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K-Pop’s Recipe for Success: Why Korean Idol Groups Got So Big in China and are Conquering the World

The success of K-Pop in China and beyond is evident – the causes for its success are less obvious.

Manya Koetse

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K-Pop (Korean pop music) is one of South Korea’s most successful export products today. With bands such as BTS that are dubbed the ‘biggest boy band on the planet’, it is obvious that the locally produced K-Pop has become a globally well-liked phenomenon. Although its popularity is obvious, the reasons why K-Pop became so big, from China to the US and beyond, are less evident.

On coming Saturday, October 13, the South-Korean boy band BTS will perform in an Amsterdam area in front of thousands of fans who have been looking forward to this event for months. Ticket sales for the first concert of the 7-member boy group in the Netherlands were sold out within minutes, despite their relatively high prices, with people paying up to €250 ($290) in the official sales, or even €400 ($460) and more for a single ticket in the unofficial online sales afterward.

It is not just the success of the BTS European tour that is making headlines; the record-breaking views on YouTube on their videos – the latest being the song ‘Idol’, that had more than 200 million views in little over a month – is also attracting the attention of the media.

And BTS is not alone. Other Korean pop (K-Pop) groups such as EXO, BIGBANG, TWICE, Shinee, or Got7, have also broken records when it comes to online video views or Spotify plays.

Although the English-language media attention for the K-pop phenomenon is more recent, the Korean entertainment industry has since long been extremely popular in China and on Chinese social media. In this overview, What’s on Weibo explores the K-Pop popularity (focusing on its idol boy and girl groups), its short history, and success formula.

 

BTS and More: An Army of Fans

 

The pop group BTS (방탄소년단), also known as the Bangtan Boys (防弹少年团, lit: ‘Bulletproof Boyscouts’), is an award-winning seven-member South Korean boy band formed by Big Hit Entertainment that debuted in the summer of 2013. They are currently hyped as the “biggest boy band on the planet.”

Initial auditions for the band were held in 2010, followed by roughly three years during which the band was formed and prepared for their major debut, that was promoted on social media months before their actual launch in June of 2013.

The band consists of multi-talented young men. Singer-songwriter Kim Seokjin (Jin) (1992) was studying film at Konkuk University when he was invited to audition by Big Hit; rapper Min Yoongi (Suga) (1993) was an underground rapper before he was signed; dancer and rapper Jung Hoseok (J-Hope) (1994) was part of a dance team in his pre-BTS life.

Lead rapper Kim Namjoon (RM) (aka Rap Monster, 1994) was already active in the music scene as rapper and producer; dancer and vocalist Park Jimin (Jimin) (1995) was a top student as Busan School of Arts before joining; vocalist Kim Taehyung (V) (1995) is known to have one of the most expressing voices of the group; and main vocalist Jeon Jungguk (Jungkook) (1997) was only 12 years old when he auditioned for BTS, followed by three years of intense training.

BTS, formerly ‘Behind The Scenes’, is known for its strong social media presence, which helps to spread its music and connect to its fans, who call themselves an ‘ARMY’ (also stands for Adorable Representative Master of ceremonies for Youth). The band has more than 16 million followers on Twitter, 3.3 million fans on Weibo, 12 million subscribers on Youtube, and nearly 8 million followers on Facebook.

Although BTS is the band that is currently dominating the headlines, there are many more K-Pop bands that are extremely popular on Weibo and beyond. The nine-member South Korean–Chinese boy band EXO, for example, has dozens of fanclubs on Chinese social media. Band member Oh Se-hun alone already has almost 9,5 million fans on his Weibo page. BIGBANG has more than 7 million Weibo fans, the eight-member girl band Girl’s Generation (少女时代) is on the rise with 1,5 million Weibo followers, Super Junior over a million, and the list goes on.

 

CREATING SUCCESS

A Short History of K-Pop: Finding a Sublime Entertainment Formula

 

Besides media attention, there has been ample scholarly attention for the Korean pop culture phenomenon over the past decade. The year 2012 especially marked a special moment in the history of K-Pop, when the song ‘Gangnam Style’ by Korean rapper Psy broke all YouTube records and became a global hit.

But before K-Pop became a global force to reckon with – that seemingly rose out of nowhere -, it had already made its first international successes in neighboring countries China and Japan since the early 2000s.

In China, the success of Korean popular culture is defined as Hallyu (韩流)*, the ‘Korean Wave’ since 1997 (Yang 2012, 105). Hallyu encompasses far more than idol bands; it includes the boom of South-Korean dramas, films, celebrity idols, and entertainment programs. In 2002, for example, the South-Korean soap opera ‘Winter Sonata’ became a hit in both China and Japan.

The former Exo (formation has now altered): a Chinese-South Korean band formed by SM Entertainment in 2011, consisting of twelve members separated into two subgroups, EXO-K and EXO-M, performing music in Korean and Mandarin.

The early 2000s mark the ‘first Korean wave’ in China, that mainly revolved around TV dramas produced in South Korea and were liked by females above the age of 30. It was followed by the second wave from the mid-2000s to 2010, when the K-Pop music genre popularized in China.

