DOCSLIB.ORG

IDG 2019 Campaign: #Withgirlsforgirls the International

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IDG 2019 Campaign: #Withgirlsforgirls the International IDG 2019 Campaign: #WithGirlsForGirls The International Day of the Girl (IDG) Summit brings thousands of girls and girl-serving organizations together to celebrate the International Day of the Girl. Collectively, we leverage our resources to build a dynamic virtual platform that advances the movement for girls’ human rights. Signature initiatives include: 11 Days of Action Campaign st th (October 1 ​ – October 11 ),​ Girls Speak Out at the United Nations, and IDG Webcast. ​ ​ th th October 11 ​ 2019 marks the 8 ​ year celebration of the International Day of the Girl. We ​ ​ know that IDG is more than just a day – it’s a global movement that celebrates and fights #WithGirlsForGirls! This year, let’s make sure we elevate the voices of girls all over the world to ensure that the fight for girls’ rights is #WithGirlsForGirls. Join us for IDG’s #11DaysofAction and together, we can change the world. 11 Days of Action st October 1 :​ Girls aren’t just dreaming of the future they want but are leading the way ​ there. During this 8th year of IDG, we celebrate, acknowledge and raise up all that global girls and girls’ organizations are doing #WithGirlsForGirls! nd October 2 :​ Girls are unstoppable when they stand up for the change they want to ​ see. How are girls in your community standing up #WithGirlsForGirls? rd October 3 :​ Girls rights are human rights. Tell us how you are standing ​ #WithGirlsForGirls to protect and promote their human rights. th October 4 :​ Girls are more likely to suffer from violence, malnutrition, and lack of ​ education. We need justice for girls that centers around their needs and voices. How can you ensure that justice for girls is #WithGirlsForGirls? th October 5 :​ Global girls need everyone’s support to make the changes for the future ​ they want. How are you advocating and taking action #WithGirlsForGirls? th October 6 :​ Did you know that 130 million girls are not in school? We want every girl to ​ receive equal and quality education. Tell us how education can be #WithGirlsForGirls. th October 7 :​ Girls are changing the narrative on climate change #WithGirlsForGirls and ​ are pushing for urgent action. How are you supporting girls in the fight for climate justice? th October 8 :​ Girl activists are achieving progress #WithGirlsForGirls in the fight for ​ gender equality everyday. Today, raise up some of the global girl activists you most admire! th October 9 :​ Girls are not only leaders of tomorrow – they are leaders of today. How are ​ girls in your community leading #WithGirlsForGirls? th October 10 :​ We want a future where girls are free from poverty. Tell us what investing ​ #WithGirlsForGirls looks like today. th October 11 :​ Happy International Day of the Girl! Today, we gather online and at the ​ United Nations to celebrate and advocate #WithGirlsForGirls. Join us for the #GirlsSpkOut to celebrate #IDG2019. Share your story, elevate your voice, and change the world! Our Virtual Community The IDG Summit represents a global network of 100+ girls’ organizations from around the world dedicated to advancing the girls’ rights movement. More than 60,000 people from 85 countries have participated in our signature initiatives online and at the United Nations, and in past years our Twitter campaigns have trended for several days. During the month of October, we came together to: ● Celebrate: we honor the unique role girls play in the world ​ ● Build Solidarity: we continue to bring together more girls and girl-serving ​ organizations in the celebration of girls worldwide ● Take Action: we add passion and energy to grassroots activism and amplify ​ girls’ voices around the world ● Create Community: we mobilize our peers and communities to join the ​ movement for girls’ rights Our work is more than a singular celebratory day; it is a global and continuous effort to advance the status of girls everywhere! #WithGirlsForGirls we can change the world! IDG Summit 2019 Signature Initiatives 11 Days of Action Campaign – The 11 Days of Action Campaign runs from October st th ​ 1 ​ – October 11 .​ The Campaign addresses progress made for girls across 8 years of ​ ​ IDG and highlights our goals for girls’ human rights globally. Each day of the campaign focuses on a different topic or area of concern with a targeted Twitter chat; the days are sponsored by different organizations to promote social change and increase participation. This year, our 11 Days of Action campaign will build momentum to the Girls Speak Out event and celebration of IDG at the United Nations on October 11th ​ and will allow for rich, engaging collaboration between the IDG Summit and our 11 Days of Action sponsors. 