Some Smart, Sophisticated Events for Smart, Sophisticated Busanites (And Me Too!)

Busan is GOOD! 부산이라 좋다!

Estimated reading time: 4 minutes. Source: iamcacophony.

Sorry that I’ve been so neglectful and absent these past few weeks.

One excuse is just being very busy settling into the new semester.

The other is that I seem to be just inundated with interesting events to attend and people to meet these days.

For reasons, this is a very novel experience for me. So, lets just say the abstract concept of declining invitations, because it turns out I do still need to write, pay the bills, and sleep, has been slow to sink in.

Forced to be very selective from now on then, here are five events in Busan this month I’d still absolutely attend if I could. Unfortunately I’ll only manage three though, because two clash, and another is being held somewhere I already go to very often. For that one, I’m going to be a gentleman and leave a spot open for you instead!

First up, just yesterday I discovered Cacophony, the very sensual performer in the opening image (homepage, YouTube, Instagram), who’s having a concert on Friday the 26th at Ovantgarde, in the Kyungsung University–Pukyong National University neighborhood. Still very much in the totally smitten and infatuated phase, I’ve only just begun processing her work frankly, and haven’t seen anything about her in English yet sorry. But, based just on that MV alone, I had no hesitation in dropping 30,000 won on a prepaid ticket!

Next, at the Art Lee Chae Gallery Cafe, located between exits 2 & 4 of my old neighborhood of Namcheon subway station (one stop over from Ovantgarde), local artist Jemma Pallett is currently holding an exhibition of her work until April 23. Open from 9am to 6:30pm every day, Jemma herself will be there to meet and talk about her paintings on Wednesday the 10th and 17th from 11 to 11:30am. (I’ll attend at least one of those sessions.)

Next, this Saturday, April 13 from 2-4pm, Union Station, in collaboration with Tell Me Busan, is having a traditional Korean alcohol tasting event. Union Station, one of my favorite places in Busan, is a recently opened makgeolli bar in Millak-dong, just an easy 5 minute walk from the North/top/far end of Gwangalli beach. Perfect for a quiet, intimate, and easily accessible alternative to the crowded restaurants and and bars on the beach, it’s owned and operated by the incredibly smart and sophisticated Michelle Lee, who has a PhD in Psychology in addition to brewing her own makgeolli. In other words, the perfect host!

Honestly, I don’t even particularly like makgeolli. Despite that, I will happily drink hers, and those she suggests—it’s that good a place (her anju are great too).

Alas, I won’t be attending this particular event sorry. Partially, because I already attend the Busan Chess Club there once a week, and partially because I already drag friends and dates there on top of that. (To the bar I mean—not to the chess club.) But mainly, because of a clash:

Hosted by one of my other favorite places in Busan, Naughty Muse Studios in Songjeong Beach, which is owned and operated by the incredibly smart and sophisticated Anna Bodorenko (yes, I’m beginning to notice a certain theme too), I can not stress just how much amazing art is continually going on there, what a creative community is centered around it, and how many talented people I’ve met through Anna. While I sadly had to give up on attending classes there myself, never being able to find the time to work on my skills in between sessions, I still try to attend as many events there as I can (especially the movie nights):

Finally, great minds thinking alike, Michelle from Union Station and Anna from Naughty Muse Studios are collaborating on a combined watercolor painting and makgeolli-tasting event at the former, at 7pm on Friday April 19. Only just finishing work about then and already spending too much time at Union Station though, this is the event I’ll step aside from for the sake of any interested readers securing a spot. Not at all because I used to win prizes for my sketches as a teenager, only to completely ruin them whenever I tried to combine them with watercolor painting…

If you can make any of these events, then Yay! And please say hi!^^

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

WEBINAR—International Women’s Day Event: A Conversation with “Convenience Store Woman” Author Murata Sayaka, Monday 18 March, 5pm KST

Estimated reading time: 2 minutes.

From the event website:

To celebrate International Women’s Day this March, Tokyo College’s “Gender, Sexuality & Identity” collaborative research group will host a special webinar event with MURATA Sayaka, author and winner of the 155th Akutagawa Prize for her novel Convenience Store Woman (2016). Through discussing Murata’s writing, experiences, and inspirations, the event hopes to generate reflection on society’s gender and sexuality “norms” and how they shape our world.

Please register there.