The third period, after 2010, marks the moment when K-Pop was further incorporated into mainstream Chinese popular culture, with a ubiquity of K-Pop idols in everyday Chinese pop culture, and the launch of Chinese versions of Korean entertainment programs (Ahn 2014, 47). It was also in this ‘third wave’ that you saw the debut of pop groups such as EXO. Formed in 2012, that band incorporates both Korean and Chinese members, performing in both languages.

Although K-Pop from South Korea became somewhat less visible in the PRC during the past few years, mainly because the industry suffered from various politically-motivated bans on Hallyu in China, the genre’s influence on China’s mainstream pop culture is evident, with some Chinese groups, for example, also being modeled after K-Pop bands.

Entertainment Powerhouses

Many studies explain the foreign success of Korean popular culture in Asia, mainly China and Japan, through “cultural proximity,” saying that the success of K-Pop especially occurred in China and Japan because they have, for example, linguistic similarities and corresponding Confucian values (Ahn 2014, 47; Messerlin & Shin 2017, 412).

But the more recent global wave of K-Pop shows that cultural proximity is not the sole answer to the genre’s success. Besides, there is actually nothing traditionally “Korean” about K-Pop, which only emerged in the 1990s (Shin & Kim 2013, 256).

The genre’s success mainly lies in the big players that brought forth the first Korean pop idol groups and have excelled (and still do) in selecting the right entertainment “products” to invest in, with a strong focus on both on the production side and the market demand side.

SM Entertainment, JYP, and YG Entertainment are the first major and leading entertainment houses of the 1990s. Big Hit Entertainment, home to BTS, followed later; founder Bang Si-Hyuk (1972) used to collaborate with JYP Entertainment founder Park Jin-Young (1971) before going his own way in 2005.

-SM Entertainment, founded 1988 by musician and TV host Lee Soo Man (1952)
-YG Entertainment, founded in 1996 by musician Yang Hyun-Suk (1970)
-JYP Entertainment, founded in 1997 by musician and producer Park Jin-Young (1971)
-Big Hit Entertainment, founded in 2005 by producer/songwriter Bang Si-hyuk (1972)

What characterizes these entertainment houses is that they are/were small in terms of revenue and employees (very different from big labels such as Sony or Universal), and play multiple roles as intermediate between musicians and consumers, as well as producers.

Different from many international big players in the entertainment world, K-Pop entertainment companies integrate processes of artist selection, songwriting, management, signing advertisement deals, etc. in-house rather than leaving these processes to various parties outside their own studio (Shin & Kim 2013, 260). Significant about the founders of these entertainment powerhouses is that they all had ample experience in the music industry themselves before starting their studios.

Lee Soo Man, image via AllKpop.com

The story of SM Entertainment, which was founded by musician and TV host Lee Soo Man in 1988, is crucial in understanding the beginning of the K-Pop industry. Lee was inspired by the transforming American music market after spending time there in the 1980s, and decided to replicate US entertainment in a new way. In his first studio he brought together the right equipment, the right expertise, and the right talent all in one place to kick-start his business (Shin & Kim 2013, 263).

Although the first acts that came from SM’s studio were no instant success, Lee was determined in learning through trial and error until he found the right beat and image that struck a chord with young consumers. In doing so, he adopted a strategy in which teenagers were surveyed on what they wanted, and in which he focused on scouting new talent from all over the country to give them intensive training in dancing, singing, and acting at the SM Studio (Shin & Kin 2013, 264).

The band H.O.T. stood at the beginning of the K-Pop genre. (Image by Soompi).

In 1996, eight years after Lee Soo Man started his entertainment company, and going through years of changing, refining, and improving his strategies, the first success was there. The boy band H.O.T., consisting of five hand-picked members who each had their own strength, debuted in 1996 and became the first major success in the short history of K-Pop.

Companies that followed after SM’s initial successes further experimented in adopting new strategies and trying out new styles of music, but stayed true to the idea of in-house training of young, new artists, rather than selecting renowned artists with defined styles (Shin & Kim 2013, 264). With frequently held auditions and training programmes that can last for years, some trainees start as young as 5 or 6 so that they are fully equipped for the entertainment industry by the time they reach adolescence (ibid., 265).

More than being teachers, producers, songwriters, marketers, etc., these entertainment houses are also trend watchers; training their talents in various areas now in order to be able to place them in the right setting and format in the future, corresponding with (global) market demands.

Companies such as SM place an emphasis on the export of music, and focus on appealing to global audiences, making use of hundreds of composers and experts from around the world in doing so. In producing and performing the K-pop girl band Girl’s Generation’s song ‘Genie’, for example, SM Entertainment used a Japanese choreographer, a Norwegian songwriter, and Korean lyricist (Shim 2016, 38).

 

SHAPING SUCCESS

The Popularisation of K-Pop: A Digital Strategy

 

Although a main cause of K-Pop’s initial success lies in the (training) strategies adopted by the aforementioned entertainment houses, there are also other major factors that have contributed to its global influence.

