Proxemic and Haptic Expectancy Violations and Viewer Perception in Korean Drama and Filipino Teleserye

Proxemic and Haptic Expectancy Violations and Viewer Perception in Korean Drama and Filipino Teleserye

A Thesis Presented to the Department of Communication Of Assumption College

In Partial Fulfillment of the Requirements for the Degree of Bachelor in Communication Major in Media Production

Joelle Eila A. Robles Christelle I. Tolisora

October 2014  

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

2

ASSUMPTION COLLEGE MARIE EUGENIE SCHOOL OF INNOVATIVE LEARNING COMMUNICATION DEPARTMENT ______________________________________________________________________________ The thesis of Joelle Eila A. Robles and Christelle I. Tolisora entitled, “Proxemic and Haptic Expectancy Violations and Viewer Perception in Korean Drama and Filipino Teleserye”, submitted in partial fulfillment of the requirements for the Degree of Bachelor of Communication Major in Media Production is hereby approved.

Prof. Clarisa L. Bartolome Thesis Adviser

Atty. Maria Armee M. Javellana Panel

Prof. Florian C. Garcia Panel

Accepted as partial fulfillment of the requirements for the Degree of Bachelor of Communication Major in Media Production. Ana Lea R. Samin Chairperson, Communication Department Angela V. Regala, Ph. D. Dead for MESIL Sr. Ana Carmela S. Pesongco, r.a. Ed. D. President/College Dean ________________ Date

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

3

Abstract The study’s main objective is to determine the commonalities in the proxemic and haptic expectancy violations depicted in selected Korean Dramas and Filipino Teleseryes, and find how the respective viewers of these dramas view these expectancy violations. The research methods utilized for this study were video content analysis and interview. To determine the commonalities in proxemic and haptic expectancy violations, fifteen (15) 1-hour episodes from Korean dramas (“Nice Guy”, “City Hunter”, and “Shining Inheritance”) and thirty (30) 30minute episodes from Filipino teleseryes (“Walang Hanggan”, “Tayong Dalawa” and “Ina, Kapatid, Anak”) were selected and coded by three expert coders. To determine viewer perception, the researchers conducted in-depth interviews with five (5) Koreans and five (5) Filipinos. The researchers found that the most common forms of expectancy violations found in the aforementioned dramas were “Handgrabbing” or “Handholding”, “Hitting” and “Invasion of Personal Space”. Also, whether a gesture is seen by Koreans or Filipinos as an expectancy violation or not is highly dependent on the context in which the gesture takes place, or the kind of relationship they share with the perpetrator of the gesture. The researchers recommend that filmmakers and producers of Korean and Filipino drama series utilize the different forms of expectancy violations and “play” with the audience’s expectations.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

4

Acknowledgements This research paper would not be possible without the assistance provided by the following groups of people and for which the researchers are truly indebted: To Prof. Clarisa L. Bartolome, for being a supportive, committed and meticulous thesis adviser: thank you for cheering us on and supporting us in this journey. Your guidance has been instrumental in the success of this paper. To Ms. Joy Frances A. Villaluz, without whom this study would not have been possible: your expertise had been invaluable, as we certainly could not have done it without you. You were not just a mentor; you were also a great friend. Your encouragements, praises, and criticisms meant so much to us. Again, we are extremely grateful. To Atty. Armee M. Javellana and Prof. Florian C. Garcia, our panel members: for imparting with us their knowledge and experience for the improvement of this study. Also, thank you for taking the time to carefully read through our paper, for your constructive criticism and comments, and for your support. To Mrs. Editha Tolisora, Mrs. Bettina Zialcita-Araneta and Ms. Manilyn Miranda, our expert coders for this study: thank you for all the efforts you have put in for this studyundertaking the tedious task of coding. You were willing to help us despite having no reason to, not even asking for anything in return considering you lead busy and hectic lives. If not for your kindness and dedication, this thesis would not be possible. To Gabrielle Marie Novenario, Pia Nicole Viray, Karla Alexis Miranda, Christian April Duran, Ma. Elizaben Agarao, Jeon Eun Jung, Lee Gwan Uk, Choi Ji Woo, Kim Ji Hye and Helen Jeon, our interview respondents: for agreeing to be part of this study, for making time for us,