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Webinar: “What is ethical p*rn and what are its boundaries?” 11pm, Thursday March 14 KST

A conversation with Erotic Film Director Erika Lust, Performer & Intimacy Coordinator Maria Riot, and Sex Health Educator Tessy Vanderhaeghe.

Estimated reading time: 4 minutes. “Heldischer Tanz” performed by the Gisa Geert Group. Photo by Dora Kallmus (aka Madam D’Ora), Vienna 1924. “Heldischer Tanz” translates as “more heroic dance.” Source: un regard oblique.

Hey, I totally get why many women and feminists are vehemently opposed to pornography.

If my only exposure to it were mainstream sites like Pornhub, then I would be too. In fact, I’m just as disgusted and horrified as any ‘feminazi’ by the lessons about sex and body image the industry provides, and by its treatment of its workers. Cishet men’s tastes being just as diverse as any other demographic’s too, then I’m not even turned on by most of the content out there either, despite almost all of it supposedly being specifically tailored towards my male gaze.

But.

I also firmly believe that whatever the medium, most human beings will always be drawn to erotic imagery and depictions of sex between consenting adults. That because of that instinctive urge, it would be unrealistic and incredibly naive to ban it. That we shouldn’t ban it anyway, because it’s a good thing. And, in particular, that most if not all of opponents’ problems with it would be solved by actors being paid adequately (i.e., it shouldn’t be free), by intimacy coordinators being required by law, and by concerted efforts to appeal to all sexualities and body types.

In other words, “feminist pornography.” Which very much does exist, and is absolutely not the joke it’s often made out to be.

So much so, that I’ve actually been subscribing to one such site for several years. Make even more jokes about that if you want, but yeah—it really is one hell of a turn-on knowing that the performers are making a decent living, are genuinely enjoying their work, that my financial support goes towards films with a much wider range of body types and sexualities than just those that appeal to me personally, and that they’re all designed for a female partner’s enjoyment just as much as my own.

I know, right? How embarrassing! How could I ever live it down if this peccadillo of mine got out?

Or indeed, that feminist films are still a turn-on even though they tend to be designed much more for women actually? Especially if they’re by or on a site produced or operated by Erika Lust, whose webinar on Thursday night I’ll leave you with the details of now:

Via the eventbrite page:

Dive into the world of ethical p*rnography with acclaimed adult filmmaker Erika Lust, performer and intimacy coordinator Maria Riot, and sexual health educator Tessy Vanderhaeghe! Join us for an insightful online webinar as we explore the complexities of this genre alongside the release of Erika’s groundbreaking new film, “Kazumi’s Party.”

In celebration of Erika’s 20th anniversary in the industry, this webinar aims to explore the evolution and future trajectory of this genre of adult film and how the boundaries of ethical p*rnography are changing and evolving.

Our speakers will explore the central question: “What is ethical p*rn and where are the boundaries?”, while addressing topics suh as the empowerment of women through the adult cinema.

Join us for a 40-minute discussion followed by a 20-minute Q&A session, where you can engage directly with our speakers. Register now to secure your spot and be part of this thought-provoking conversation!

If you can’t make the webinar, please consider watching her (age-restricted) TED Talk from last year instead.

Ultimately, through efforts like hers, and public support, my hope is that one day there won’t any need to add the prefix “feminist” before “pornography” anymore, just like it already feels so awkward and completely unnecessary to use “female” before “doctor” say.

Or maybe I too am being naive and unrealistic?

“The reaction to having a woman in a condom ad is exactly why we need women in condom ads.”

Either way, supporting that cause with (what is now) US$119.40 on a yearly subscription seems a small price to find out. But, if you think that money is actually harming women, then please do read some more about Erika Lust, peruse some of her work, and let me know why. I mean that genuinely. While, not going to lie, I’m still very skeptical that anyone will be able to come up with any legitimate criticisms, I’m also on an explicit mission to respectfully consider alternative viewpoints in 2024, so I look forward to hearing yours. Cheers!

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Happy International Women’s Day, Powergirls! We Can Do It! “세계 여성의 날 잘보내! 우리는 할수 있다!”

Estimated reading time: 2 minutes.

A rare wholesome greetings card I found for my daughters when they were little. I’ve kept some spare copies ever since.

It reads: “Like a powergirl, always be confident! Spread/Brace your shoulders, be strong/cheer up! Yay!”