The Korean government contributed to the initial success of K-Pop by developing a world-leading internet infrastructure (although the goal of developing that infrastructure, obviously, was not to promote K-Pop), which helped the rapid rise of the genre through online strategies.

According to some studies (e.g. Messerlin & Shin 2017, 422-425), Korean entertainment companies have been the first in the world when it comes to realizing the potential of the internet for the distribution and marketing of their performances; they were already long awake to its possibilities and were acting upon them, while many big players in Europe and America were still focusing on traditional album formats.

What also helped the spread of K-Pop at the time were the relatively friendly and equally balanced Korean policies on issues such as copyright, that were (and are) less protective and restrictive compared to America or the EU (Messerlin & Shin 2017, 421).

The first success (1997-2007) of K-Pop and other Korean popular culture products in China, Japan, and other countries within Asia, have also been called the first major Korean Wave, whereas the current period (2008-present), represents the ‘New Korean Wave,’ that is defined by the role that is played by new media technology and social media as a platform for K-Pop to reach every corner of the world (Jin 2016).

Online strategies were particularly relevant in the context of the (early) K-Pop industry because 1) it was dominated by relatively small businesses that did not have the means to invest in other major publishing platforms than that of efficient online distribution and 2) they did not have costly plants where they could produce CDs, DVDs, or vinyl. Having the high-tech Korean electronical market on their side, online strategies were thus a natural and cost-efficient solution to give publicity to their performances (Messerlin & Shin 2017, 426). More so than focusing on traditional album releases, the release of digital singles that come with visually attractive online videos, for example, is one important K-Pop production characteristic.

Probably the best example showing that this strategy works is the global success of ‘Gangnam Style’ that was made possible through YouTube. By now, six years after its release, the world-famous song by Psy, who was signed by YG Entertainment, has over 3,2 billion plays on YouTube.

The revenue of concert tickets for K-pop performances, its merchandise industry, the digital singles, advertisement income, the many brands wanting to associate themselves with the star industry that K-pop has generated, etc., makes K-Pop production a money-making machine that shows that the model that focuses on traditional (CD) album formats and promotional single releases has become outdated.

 

CONTINUING SUCCESS

Marketing more than a Band: Active Fans and Interesting Characters

 

While South-Korea’s innovative music enterprises were crucial for the international launch of K-pop, its worldwide fanbase has now also become a motor driving its continuing success.

Different from the initial spread of K-Pop in China or other Asian countries – where K-Pop has become common in everyday pop culture -, is that many consumers of the genre in the US, Europe, or elsewhere, fully depend on the internet and social media to access K-Pop, as it is not a genre that is prevalent in the mainstream popular culture of their own countries.

The fact that fans of K-Pop in these regions have to actively seek for the latest information and releases of their favorite groups, also means that they have become participatory and engaged consumers in the spread of K-Pop – almost turning them into the ‘soldiers’ of fandoms such as the BTS ‘army’. They have become part of enormous (online) subcultures in various countries across Europe and America.

More than just listening and watching K-pop, these fans become members of the ‘culture’ by translating material, circulating it to friends, or integrating it on their own social media channels (Jin & Yoon 2016, 1285).

TWICE

What further strengthens this fandom is that the successful K-Pop bands are anything but one-dimensional. More than just building on their synced choreography, flawless singing, fashionable looks, and visually attractive videos, the band members of groups such as BTS, EXO, or TWICE, have their own identities, voices, and goals that go beyond music; their various characters and roles within the group resonate with their different fans.

The fact that many K-Pop groups and members also have an androgynous and gender-bender appearance also makes them more interesting to many fans, with many K-pop boys being ‘pretty and cute’ and girls having a ‘strong and handsome’ look, breaking through typical male and female stereotypes.

Amber from F(x) has an androgynous look.

Heechul from boy band Super Junior.

Furthermore, more than pop bands, these K-Pop groups have virtually become ‘platforms’ with their own streaming channels, websites, television shows, merchandise shops, lively online communities, stories, and so on.

In their recent appearance on the US Tonight Show by Jimmy Fallon, BTS frontman RM explained the group’s mission in perfect English, saying: “It is about speaking yourself, instead of letting other people speaking for you. Cause in order to truly know ourselves, it is important to firstly know who I am, where I’m from, what my name is, and what my voice is.”

Many find their voice in K-Pop. And that is a sound, from a local Korean product to a global force, we can expect to grow much louder in the future.

By Manya Koetse

* For clarity: note that due to scope this article focuses on the development of the K-pop phenomenon, and does not explore the anti-Hallyu or anti-Korean wave movement in China, and the previous bans on Hallyu in the PRC.

References

Ahn, Jungah. 2014. “The New Korean Wave in China: Chinese Uders’ Use of Korean Popular Culture via the Internet.” International Journal of Contents, 10 (3): 47-54.

Jin, Dal Yong. 2016. New Korean Wave: Transnational Culture in the Age of Social Media. University of Illinois.