11 Days of Action Sponsorship Options: Ally Level Sponsorship: $150.00 ● Organization logo featured as part of the collective day of action (Oct 11th) on all social media platforms and IDG Summit Website ● Twitter shout out during the Girls Speak Out on October 11th Advocate Level Sponsorship: $750.00 ● Organization logo featured on selected day (i.e Oct 1) on all social ​ ​ media platforms and IDG Summit website ● Custom Day of Action to highlight the organization's work to IDG Summit virtual community and call both the IDG and organization’s virtual communities to action ● Featured Twitter Chat at 11am on chosen Day of Action ● Organization logo featured on 2019 Speak Out t-shirt ● Join IDG Summit community of girls and girl-centered organizations dedicated to girls’ rights Champion Level Sponsorship: $1,500.00 ● All benefits from Advocate level ● Official Champion of the Girls Speak Out recognized during the Speak Out and on the IDG Summit website ● Organization logo featured on all Speak Out items (t-shirts, banner, programs) th Girls Speak Out – On October 11 ,​ we will host the Girls Speak Out at the United ​ ​ Nations. This event will be held in the UN ECOSOC Chamber from 3:00PM – 5:00PM EST. The Girls Speak Out is an event that is entirely run by girls and features live creative performances of artwork submitted by girls around the world, girl advocates sharing statements about issues girls face, and girl activists who are changing their communities for the better. This is the only event of its kind at the UN and more than 600 people attend annually. th IDG Webcast – On October 11 ,​ we also present a live-stream of the event on the IDG ​ ​ Summit website featuring IDG 2019 shout-outs, girl celebrations, and activities from around the globe. IDG Summit participants submit video on girls’ rights in their community, watch the webcast, and then engage in real-time discussion via social media. The webcast will help to build solidarity among girls no matter where they live. .
Load more

Recommended publications
  • Issue 3: Take This Job
    The broken C I Prose Poetry Photography Art Music T Y Issue 3: Take this job... W i n t e r 2 0 0 8 ISSN 1916-3304 Cover Illustration: W i n t e r 2 0 0 8 Mouki K. Butt I s s u e 3 The Broken City, ISSN 1916-3304, is published semi- a concentration in illustration, and has already been annually out of Toronto, Ontario, Canada, appearing accepted to several colleges and universities. Born in 1988 in Calgary, Alberta, she currently resides in New sporadically in print, but always at: England with her husband Peter and their two cats. www.thebrokencitymag.com. Submission guidelines Check out her website at: www.juliekitzes.tyreus.com. can be found at that site and submissions can be sent Despite speaking and writing in his mother tongue, to: [email protected]. Questions about The Christian Martius lives far away from the country he used Broken City or its policies can be directed to Editor-in- to call home. Recently, he has started using words like “kinda” in his sentences and now calls trousers pants chief Scott Bryson at [email protected]. Rights and pants underpants. His short stories have appeared to individual works published in The Broken City remain online andEye in printWeekly in Vancouver,Discorder TorontoCapital and Mag London. He the property of the author and cannot be reproduced also writes articles for various magazines and websites, including , and . Samples without their consent. All other materials © 2008. All of his work can be found at www.christianmartius.com.
    [Show full text]
  • Hypersphere Anonymous
    Hypersphere Anonymous This work is licensed under a Creative Commons Attribution 4.0 International License. ISBN 978-1-329-78152-8 First edition: December 2015 Fourth edition Part 1 Slice of Life Adventures in The Hypersphere 2 The Hypersphere is a big fucking place, kid. Imagine the biggest pile of dung you can take and then double-- no, triple that shit and you s t i l l h a v e n ’ t c o m e c l o s e t o o n e octingentillionth of a Hypersphere cornerstone. Hell, you probably don’t even know what the Hypersphere is, you goddamn fucking idiot kid. I bet you don’t know the first goddamn thing about the Hypersphere. If you were paying attention, you would have gathered that it’s a big fucking 3 place, but one thing I bet you didn’t know about the Hypersphere is that it is filled with fucked up freaks. There are normal people too, but they just aren’t as interesting as the freaks. Are you a freak, kid? Some sort of fucking Hypersphere psycho? What the fuck are you even doing here? Get the fuck out of my face you fucking deviant. So there I was, chilling out in the Hypersphere. I’d spent the vast majority of my life there, in fact. It did contain everything in my observable universe, so it was pretty hard to leave, honestly. At the time, I was stressing the fuck out about a fight I had gotten in earlier. I’d been shooting some hoops when some no-good shithouses had waltzed up to me and tried to make a scene.