Sadly for you, I’m not about to give up those precious spares any time soon—they’re reserved for any granddaughters I might have one day. But it is still possible to grab a print of “우리는 할수 있다!” by cartoonist Jen Lee, the first Korean version of the We Can Do It! poster. Rest assured, my framed copy always gets a lot of attention from my cats at my sophisticated cocktail parties!

So again, Happy International Women’s Day, Powergirls! We/You Can Do It!

And (cough) Happy Birthday to me too!

If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)

Maverick Film Reviewer Confirms all my Biases about the Orientalism in Past Lives (2023). Is He Right?

“There’s a word in Korean—inyeon (인연). It means providence, or fate.” Well so what?

Estimated reading time: 4 minutes. Image source: Naver.

To be clear, I haven’t actually seen Past Lives yet. In most of the world, everyone was able to watch it last summer; in Korea, it’s only finally coming out this March. But that opening line in the trailer is a huge red flag:

I realize I’m completely projecting, my title necessarily provocative. It’s just one line, devoid of context. I don’t know if its Orientalist undertone is the exception, or if it suffuses the whole film. But ugh.

Because why say something like that at all, if not to then stress some fundamental difference between the English and Korean concepts? It already feels like right up there with gatekeeping, essentializing discussions of how han, or jeong, or nunchi are timeless, immutable, untranslatable qualities that define all Koreans, which Westerners just could never fully understand:

Source left: Absolutely not going to give this book any traffic. Source right: @RachelMinhee.
Source: Stolen from a Korean Facebook friend.

And definitely make sure to read about how the concept of “saving face” is a complete Western invention, and Minsoo Kang’s “The problem with ‘han’ 한 恨” article at Aeon:

Some people insist that han is a uniquely Korean idea that only Koreans can truly grasp. Yet it is about as useful at explaining everything Korean as the term ‘rugged individualism’ is at explaining everything American or the ‘Samurai’ is in capturing all that is Japanese. It is true that all the calamities and traumas of the modern era have provided Koreans with a great well of powerful emotional experiences from which to draw. But intense emotionality is hardly unique to Korean narratives, and the notion of a specific kind of sorrow/regret/frustration/rage that only Koreans can feel is absurd.

Despite the film’s almost universal acclaim then, and smart overseas friends’ glowing reviews, I was already feeling ambivalent about eventually watching it. I have to admit I’m just a natural contrarian too, especially when it comes to Korean and Korea-related films. Not at all because I think I know better than everyone somehow, but because it seems the more people that sing their praises, the more likely those films are to tick various boxes that turn me off. And, once I do voice any negativity, that my friends will become completely insufferable too, writing me off as a plebeian rather than admit their latest bestest film ever might be anything less than perfect.

Elaine knows exactly what I mean:

So, not going to lie, I felt vindicated over the winter as more and more Asian-American friends in particular also expressed their misgivings about the film. Then, finally, one linked to maverick Ian Wang‘s provocatively-titled “The Critics Are Wrong About ‘Past Lives” at ArtReview, its introduction alone confirming all my suspicions:

You’re watching a contemporary drama about East Asians who’ve immigrated to the West. The narrative can vary, but often depicts a conflict between an older first generation (stern, repressed) and a younger second generation (independent, rebellious). Its characters are honourable and decent. Despite their disagreements, you get the sense that the film doesn’t want you to think any of them have done anything wrong. In fact, they can feel less like real people and more like proxies for certain ‘types’: the tiger mother, the Westernised child. Peppered throughout are glib ethnic signifiers: lingering shots of kimchi-jjigae or jiaozi, a hackneyed reference to not wearing shoes in the house. You can feel the director ticking off boxes as they go, soliciting high relatability with low effort. It is a polite, earnest film, one that will surely receive awards attention. And yet you can’t help but walk away feeling dissatisfied – this was sold to you as a complex, nuanced story about immigration, so why does its view of immigrant life feel so shallow?

I’m tempted to say I rest my case. But on the contrary—unlike most of my film snob, probably soon to be ex-friends, I’m not going to dismiss anyone’s continued love for this film as some irredeemable intellectual failing on their part. So, whether you want to send me a rant or a rave, thanks in advance to those of you who have seen the film and who do take the time to share their thoughts on Yang’s critique. For who knows? I’m already inclined to see the film anyway, just to make up my own mind about it—and being able to debate you afterwards may be all the final persuasion I need!

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If you reside in South Korea, you can donate via wire transfer: Turnbull James Edward (Kookmin Bank/국민은행, 563401-01-214324)