Jin, Dal Yong, and Kyong Yoon.2016. “The Social Mediascape of Transnational Korean Pop Culture: Hallyu 2.0 as Spreadable Media Practice.” New Media & Society 18 (7): 1277-1292.

Messerlin, Patrick A. and Wonkyu Shin. 2017. “The Success of K-Pop: How Big and Why So Fast?” Asian Journal of Social Science 45: 409-439.

Shim, Doobo. 2016. “Hybridity, Korean Wave, and Asian media.” Routledge Handbook of East Asian Popular Culture,Koichi Iwabuchi, Eva Tsai, Chris Berry (eds), Chapter 3. London: Routledge.

Shin, Solee I. and Lanu Kim. “Organizing K-Pop: Emergence and Market Making of Large Korean Entertainment Houses, 1980-2010.” East Asia 30: 255-272.

Yang, Jonghoe. 2012. “The Korean Wave (Hallyu) in East Asia: A Comparison of Chinese, Japanese, and Taiwanese Audiences Who Watch Korean TV Dramas.” Development and Society, 41 (1): 103-147.

Spotted a mistake or want to add something? Please let us know in comments below or email us.

©2018 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com

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Manya Koetse is the editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.

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Backgrounder

“Opposing Dog Meat Consumption Is Hypocritical” – Weibo Discussions on Anti-Dog Meat Protests

Eating dog meat is a personal choice, many commenters argue.

Manya Koetse

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Man eating dog meat during anti-dog meat protest; image via https://udn.com/news/story/6812/3928149

Last week’s anti-dog meat protests in South Korea have triggered discussions on Chinese social media on the status quo of the dog meat industry in China. An overview of the sentiments on social media and the background of dog eating in the PRC.

South Korea’s dog meat industry made headlines on Friday after protesters in Seoul, joined by actress Kim Basinger, called for an end to the decade-old dog meat trade in the country.

Not far from the protesters were farmers who raise dogs that are sold to restaurants. They brought steamed dog meat and ate it with kimchi (featured image).

In China, where the eating of dog meat has a long history, the Seoul protests triggered some discussions on social media.

The hashtags “Hundred People Gather in South Korea to Stop the Eating of Dog Meat” (#韩国百人集会呼吁停食狗肉#) and “Big Protest in South Korea against Eating of Dog Meat” (#韩国大规模抗议吃狗肉#) received over 83 million views.

In South Korea, the overall demand for dog meat has plummeted over the years. Earlier this month, one of the largest dog meat markets in the country, the Gupo dog meat market, was shut down. In November of 2018, Seongnam city already demolished South Korea’s largest dog slaughterhouse.

Friday’s protesters hope to shut down dog meat trade in the country completely. The latest protests have put the thorny issue of the dog meat industry back in the limelight.

 

HYPOCRITICAL PROTESTS?

“I don’t eat dog meat, but I don’t oppose it.”

 

On Chinese social media site Weibo, hundreds of netizens expressed their opinion on the matter, that has been a hot topic in China for years.

According to polls from the past and present, the topic of dog meat in China is clearly a divisive one.

But over the past few days a seeming majority of commenters on Weibo spoke out about the issue in a remarkably similar way, with thousands of netizens highlighting one issue in the matter: hypocrisy.

“I won’t oppose to the eating of dog meat,” one person writes: “Because if I support the anti-dog meat movement today, then tomorrow it will turn against the eating of cows, then the eating of pigs, and then the eating of fish..”

Many people on social media agree with this point of view, arguing that no matter one’s personal ideas about dog meat, condemning the dog meat practice in specific would be hypocritical: “Pigs are so cute, why do we eat pigs then?” many say, with others arguing: “Aren’t cows also spiritual animals?”

Dog meat restaurant in Jilin.

“I also raise dogs, I also love dogs,” another commenter says: “But I think that if they legally breed dogs for the dog meat [industry], then we have no right to prevent them from doing so.”

“I don’t eat dog meat, but I don’t oppose it, as long as it’s legal it’s ok,” with others writing: “I am opposed to the eating of any living creature.”

“Eating dog is not illegal, why all this sentimental nonsense? Why don’t you also defend chickens, ducks, geese, pigs, sheep, and cows?!”

“As long as they’re not abused, I don’t see a problem with it.”

“Dog meat is tasty,” one commenter from Zhejiang writes: “I like it, although I rarely eat it. I don’t see a problem with it, it’s a personal choice.”

 

SHORT OVERVIEW OF DOG EATING IN CHINA

“To them, dog meat was just like any other meat.”

 

The tradition of dog eating in China can be traced back as far as the Shang Dynasty (ca. 1558 to 1046 BC), when dog meat was considered a delicacy for the upper class.

Later on in Chinese history, during the Han Dynasty (202 BC-220 AD), it became more and more common until the practice saw a general decline, especially in northern China, during and after the tenth century (Li et al 2017, 513-514).

Despite the rising and declining popularity of dog meat throughout China’s history, the practice of eating dog has never completely disappeared, particularly in southern China.