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

5

despite your hectic and busy schedules, for your candid and honest insights, we are most thankful. To the beautiful ladies from the amazing block of 4B1-Media Production: thank you for for your overflowing support. Also, thank you to Erika Ditangan, Paula Dela Cruz, Hannah de Leon, Anne Chrysler Guillartes, and Meryl Rovillos for agreeing to be interviewed, for allowing us to take a considerable portion of your time. Your input may not be included in this study, know that we are tremendously grateful for what you have done for us. To our friends: for all your support and help. To Gabrielle Marie Novenario, Katrina Alyssa Torrefranca, Pia Nicole Viray, and Meryl Rovillo, thank you for all your assistance. To Jessica Jeon, Inah Rempillo and Miel Abong, thank you for your efforts in getting us our Korean respondents, especially when we had almost lost hope in ever getting in touch with any. To our parents and families: thank you for all your unending love and support-spiritually, emotionally and, of course, financially. This is for you. And above all else, To God Almighty: for the gift of life, friends and family. Thank You for giving us the strength to endure this seemingly impossible journey. Thank You for blessing us with family, friends and loved ones who lift us up with encouragement when we have reached a slump, and make us laugh when the stress and pressure almost get the better of us. Thank You for giving us each other, true partners who have stuck through thick and thin, being each other’s support in this journey which had tried us-mind, body and soul. Thank you for this and all the blessings you have bestowed upon us.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

6

Table of Contents Chapter I The Problem and Review of Related Literature Background of the Study………………………………………………………………………...12 Review of Related Literature…………………………………………………………………….15 Nonverbal Communication………………………………………………………………15 Television Dramas……………………………………………………………………….24 Audience Perception……………………………………………………………………..31 Theoretical Framework…………………………………………………………………………..40 Conceptual Framework…………………………………………………………………………..45 Statement of the Problem………………………………………………………………………...46 Scope and Limitation………………………………………………………………………….....47 Significance of the Study………………………………………………………………………...49 Definition of Terms……………………………………………………………............................50 Chapter II Method Research Design………………………………………………………………………….............54 Participants and Sampling Technique……………………………………………………………54 Research Instruments………………………………………………………………………….....55 Data Gathering Procedure………………………………………………………………………..56 Method of Data Analysis………………………………………………………………………...60 Chapter III Results and Discussion Results…………………………………………………………………………............................61 Discussion…………………………………………………………………………....................106

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

7

Chapter IV Summary of Findings, Conclusion and Recommendations Summary of Findings…………………………………………………………………………...116 Conclusion…………………………………………………………………………………...…119 Recommendations…………………………………………………………………………........119 Chapter V Project Description Creative Title…………………………………………………………………………………...121 Synopsis………………………………………………………………………………………...121 Sequence Treatment…………………………………………………………………………… 121 Production Schedule……………………………………………………………………………122 Production Budget……………………………………………………………………………...123 Production Process Evaluation…………………………………………………………………123 References…………………………………………………………………………...................124 Appendices Appendix A Letter for Coders………………………………………………………………….133 Appendix B Letter for Interviewees……………………………………………………………134 Appendix C Letter to Validator………………………………………………………………...136 Appendix D Code Book………………………………………………………………………...137 Appendix E Coding Sheet………………………………………………………………………143 Appendix F Reliability Calculator Results……………………………………………………..149 Appendix G Interview Guide…………………………………………………………………...154 Appendix H Data in Excel…………………………………………………………..………….156 Appendix I Coding Results……………………………………………………………………..169 Appendix J Interview Transcriptions……………………………………………..…………….181

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

8

Appendix K Interview Matrix………………………………………………………...….…….300 Appendix L Constructs Matrix………………………………………………………….……...368 Appendix M Production Script………………………………………………………….…...…399 Curriculum Vitae……………………………………………………………………………….405

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

9

List of Tables Table no.

Table title

Page no.