    [Show full text]
  • K-Pop in Latin America: Transcultural Fandom and Digital Mediation
    International Journal of Communication 11(2017), 2250–2269 1932–8036/20170005 K-Pop in Latin America: Transcultural Fandom and Digital Mediation BENJAMIN HAN Concordia University Wisconsin, USA This article examines the transnational popularity of K-pop in Latin America. It argues K- pop as a subculture that transforms into transcultural fandom via digital mediation, further resulting in its accommodation into Latin American mass culture. The article further engages in a critical analysis of K-pop fan activism in Latin America to explore the transcultural dynamics of K-pop fandom. In doing so, the article provides a more holistic approach to the study of the Korean Wave in Latin America within the different “scapes” of globalization. Keywords: K-pop, fandom, Latin America, digital culture, Korean Wave The popularity of K-pop around the globe has garnered mass media publicity as Psy’s “Gangnam Style” reached number two on the Billboard Charts and became the most watched video on YouTube in 2012. Although newspapers, trade journals, and scholars have examined the growing transnational popularity of K-pop in East Asia, the reception and consumption of K-pop in Latin America have begun to receive serious scholarly consideration only in the last few years. Numerous reasons have been explicated for the international appeal and success of K-pop, but it also is important to understand that the transnational and transcultural fandom of K-pop cannot be confined solely to its metavisual aesthetics that creatively syncretize various genres of global popular music such as Black soul and J-pop. K-pop as hybrid music accentuated with powerful choreography is a form of visual spectacle but also promotes a particular kind of lifestyle represented by everyday modernity in which social mobility in the form of stardom becomes an important facet of the modernization process in Latin America.
    [Show full text]
  • “Year's End,” by Jhumpa...Pdf“Year's...Pdf
    12/30/2020 “Year’s End,” by Jhumpa Lahiri | The New Yorker Fiction December 24 & 31, 2007 Issue Year’s End By Jhumpa Lahiri December 17, 2007 Photographs (left to right) by Mark Guthrie / Millennium Images, UK; Bharat Sikka (2002) did not attend my father’s wedding. I did not even know there had been a wedding until my father called early one Sunday I during my nal year at Swarthmore. I was roused from sleep by a pounding on my door, followed by the voice of one of my hallmates saying my last name. I knew before answering that it was my father; there was no one else who would have called me before nine. My father had always been an early riser, believing that the hours between ve and seven were the most protable part of the day. He would use that time to read the newspaper and then go for a walk, along Marine Drive when we lived in Bombay and on the quiet roads of our town on the North Shore of Massachusetts, where we moved when I was sixteen, after my mother got sick. As much as he used to encourage my mother and me to join him, I knew he preferred being alone. Things were different now, of course; those solitary hours he’d once savored had become a prison for him, a commonplace. I knew that he no longer bothered to go for walks and that since my mother’s death he hardly slept at all. I had not spoken to my father in several weeks.
    [Show full text]
  • Click by Jacqueline Goldfinger January 2020
    ______________ CLICK ______________ by Jacqueline Goldfinger January 2020 Agent: Susan Gurman, Gurman Agency LLC, 14 Penn Plaza, Suite 1703, New York, NY 10122-1701, Tel: 212 749 4618, Email: [email protected] Playwright: www.jacquelinegoldfinger.com CLICK 1 SYNOPSIS: A techno-thriller that begins when a young woman is raped at a fraternity and ends in a future where corporations promise a new body with the swipe of a screen, Click follows a hacktivist named Fresh who turns industrial espionage into high art. As this virtual Banksy takes over the global imagination, the man who stole her life develops a technology that sends the two of them on a collision course at the heart of the corporate empire, where innovation comes at any cost. A cyberpunk drama for the #MeToo era, a story of trauma, transformation and reclaiming who you are. (5-12 Characters, Diverse Casting, Flexible Set) THIS PLAY IS MEANT TO BE INDIVIDUALIZED FOR EACH COMMUNITY. So changes in references, language, etc are permissible. TIME/PLACE Today – 10 years in the future / Online and Off CHARACTERS (5+ actors) Actor 1: Female, 30s-50s, Cis lesbian, Open race casting, plays Anna/HR Rep/Greek Chorus Actor 2: Male, 20s-40s, Cis straight, White, plays Chaz/Greek Chorus Actor 3: Female, 20s-30s, Cis bi, Open race casting, plays Fresh/Greek Chorus Actor 4: Male, 20s-40s, Cis gay, Black or Latinx, pretends to be straight early on and then comes out later in life, plays Scottie/Cop 1/Greek Chorus Actor 5: Female, 20s-30s, Transwoman attracted to men, Open race casting, plays Maria/Cop 2/Greek Chorus SCOTTIE There are a few references in Scottie’s dialogue that refer to his specific heritage.