In a book on China from 1878 by John Henry Gray, the author notes the popularity of restaurants serving dog and cat meat in ‘Canton’ (Guangzhou):

I do not think (..) that I exaggerate in saying that there are no fewer than twenty such places in Canton. Each restaurant contains only one public apartment. The approach to this dining-room is generally through the kitchen, where cooks may be seen standing in front of slow fires over which the flesh of cats and dogs is being cooked. The flesh is cut into small pieces and fried with water chestnuts and garlic in oil. In the windows of the restaurant dogs’ carcasses are suspended, for the purpose, I suppose, of attracting the attention of passengers” (75).

He further writes:

The flesh of black dogs and cats is generally preferred because it is supposed to possess more nutriment than that of cats and dogs of any other color. At Ying-tong, a suburban district of Canton, a fair is held at which dogs are sold for food; and in one of the streets dogs and cats are daily exposed for sale. The dogs are put to death by strangling, stabbing, or felling with clubs” (76).

Something that has not changed since the days described in Gray’s book is the belief in the medicinal benefits of dog meat.

Dog meat dish, via Sohu.com.

Especially in summer, dog’s flesh is believed to serve as an antidote against summer heat, and to be nutritious and beneficial as a source to enhance male virility or to boost the liver. Even at present, Chinese media promote the eating of dog meat to boost the immune system and help stimulate better blood circulation.

It should be noted that although China has a long history of dog meat consumption, it also has a long history of dog domestication and dog-human comradery. Dogs were pets, guarded the house, used in hunting, and also used in rituals of sacrifice.

Ceramic crouching dog, excavated from Henan burial site, dating from Han Dynasty, 206BC-220AD, Henan Museum.

Most of the 20th century (1900-1978) was a tough time for people in mainland China, and it was a tough time for dogs too. In many times, there was barely enough food to eat, and under Mao’s rule, dogs were considered “parasites” and were outlawed as pets (Coren 2018; Li et al 2017, 514).

Those who kept pets were seen as part of the ‘bourgeoisie,’ and during the Cultural Revolution, pet dogs were reportedly seized and beaten to death in front of their owners (Coren 2008, ch. 21).

Much has changed since those days. Although (stray) dogs, as carriers of diseases and potentially aggressive, are often still considered a drain on society, having a dog as a pet has become much more commonplace in China since the late 1980s and early 1990s.

Eating dog meat has become less popular, especially among young people in China, who have grown up very differently from their parents and have different perceptions of dogs.

Chinese writer Bang Xiao looks back on the first time his mother served him dog meat during Chinese New Year, writing:

For them, dog meat was just like any of the other meats, and coming from a generation who lived through famine and the Cultural Revolution, I was told I should be grateful. For me though, it meant I was eating my own pet Duo Duo. I cried.”

Later on, he writes about his parents:

They weren’t “dog eaters”. They were just people that happened to have a different history that led to different animals being on the menu.

 

THE YULIN DOG MEAT FESTIVAL

“Don’t go, don’t eat it, don’t pay attention to it.”

 

Despite the general unpopularity of dog meat in China, there is one time of the year when the discussions on the practice of dog eating flare up again, and that is during the Yulin Lychee & Dog Meat Festival, an annual event that’s been held over the past decade in the Chinese city of Yulin intended to generate income from tourism (Brown 2018).

Some 10,000 to 15,000 dogs and cats are slaughtered during the 10-day event that starts on June 21st every year. The event attracts hundreds of people every day. There is a restaurant strip and a market where dozens of vendors cook various dog meat dishes in large woks and where live dogs are sold and slaughtered.

Yulin, image via 轉角國際udn Global

Although the voices of those people protesting the festival seem to grow louder year on year, the dog meat festival continues. It is not illegal, and its economic benefits have become of crucial importance for many in the city of Yulin.

Vendor selling dog meat at the Yulin festival.

A 2016 media survey held among 2000 people from various ages and places in China found that 64% of the people opposed to the festival, 52% thinks that dog meat should be banned in China, and 70% said they had never had dog meat themselves.

“Don’t go, don’t eat it, don’t pay attention to it. When there’s no business, the killing will stop,” one Weibo commenter suggests.

 

A MURKY MARKET

“There does not seem to be a Chinese dog meat market that is both cruel-free and completely legal.”

 

Apart from Yulin, the eating of dog meat is barely a celebrated tradition in China anymore.

For a What’s on Weibo article from 2015, we could still find 122 restaurants listed as ‘dog meat’ specialty restaurants in the city of Beijing on restaurant site Dianping. But at present, Dianping no longer publicly lists any restaurants when searching for ‘dog meat’ specialty places (note that there still are restaurants serving dog meat, but they might not be listed due to controversy or for fear for activists).

China’s biggest e-commerce websites sell different herb mixes for dog stews or dog meat hotpots (see tweet below), but the market could hardly be called thriving.

Yet, despite all those people on Chinese social media saying that eating dog meat should not be a problem for those who still want to eat it, China’s dog meat market does actually have a problem.