1

Proxemic Expectancy Violation in Korean Dramas…………………….………62

2

Haptic Expectancy Violations in Korean Dramas………………………………63

3

Proxemic Expectancy Violation in Filipino Teleseryes………………………...64

4

Haptic Expectancy Violations in Filipino Teleseryes…………………………..65

5

Gender of Violator of Proxemic ExpectancyViolation…………………………65

6

Relationship of the Recipient to the Violator in Korean Dramas (Proxemic)………………………………………………………………………66

7

Relationship of the Recipient to the Violator in Filipino Teleseryes (Proxemic)………………………………………………………………………67

8

Situation in Korean Dramas(Proxemic)………………………………………...68

9

Situation in Filipino Teleseryes(Proxemic)……………………………………..69

10

Proxemic Expectancy Violations in Korean Drama and Filipino Teleserye………………………………………………..……………………….70

11

Gender of Violator in Haptic Expectancy Violation………….………………...71

12

Relationship of the Recipient to the Violator in Korean Drama (Haptic)…………………………………………………………….……………72

13

Relationship of the Recipient to the Violator in Filipino Teleserye (Haptic)…………………………………………………………………….……73

14

Haptic Expectancy Violations in Korean Drama and Filipino Teleserye..……………………………………………………………….………74

15

Most Common Definitions of Expectancy Violations (Filipinos)..………….….81

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

16

 

10

Most Common Definitions of Expectancy Violations (Koreans)………………86

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

11

List of Figures Figure no.

Figure title

Page no.

1

The Nonverbal Expectancy Violations Model………………………………...41

2

The Model for Viewer Perception of Proxemic and Haptic Expectancy Violations in Korean Drama and Filipino Teleserye…………………………..45

 

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

12

Chapter I The Problem and Review of Related Literature Background of the Study Nonverbal communication plays a vital role in our everyday life, because Ray Birdwhistell (1952), a pioneer in the study of nonverbal communication, stated, when we are in conversation, 35% of what we say comprises of the spoken word, and the rest is left to our gestures, our facial expressions, our tone of voice, eye contact-nonverbal communication (as cited in Littlejohn & Hoss, 2009). To gain further understanding of nonverbal communication and its impact on messages in conversation, Judee K. Burgoon (1978) developed the Expectancy Violations Theory (EVT), which states that people hold expectations of how other behave in a conversation. This study was anchored on from the perspective of this theory. Korean dramas have risen to popularity and continue to do so up to this present day. This could be attributed to the Filipino preference for Korean dramas because of the similar culture, values and beliefs portrayed in the Korean dramas (Espiritu, 2011). That said, Korean dramas were found to have impacted greatly on the Filipino Teleserye industry, as television shows proved to have shed the Western values the Americans had introduced to us, while leaning towards more Eastern, family-oriented dramas like Korean dramas. Not only does the Korean pop culture continue to influence the Filipino teleserye industry, tourism and migration of Koreans have greatly multiplied. Damazo (2007) stated that there is a large increase in the Korean migrants in the Philippines, Korean tourists who visit the country, as well as Korean investors starting from the 1990’s. In 2006, Koreans were recorded as the topmost visitors of the Philippines in the foreign list (as cited in Asis, 2007). On an important note, nonverbal communication could vary from one culture to another,

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

13

as an assumption of the EVT states that expectancies are learned (West & Turner, 2010). Therefore, since Korean Dramas and Filipino Teleseryes at present are said to be similar, the way nonverbal expectancy violations are portrayed between Korean Dramas and Filipino Teleseryes could be similar as well, but they could be perceived differently by audiences, specifically Korean and Filipino viewers. Although Filipino culture is similar to Korean culture, how Filipinos and Koreans perceive certain nonverbal expectancy violations, from their own culture to that of the other, may resemble or differ from each other. This is why the focus of the present study is to determine how Korean and Filipino audiences perceive certain nonverbal expectations as portrayed in Korean dramas and Filipino teleseryes, and how these perceptions from two different cultures may have similarities. Dissanayake (2003) claimed that communication has a vital role in the social order. Thus, conducting a study on Korean Dramas and Filipino Teleseryes would be timely and relevant to the field of communication, as Korean dramas are popular around the globe. Also there is a need to raise awareness in the need of intercultural communication amongst Koreans and Filipinos, especially with the increasing number of Korean tourists, investors and migrants in the Philippines. Moreover, studies done on Filipino media, specifically, teleseryes are very limited, so the present study indeed would not just be relevant to the field of communication, but it can also contribute to studies on the Filipino culture. The Korean culture or Hallyu wave is continuously spreading throughout the world, and the Philippines is not an exception. Asianovelas, particularly Korean dramas have dominated the Philippine television, surpassing most teleseryes in the daytime and primetime slots (Bartolome, 2012). According to Simon (2012), the reason of which is that Korean dramas' "value centric and family centric" aspects as well as the "thrill" and "kilig" (romantic) factors.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

