
A mii-haa, if I understand it right, could be a girl with a crush on Doumiyouji - a romantic comic-book character also known as Daoming Si - a grown woman mad about F4 or a grandma crazy about Bae Yong Joon. To many members of the media, she is just another fanatic and the object of her fanaticism, just another heartthrob. They will tell you about this woman who became a full-time F4 stalker at the expense of her marriage or that woman who claimed to have been cured of her menopause by Yon-sama. But scarcely do they try to make sense of what is in fact a force of pop culture.
Which is why what my writer friend, Ms Shimamura, is doing is important. Ms Shimamura, author of such books as All Women Are Mii-Haa!, is writing a book on auntie fans titled Romantic Virus. There are no English translations of her books - yet - but here is a translation of her column for Kyodo News.
Arrival of the Romantic Virus
“Attack of the Auntie Brigade!”
This spring, this headline appeared in a Singapore newspaper. Approximately one thousand middle-aged women crowded Changi Airport when Yon-sama aka Bae Yong Joon made his visit. So the Yon-sama phenomenon, which set the record for the highest number of waiting fans in the history of Narita Airport, is not confined to Japan.
So far, there has been transnational fan movement in East Asia and Southeast Asia for Hong Kong actors, Johnnys and so on. But considering the fact that the Yon-sama phenomenon spawned a great number of virgin auntie fans (a Singapore newspaper’s term) who became groupies for the first time at middle age, Yon-sama deserves special note.
Why?
Firstly, Yon-sama made his debut on TV. The Madams did not need to make their way to the cinema or concert hall. From the first, they could enjoy Yon-sama in the comfort of their own homes. His shows were telecast over, and over again. Hong Kong stars who debuted in Japan through the movies could not boast the same.
Further, Yon-sama and the Korean Wave are part of a national project. Once Mr Bae became a hit with Madams in different parts of Asia, other actors would be shipped in, one after another; heartthrobs would become a national export. The explosive popularity of Winter Sonata was only possible because of the effort and support of the national tourism organisation and other government bodies.
In Japan’s case, the way had already been paved. We had girls’ comics and “junior novels”, and one of the world’s most developed fan media, consisting magazines, star photographs, pictorial books et cetera. Mii-haa-friendly soil was there from the beginning.
Objects of the Madams’ fanatic passion, such as Tama (Saburou)-sama and Sugi (Ryotaro)-sama, have always existed. Matsuken (Matsudaira Ken) is still in the game. The Kabuki Theatre, Kokugi-kan (sumo stadium) and the Koma Theatre – each generation is already provided with a corresponding centre of fandom. What’s more, compared to the couple-centred societies of Europe and the US, Japanese society is more tolerant of women herding together to entertain themselves.
Perhaps the Yon-sama Madams wished to avoid the traditional “auntie course”. They wanted to go wild over something, but not in the senior citizen seats. Hikawa Kiyoshi was not bad, but he lacked sophistication.
It was then that Yon-sama - sweet, soft, and old-fashioned in the right degree – appeared. That there was only the faintest whiff of sex about him was a bonus for the Madams. Yes… With him, one could most safely swoon. They want their hearts to flutter, no matter what age they are. If only in fantasy, they want to be loved by, and to fall under the spell of, a young, handsome man.
It was to that breeding ground in Madams that Yon-sama arrived with the force equivalent, if you will pardon the comparison, to Sars - a romantic virus of unprecedented scale.
And the time was ripe with just the right nutrients for its growth. Many of the Madams have a small fortune. They can fly often to Korea with ease. The population continues to age and the birth rate to fall. They have a lot of time ahead of them. The necessity for pastimes grows more acute. If they aren’t into something, they can’t go on.
They start attending Further Education School overseas at middle, or early old age, saying, “I started Korean lessons after seeing Winter Sonata.” The Yon-sama boom overlaps with the hobby kingdom’s (Japan’s) style.
One could easily diagnose this as a lack of fulfilment in one’s personal life and an attempt to escape from the anxieties of ageing. But once you are infected with the Romantic Virus, there is no going back. That is where the merits and demerits of Yon-sama lie.
Most of the Madams who awoke to “fanhood” through Yon-sama had no immunity to the virus, and for that reason, their fuss was conspicuous. You would expect them to regain their self-possession when they develop an immunity, but no. They will inevitably seek to swoon in deeper, and more varied, ways. As a mii-haa of 40 years who had too strong an immunity to lose her head over Yon-sama, I can say that with certainty.
There is no need to look at the extension of the FTA to conclude that the exchange of human resources and commodities in the Asian region is increasing. I wouldn’t be surprised if new viruses continued to be discovered. This time, will they come from Thailand, or Vietnam?