China has no law that bans the eating of dogs; eating dog meat is a personal freedom. But what makes the issue murky and troublesome is that China actually has no large-scale legal dog farms, nor legal dog slaughterhouses.

The very few dog farms in existence in China would never be adequate to provide the meat for the industry in southern China, let alone for the estimated 10,000+ dogs slaughtered in Yulin every year.

It is therefore not clear where the dogs that are used for their meat in China come from. Are they stray dogs? Are they stolen from the streets? And if so, would this not be considered illegal (Brown 2018; Cao 2014; Yan 2015, 46)?

Every now and then scandals appear in the media of restaurants slaughtering and killing dogs that were actually people’s pets (for example, this scandal in Jilin in 2018 or in Chengdu this year).

Another issue making the dog meat market a problematic one is the cruel treatment of the dogs.

China has seen countless of food scandals over the years, and some of them involve the selling of poisoned dog meat. As a result, many people have a general distrust in (frozen) meat products and want to make sure they are consuming good quality meat.

Dog meat markets such as Yulin, therefore, often sell living dogs. They are virtually like ‘wet markets’ for dogs, where those who want to eat dog meat can do so with the assurance that the meat they are eating is fresh and safe. The dogs are slaughtered at the spot or are sold alive for home consumption (Brown 2018).

Image via BBC.com.

The process of being transported, being displayed in tiny cases in the summer heat, and being killed in often cruel ways all add to the enormous stress and pain the animals at the live dog market are suffering.

China currently has no laws from the perspective of animal welfare to minimize the pain and suffering during transport, the selling, or at the point of slaughter (Brown 2018).

For the aforementioned reasons and more, festivals such as the Yulin Dog Meat one are getting more controversial year on year, with more and more Chinese calling for a boycott and a ban.

 

DISTORTED DISCUSSIONS

“If you eat dog meat of unknown origin, you might be participating in the killing of someone else’s pet.”

 

As the discussions on dog meat in China are ongoing following the South Korea protests, one blogger posted a survey asking netizens if they support the eating of dog meat.

Despite the many commenters who also defend the practice of dog eating, a majority of 67% percent among the 32.000 participants said they do not support it as “dogs are our friends.”

A recurring sentiment expressed on Chinese social media on the issue is that there essentially is nothing wrong with eating dog meat – and that it would be hypocritical to only oppose to eating dog without also opposing eating sheep, cows, chickens, and so on – as long as it is legal, and as long as the dogs are not stolen, poisoned, or abused.

But that’s the whole issue at hand: all those things are in fact happening in the dog meat industry today. It is difficult to discuss the eating of dogs based on the hypothetical assumption that these things are not occurring.

Consumers are not buying (frozen) meat from legal dog farms and certified dog slaughterhouses, they are mostly buying living dogs or dog meat from unknown origins, and the process of selling and slaughtering often goes hand in hand with cruel treatment.

“I don’t oppose to eating dog, but I hate the dog trafficking market,” one person says. Another commenter agrees, writing: “I don’t oppose to the eating [of dogs] that are bred for it, but I do oppose to those who steal other people’s dogs. Most of the dog meat I’ve seen comes from unknown origins. (..) If you eat dog meat that you don’t know the origin of, you might be participating in the killing of someone else’s pet.”

For now, China and South Korea are very different when it comes to their dog meat industries and their (legal) changes. The countries do seem to have one thing in common, which is that the practice of eating dog meat is no longer popular among the younger generations.

This might suggest that as sales are dropping, the dog meat market will shrink and might eventually disappear altogether if there is no interest in it.

“Don’t hype the dog meat festival,” one Weibo commenter writes: “It’s the hype that made it big and that led to more dogs being killed.

This basically reiterates the advice of one of the aforementioned commenters: don’t go, don’t eat it, don’t pay attention to it, and the business will, eventually, die out.

Want to read more? Also see:

20 Facts About Dogs & Dog-Eating in China
The Yulin Dog Meat Festival: 10 Views From Chinese Netizens
Tradition or Abuse? Chinese Views on the Yulin Dog Meat Festival

By Manya Koetse

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References

Brown. Hannah. 2018. “Yulin Lychee and Dog Meat Festival: A Shift in Focus.” In: Tourism Experiences and Animal Consumption: Contested Values, Morality and Ethics, Carol Kline (eds), Chapter 15. London: Routledge.

Cao Yin. 2014. “Experts: Dog Meat Festival ‘Illegal’.” China Daily (June 16). Online at http://www.chinadaily.com.cn/china/2014-06/16/content_17589087.htm [6.23.16].

Coren, Stanley. 2008. The Modern Dog: A Joyful Exploration of How We Live with Dogs Today. New York: Free Press.

–. 2018. “What Is China’s Current Attitude Concerning Dogs?” Psychology Today, Feb 21 https://www.psychologytoday.com/us/blog/canine-corner/201802/what-is-chinas-current-attitude-concerning-dogs [7.15.19].

Gray, John Henry. 1878. China: A History of the Laws, Manners, and Customs of the People (Volume II). London: MacMillan & Co.