    [Show full text]
  • Black Freedom Beyond Borders: Memories of Abolition Day
    184 185 Black Freedom Beyond Borders: Memories of Abolition Day ii Black Freedom Beyond Borders: Memories of Abolition Day TABLE OF CONTENTS TITLE PAGE ..................................................................................... ii COPYRIGHT PAGE .......................................................................... iv DEDICATED TO .............................................................................. vi YOU CANNOT BUILD WHAT YOU CANNOT IMAGINE ............... ix FOREWORD .................................................................................... xi ACKNOWLEDGEMENTS ................................................................ xiii READER’S GUIDE ........................................................................... xv The Dream Tank: Explorations in Quantum Abolition .............. 5 Breathing On The Moon: Choose Abolition & Liberation by Naudika Williams ..................................................................... 25 Dream Tank: The Actual Counterfactual ................................... 27 Albina Zone by Lisa Bates ............................................................ 35 Tending The Acre by Shawn Taylor ............................................ 59 The Dream Tank: Simulated Re-Awakening.............................. 77 mirage by donté clark .................................................................. 83 The Way The Fire Flies by Calvin Williams ................................. 89 The Dream Tank: Memories As Supercode ............................. 113 Rememory by Waildah
    [Show full text]
  • （2021/1/25 （2021/1/25 付 付 付）） 歌 手 名 タタ イイイ トトト ル ル Ai
    （2021/1/25 付付付）付））） 2021年1月新曲2021年1月新曲＜＜＜＜LIVELIVE DAM AiAi（（（（DAM-XG8000DAM-XG8000DAM-XG8000）） / LIVE DAM STADIUMSTADIUM（（（（DAM-XG7000DAM-XG7000DAM-XG7000）） / LIVE DAM （（（DAM-XG5000（DAM-XG5000DAM-XG5000）） / Premier DAM （（（DAM-XG1000（DAM-XG1000DAM-XG1000）））） Cyber DAM HD （（（DAM-G100X（DAM-G100XDAM-G100X）） / CYBER DAM α （（（DAM-G50X（DAM-G50XDAM-G50X）） / FREE DAM HD （（（DAM-F750HD+DSR-F75（DAM-F750HD+DSR-F75DAM-F750HD+DSR-F75）） / FREE DAM （（（DAM-F650+DSR-F65（DAM-F650+DSR-F65DAM-F650+DSR-F65）＞）＞）＞）＞ DAM-DAM-DAM- DAM-DAM-DAM- DAM-DAM-DAM- DAM-DAM-DAM- DAM-DAM-DAM- DAM-DAM-DAM- DAM-DAM-DAM- DAM-F650 リクエストNo. F750HDF750HDF750HD 歌 手 名 タタタ タ イイイイ トトトト ルルルル XG8000 XG7000 XG5000 XG1000 G100X G50X +DSR-F65 XG8000 XG7000 XG5000 XG1000 G100XG100X G50XG50X +DSR-F75 AI Not So Different 6484-77 -- THE IDOLM@STER CINDERELLA GIRLS for BEST5!(北条加蓮(渕上舞)、鷺沢文香(M・A・O)、一ノ Never ends 4534-29 瀬志希(藍原ことみ)、神谷奈緒(松井恵理子)、高垣楓 (早見沙織)) IVVY AWAKE 6844-98 ---- IVVY Freeze 6844-99 - 青山礼奈 はぐれ雪 6890-78 ---- 秋岡秀治 雪寺 2051-55 -- 秋山黄色 サーチライト 6851-33 ---- アグネス・チャン ハロー・グッドバイ 1339-62 - - - - 1/26 - 浅井利奈 六本木Night 6890-32 ---- 4s4ki クロニクル 5317-77 ---- 4s4ki 超怒猫仔 feat. Mega Shinnosuke, なかむらみなみ 5317-46 ---- 朝倉さや 新・東京 5244-78 - 麻生けい子(麻生けいこ) ふる里の灯り 6890-33 ---- ADDICTION Who are you? 6844-23 ---- Ado レディメイド 5245-37 ---- A夏目 この夜のこと 5317-47 ---- 安倍里葎子 孔雀の羽根 1625-27 - 1/26 - あほの坂田。 I'm Your Tamer 6851-60 ---- あほの坂田×まふまふ 夜桜 6851-24 ------ 天月-あまつき- ライフ イズ ビューティフル feat.nqrse 6851-26 ---- 雨のパレード Child's Heart 6851-40 ---- AYA e-zo北海道 6892-27 --- 絢香 Xmas Santa 1092-57 嵐(アラシ) Whenever You Call (Nipponglish
    [Show full text]
  • Dragon Magazine #249
