Aegyo

Aegyo (Korean: 애교, hanja: 愛嬌) in Korean refers to a cute display of affection often expressed through a cute/baby voice, facial expressions, and gestures.[1] Aegyo literally means behaving in a coquette-ish manner and it is commonly expected for both male and female k-pop idols[2] to behave this way. However, it is not considered weird for everyday people to behave in such a way, and is commonly used as an expression of affection to loved ones and friends. The word is often translated as cuteness in English and can be compared to the Japanese concept of kawaii or to the Japanese equivalent, aikyou, 愛嬌（あいきょう）.

Background

Aegyo plays a huge role in South Korean popular culture, especially in idol girl groups. The high-registered voice popular in girl groups in Korea has been dominant since the first successful female k-pop group S.E.S. emerged in 1997. This style has grown in popularity since then. A famous example of that exaggerated cuteness that is aegyo is Girls' Generation song and music video for Gee.. Although more common amongst female idol groups, male groups often perform aegyo as part of their fanservice. The maknae is often the one chosen to perform aegyo. Oftentimes, idols will perform aegyo to the Gwiyomi song, with actions made popular by the South Korean rapper Jung Ilhoon of BtoB.

Puzar argues that aegyo in popular culture affects how young South Korean women act, especially in romantic relationships. Using cute hand gestures and expressions in photos, for example, are commonly seen behaviors in many young women in South Korea.[3]

References

  1. ↑ Sun Jung (1 November 2010). Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols. Hong Kong University Press. p. 165. ISBN 978-988-8028-66-5.
  2. ↑ Christian Utz; Frederick Lau (2013). Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West. Routledge. p. 279. ISBN 978-0-415-50224-5.
  3. ↑ Puzar, Aljosa. “Asian Dolls and the Western Gaze: Notes on the Female Dollification in South Korea,” Asian Women 27.2 (2011): 81-111.


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