man” persona
forwards a revised masculinity that promotes traits such as being sensitive,
expressive, and domestically savvy (Beyon, 2002). The metrosexual serves
as another version of new masculinity; it refers to the image-conscious man
who spends a considerable amount of time and resources on his appearance
and lifestyle (Pompper, 2010). According to Aldrich (2004), the metrosexual is a
heterosexual who is in touch with his feminine side, though others may consider
him to be gay or bisexual. Merging these perspectives on masculine scripts
together creates the overarching notion of “millennium masculinity,” whose
major features include: (a) the pursuit of good health and appearance; (b) the
absence of being a father; (c) the disassociation from violent behaviors; and
(d) a personality consisting of vulnerability and incompetence (Beyon, 2002).
The “new man” persona thus increasingly depends on matters of style and selfpresentation, diverging from the traditional models of masculinity centered on
reputation and work.
masculinity” in Western societies. The requisite attributes of a kkonminam are:
(a) girl-like pretty looks, (b) toned and hairless body, (c) a vulnerable heart, and
(d) an inconsiderate and immature personality (Jung, 2010). The emergence of
kkonminam parallels the changing socio-political atmosphere in South Korea
following an economic downturn related to the International Monetary Fund (see
Cho, 2013) and the subsequent loss of women in the Korean workforce due to
the patriarchal idea that women should be secondary to men, contributed to the
emergence of a softer male image (Maliangkay, 2010). This counter-hegemonic
version of masculinity forwards the image of a more androgynous male, and has
the potential to make the opposite sex (women) look more powerful, bringing
both sexes closer to a level of egalitarianism (Maliangkay, 2010).
The kkonminam image began its popularity in the Korean entertainment
industry in the late 1990s, with television commercials, dramas, and billboard
advertisements featuring pretty boys with smooth skin, silky hair, and a feminine
demeanor (Jung, 2010). This new vision of masculinity soon began to displace
the hegemonic notion of macho, aggressive masculinity, with the Korean
kkonminam syndrome has developed not because of males having become
more feminized, but as a consequence of deconstructing the male/female
satisfy both feminine and masculine qualities.
4