    HISTORICAL FANTASY Issue # 249 Volume XXIII, NO. 2 July 1998 Seeds of Evil James Wyatt Combining the historical AD&D® supplements with the Masque of the Red Death campaign for a legacy of terror. 26 66 Wyrms of the North Ed Greenwood The guile and subtlety of a drow lurks behind the Below the Tomb of Horrors smile of The Dark Lady. Bruce R. Cordell 76 Giants in the Earth New terrors to add to the classic AD&D module J. Gregory Keyes New legends from or any cryptic dungeon in your campaign. the World of the Waterborn. 38 82 Bazaar of the Bizarre Jeffrey Mendoza Before your next Sixguns and Sesheyans trek, shop at A Travelers Emporium. 90 Arcane Lore Rich Baker Ed Bonny Discover the dire powers of ® Back to the future with ALTERNITY game rules The Lost Spellbook of Rary the Traitor. for Old West firearms, plus guidelines for creating your own Weird West campaign. 98 Dungeon Mastery Holly Ingraham Learn the vocabulary 48 of the Underdark in Deep Meanings. Fiction Wakes the Narrow Forest The Wyrms Turn . 4 J. Gregory Keyes D-MAIL .................... 6 The ghost of his father compels Fool Wolf FORUM ...................... 10 to visit giant country. SAGE ADVICE ................. 18 58 OUT OF CHARACTER ........... 24 BOOKWYRMS ................. 72 CONVENTION CALENDAR ........ 102 DRAGONMIRTH .............. 104 KNIGHTS OF THE DINNER TABLE . 106 ROLEPLAYING REVIEWS ......... 108 GAME PREVIEWS ............... 114 PROFILES .................... 120 Publisher Wendy Noritake Executive Editor Pierce Watters Editor Dave Gross Art Director Larry Smith Associate Editor Chris Perkins Editorial Assistant Jesse Decker Production Manager John Dunn Advertising Sales Manager Bob Henning Advertising Traffic Manager Judy Smitha ® Michael Roele falls before the might of the dread Gorgon in this months cover by BIRTHRIGHT campaign artist Tony Szczudlo.
    [Show full text]
  • Joint Custody: Formerly Incarcerated Mothers and The
    JOINT CUSTODY: FORMERLY INCARCERATED MOTHERS AND THE NEGOTIATION OF CAREGIVER ROLES By DANETTE KILLINGER A Dissertation submitted to the Graduate School -Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Criminal Justice Written under the direction of Dr. Johnna Christian and approved by ______________________________________________ ______________________________________________ ______________________________________________ ______________________________________________ Newark, New Jersey October 2020 Copyright page: © 2020 Danette Killinger ALL RIGHTS RESERVED i ABSTRACT OF THE DISSERTATION Joint Custody: Formerly Incarcerated Mothers and the Negotiation of Caregiver Roles By: DANETTE KILLINGER Dissertation Chair: Dr. Johnna Christian Incarcerated mothers spend a significant portion of their children’s formative years in prison, leaving family members, friends, and foster care systems to raise their children. Upon reentry, most envision transitioning back into their previous role of primary caregiver for their children. This study explores how formerly incarcerated mothers renegotiate the primary caregiver role for their underage children. Using a grounded theory approach, 32 interviews were conducted with formerly incarcerated mothers from urban and rural communities. Specifically, this study explored four primary guiding questions. How do formerly incarcerated mothers define the role of primary caregiver for children? How do they perceive their caregiver role prior to their most recent incarceration? What legal, financial, or emotional factors contribute to their success or failure in renegotiating their caregiver role? What neighborhood resources can they access in urban and rural areas to help them renegotiate their role as primary caregiver? This study informs on the contradiction between formerly incarcerated mothers’ mothering ideology and their situation, and the challenges they encounter renegotiating their primary caregiver role.