Li, P. J., Sun, J., & Yu, D. 2017. “Dog “Meat” Consumption in China: A Survey of the Controversial Eating Habit in Two Cities.” Society and Animals, 25(6), 513–532. http://doi.org/10.1163/15685306-12341471

Xiao, Bang. 2018. “Chinese New Year: Remembering how I first ate dog meat, and how differences bring us together.” ABC, February 17 https://www.abc.net.au/news/2018-02-17/chinese-dog-meat-eating-linked-to-history-of-famine/9454394 [7.15.19].

Yan Wei. 2015. “Dog Meat Festival: Traditional Custom or Abuse?” Beijing Review (29): 46-47.

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Over a Third of China’s Babies Are Delivered via C-Section – The National Health Commission Wants to Change That

Fear of pain is a major reason for nonmedical cesarian deliveries on maternal request.

Manya Koetse

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Image by Sohu News

China’s National Health Commission wants to lower the nation’s high C-section rates. On Chinese social media, many women argue it should be up to the mother to decide how she wants to give birth.

In 2018 the percentage of deliveries by cesarean was 36.7% in mainland China, according to the latest Report on Women’s & Children’s Health (中国妇幼健康事业发展报告) that was launched by the National Health Commission on May 27.

This means that together with Hong Kong, Taiwan, Brazil, Egypt, and Turkey, the People’s Republic of China (PRC) now has the highest C-section rates in the world.

A World Health Organization report from 2010 estimated that 46% of Chinese babies were delivered via C-section. In 2017, another study found that this percentage was incorrect, although some urban and wealthier regions in China, such as Shanghai, did see C-section (CS) rates as a high as 68% (Black & Bhattacharya 2018, 1; McNeil 2017).

China’s CS rates have recently become a hot topic in Chinese newspapers and on social media. On May 27, the National Health Commission of the People’s Republic of China held a Beijing news conference in which Qin Geng (秦耕), the director, announced that more actions will be taken to encourage natural childbirth among Chinese women.

Qin Geng during the press conference on May 27.

These actions will, among others, include stricter regulation of cesarian section operations and the provision of more support and pain relief for laboring women, as well as a higher hospital income for natural births. The National Health Comission hopes to significantly reduce the number of unneccesssary C-sections without medical indication in this way (Beijing News 2019; Caijing 2019).

Since 1985, the international healthcare community has considered 10-15% to be “the ideal rate” for C-sections, of which the highest percentage are those CS deliveries with medical indications that can actually save the lives of mothers and babies.

Although the worldwide rates for CS deliveries have increased throughout the years, there is no evidence for the benefits of nonmedically indicated C-sections for women or children, according to the World Health Organization.

This is not the first time Chinese authorities try to combat the country’s high CS rates. After reports by the World Health Organization from 2010 and 2015 pointing out the potential hazards of unnecessary C-sections, there have been various state efforts to reduce the number of nonmedical cesarian surgeries.

Besides the introduction of free prenatal education classes, these efforts included monitoring public hospital CS rates and removing bonuses or cutting portions of a hospital’s income once their CS rates reached a certain threshold (e.g. 40%) (Wang 2017, 3). These government initiatives seem to have had effect: the country’s C-section growth rates have slowed down, but were not decreasing yet.

Since the Chinese government announced an end to its one-child policy in 2015, lowering cesarean sections rates has become a more urgent matter, as Chinese couples are now allowed to have a second child.

Although various studies from mainland China and beyond challenge the idea that nonmedical C-sections are less ‘safe’ than vaginal births for single deliveries, this risk changes when a woman who previously had a CS section plans another pregnancy: multiple cesarean sections are associated with additional risks including CS scar rupture and abnormal placental invasion (Biler et al 2017, 1074; Black & Bhattacharya 2018, 2; Liu et al 2015, 817).

 

Why So Many C-sections in China?

 

But why does China have such a high cesarian delivery rate at all? Since the early 1990s, mainland China saw a more dramatic rise in CS rates than, for example, the USA; from less than 10% (with only 3.4% in 1988), China went to one of the highest in the world (Hellerstein 2011; Wolf 2018, 13).

The answer to why this is, is not so straightforward and relates to socio-economic changes as well as cultural factors that come into play.

One reason is that there is a general belief in the ‘safety’ of cesarian births that influence women’s choices for a (nonmedical and planned) C-section (Black & Bhattacharya 2017, 2).

An insightful study into this matter is that of researcher Eileen Wang (2017), who found that anxiety about giving birth and fear of pain is also a major reason for nonmedical cesarian deliveries on maternal request, especially considering that only a minority of Chinese women are given any form of pain relief during labor. Besides traditional concepts, this is also because China faces a shortage of anesthetists and because obstetricians are not always well-informed to prescribe other forms of pain medication (2017, 5).

As noted by Wang, epidurals are denied to laboring women not just because anesthesiologists are too busy, but also because of various other factors: different from a scheduled C-section on their agenda, they are not always available during nighttimes and in weekends to administer anesthesia to women in labor, do not have the time to monitor a patient for hours during labor (whereas a cesarean could be done in an hour), or were not even trained to administer epidurals (2017, 5).