    [Show full text]
  • The Last Honest Man
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-2009 The Last Honest Man Daniel Arpad Nyikos Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the English Language and Literature Commons Recommended Citation Nyikos, Daniel Arpad, "The Last Honest Man" (2009). All Graduate Theses and Dissertations. 379. https://digitalcommons.usu.edu/etd/379 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE LAST HONEST MAN by Daniel Nyikos A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English Approved: __________________________ ________________________ Dr. Charles Waugh Dr. Jennifer Sinor Major Professor Committee Member __________________________ ________________________ Dr. Christine Cooper-Rompato Dr. Byron Burnham Committee Member Dean of Graduate Studies UTAH STATE UNIVERSITY Logan, UT 2009 ii ABSTRACT The Last Honest Man by Daniel Nyikos, Master of Arts Utah State University, 2009 Major Professor: Dr. Charles Waugh Department: English Born to a Hungarian mother and a father of Hungarian descent, I have spent my life trapped between two worlds, never quite able to be entirely part of either. As such, it seems fitting that for thesis I chose to do a novella, an art form that is neither short story nor novel. The novella is, I argue, a form that is uniquely suited to the task of examining a single theme at length, which I do in my thesis.
    [Show full text]
  • Today Is Really All About One Person Isn't It. Jesus. You Didn't Think I Was
    Sermon for The Fourth Sunday After Easter The Rev. H Elizabeth Back St. James Episcopal Church April 22, 2018 (CombineD service with reception for me as new rector) Acts 4:5-12 1 John 3:16-24 John 10:11-18 Psalm 23 Go ahead and read the first chapter of the Gospel of Luke too. Today is really all about one person isn’t it. Jesus. You didn’t think I was going to talk about me did you? Well, it is after all a special occasion. We are celebrating the Fact that St James Episcopal Church has called me to be the new rector. That’s why all those who usually attenD eight o’clock church are here at 10:30 so we can have a combined worship service with all my Favorite people in one room. ToDay this incluDes my parents Margaret anD George who have traveleD all the way from Oklahoma City with my ‘little sister’, their Dog Bella. Welcome to my running buDDies, Hannah with her husbanD Jonny, Karin with her mom LinDa. AnD last but definitely not least, my Bruce. So let’s do talk about Elizabeth For just one minute. The number one question I am asked is “What Do I call you?” AnD I know you are wanting to hear From a short list of options like “The Rev. Back” or “Mother Something.” Please call me Elizabeth. You may Feel disappointed by that because you want to employ a title of respect. I appreciate that. In my ears Elizabeth is that title oF respect.
    [Show full text]
  • Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts1
    ACTA KOR ANA VOL. 16, NO. 2, DECEMBER 2013: 329–365 JUVENILE PROTECTION AND SEXUAL OBJECTIFICATION: ANALYSIS OF THE PERFORMANCE FRAME IN KOREAN 1 MUSIC TELEVISION BROADCASTS By CEDARBOUGH T. SAEJI2 The wide-spread sexual objectification of women in Korean popular music performance subconsciously teaches men and boys that women and girls are sexual objects that exist to please them. Simultaneously sexual objectification disempowers girls and women by emphasizing superficial beauty. Although many decisions related to K- pop choreography, costumes, or lyrics may be attributed to music management companies, this article analyzes how music television programs Inkigayo (Seoul Broadcasting System) and Music Core (Munhwa Broadcasting Company) contribute to the sexual objectification of women through the ways that emcees frame performances and the ways the camera draws attention to sexualized body parts. In August 2012 racy performances by the girl group Kara raised public debate and spurred calls for amendments to the Juvenile Protection Law. At that time commentary focused on the impact of sexually provocative performances on young people. The law places responsibility for monitoring content onto the content producers and broadcasters, yet frame analysis of Kara’s performances, compared with performances in early 2013, demonstrated that neither Inkigayo nor Music Core had changed the sexually objectifying performance frame on their shows. The final version of the revised law, 1 This research was supported by Hankuk University of Foreign Studies Research Fund of 2013. 2 Author’s Note: Thank you to the editor and enormously helpful anonymous reviewers at Acta Koreana as well as friends and colleagues with whom I discussed aspects of this paper: my gratitude to Logan Clark, Timothy Gitzen, Meredith Perry, Jungwon Kim, Jisoo Hyun, Thea Suh, Go Gwanyeong, and the audience for my presentation at the 2013 International Association for the Study of Popular Music conference.
    [Show full text]