“Giving labor without pain: removing mom’s fear for giving birth” – image by Chinese website http://www.8bb.com/huaiyun/1381.html.

According to Wang, the concerns about labor pain result in more requests for C-sections, both before and during labor. With relatively low awareness and availability of labor pain relief methods many Chinese women simply opt for a C-section as a way to control their pain.

But there are also other factors that contribute to the relatively high rate of women requesting C-sections for nonmedical reasons. One of them is the importance placed in the astrological calendar: having a baby on that one ‘lucky day’ or within that ‘lucky year’ is considered enough reason to plan a cesarian birth for many Chinese families.

In early 2015, ahead of the Chinese New Year, many women rushed to the hospital to make sure their baby was born in the Year of the Horse (2014) as the Year of the Goat (2015) was coming up. There is an old Chinese saying that nine out of ten people born in the Year of the Goat are incomplete and will suffer from great misfortune throughout their life (“十羊九不全”).

Another factor that leads to more cesareans on maternal request relates to the existing concerns among women that vaginal delivery will affect their figure or sex life (Wang 2017, 2).

 

Responses on Chinese Social Media

 

Since the Beijing news conference of May 27, the hashtag “Reducing Unnecessary Cesarean Section Surgery” (#减少非必需剖宫产手术#) has taken off on Chinese social media.

On Weibo, the hashtag page received 340 million views at time of writing. One thread about this topic even received over 28400 comments.

“What do you call ‘unnecessary cesarian’?” one of the most popular comments said: “Isn’t it that so many women in labor choose to have a C-section because natural childbirth is too painful?”

Other commenters also called for a normalization of pain relief in labor, saying that the high percentage of C-sections lies in the fact that Chinese women lack access to “wútòng fēnmiǎn” (无痛分娩) or “painless birth,” meaning vaginal delivery with pain relief.

Some Weibo users also stress that women should have the freedom of choice on how they wish to give birth, saying: “C-section or natural should be my own choice” and “If you leave me no choice I might as well not give birth at all.”

Multiple commenters write: “The lower the C-section rate, the higher the suicides,” referring to an incident that occurred in Shaanxi in 2017 when a pregnant woman committed suicide by jumping from the fifth floor of the hospital after she was allegedly denied a CS delivery.

Other Chinese netizens also complain about the fact that it seems to be men who are promoting the new policies to combat the high C-section rates, writing: “Isn’t there a way to have them suffer the pain of labor instead?”

In her study, scholar Eileen Wang also argues that the lack of pain relief is one of the major issues that should be addressed by policymakers who are hoping to reduce the number of C-sections in China. Further improving the childbirth experience by, for example, integrating a midwifery model, is also essential in making natural childbirth more attractive for Chinese women, Wang argues.

For now, many hospitals in China are still offering C-section “packages”: some prices start at RMB 5800 ($840) for a C-section, other hospitals have packages that start from RMB 88,000 ($12,741) including a three-day hospital stay in a private room.

“It’s a pregnant’s woman body, so she should decide how she wants to deliver her baby,” one commenter on Weibo writes: “It should be a woman’s right to decide.”

By Manya Koetse

References

Biler, A., Ekin, A., Ozcan, A., Inan, A. H., Vural, T., & Toz, E. 2017. “Is It Safe to Have Multiple Repeat Cesarean Sections? A High Volume Tertiary Care Center Experience.” Pakistan Journal of Medical Sciences 33(5): 1074–1079.

Black, Mairead & Sohinee Bhattacharya. 2018. “Cesarean Section in China, Taiwan, and Hong Kong— A Safe Choice for Women and Clinicians?” PLOS Medicine 15(10): 1-3.

Caijing. 2019. “卫健委:全国剖宫产率为36.7% 积极推广分娩镇痛.” Caijing , May 27 http://economy.caijing.com.cn/20190527/4591594.shtml [5.31.19].

Hellerstein, Susan Celia. 2011. “Cesarean Delivery in China Analysis of Cesarean Deliveries Without Indication.” The American College of Obstetricians and Gynecologists: 20s.

McNeil, Donald. 2017. “Study Finds Lower, but Still High, Rate of C-Sections in China.” New York Times, Jan 9 https://www.nytimes.com/2017/01/09/health/c-section-births-china.html [6.2.19].

Wang, Eileen. 2017. “Requests for Cesarean Deliveries: The Politics of Labor Pain and Pain Relief in Shanghai, China.” Social Science and Medicine (173): 1–8.

WHO. 2015. “WHO statement on caesarean section rates.” World Health Organization, April https://www.who.int/reproductivehealth/publications/maternal_perinatal_health/cs-statement/en/ [6.2.19].

Wolf, Jacqueline H. 2018. Cesarean Section – An American History of Risk, Technology, and Consequence. Baltimore, Maryland: Johns Hopkins University Press.

Featured image by Sohu News.

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