14

The significance of the study in the media production industry would be the improvement of the Filipino television drama production value with emphasis on the drama storyline. Cummins and Chambers (2011) defined production value as the technical overall quality of a program. This includes the pre-production, production and post-production aspect of film making, pre-production as the planning stage (ex. storyline, script, casting, set design), production as the actual filming (ex. camera angles, lighting) and post-production as editing (ex. connecting the clips, overlaying the music). The findings regarding the expectancy violations can be used as an additional element to a production content which could create a greater impact on the audience, further expanding the market size and the Filipino film industry to the global market. Lorenzen (2009) pointed out that as the film industry takes part in globalization, it is necessary to earnestly review the growing global diversity of the film industry to further understand people from different places and cultures, and the “emergence of new, global practices and networks” which may eventually impact the present structures of the film industry significantly (p. 10). A comparative analysis of proxemics and haptic expectancy violation between Korean dramas and Filipino teleseryes could give creators of Filipino teleseryes insights on how they can use expectancy violation deliberately and with purpose- perhaps, as stimulating plot devices that could enhance the dramas’ storyline and other production values. The study at hand determined the commonalities of proxemic and haptic expectancy violations as portrayed in Korean dramas and Filipino Teleseryes, and how Korean and Filipino drama viewers perceived these expectancy violations. It would be beneficial to the Assumption College community, to the academe, to the field of media and communication, as a significant contribution to the existing fund of knowledge because currently, there are no studies yet on

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

15

nonverbal expectancy violations in media fiction. The reason of which is because, film or dramas are “staged” and are not reality. Television dramas could be considered as part of country’s culture, and as culture reflects society, a television drama must also do the same. To further illustrate this point, a study by Boden (2001) on Women and Anime: Popular Culture and Its Reflection of Japanese Society, examined numerous animes such as Kodomo no Omocha, Dragon Ball Z, Princess Mononoke, etc. and how these animations depict the transformation in the role of Japanese women. However, one must take into mind that television dramas are merely a reflection of social reality, not a replication of it. Review of Related Literature With the objective of the study in mind-which is to find the commonalities of proxemic and haptic expectancy violations between Korean and Filipino drama, and find how Korean and Filipino drama viewers’ perception of expectancy violations coincide, the researcher sought out significant studies related to the following concepts: nonverbal communication, proxemics, haptics, television dramas, and audience perception. The concepts mentioned would be further discussed, along with past researches relevant to the study at hand. Nonverbal Communication. Birdwhistell (1952), known for being a pioneer in the field of nonverbal communication and known for coining the term “kinesics”, estimated that when a person is engaged in a two-way conversation, 35% is allotted to the spoken word, while 65% goes to nonverbal communication such as gestures, postures, position and distance (as cited in Littlejohn & Foss, 2009). This is probably due to the fact that a vast percentage of our brains is focused on processing nonverbal signals in communication from others, while only a fraction is reserved for verbal communication (Littlejohn & Foss, 2009). Indeed, nonverbal communication plays a vital role and communicates as much more meaning in everyday interactions than do

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

16

verbal cues (Littlejohn & Foss, 2009; Pearson, Nelson, Titsworth & Harter, 2011; Samovar, Porter & McDaniel, 2012). To communicate nonverbally is to make use of wordless messages to relay meaning (Pearson et al., 2011) and is assumed to comprise of gestures, facial expressions, eye contact, body movement, touch, dress, silence, the use of space and time, objects and artifacts and paralinguistics (Samovar et al., 2012). Specifically, there are eight (8) nonverbal codes. Pearson et al. (2011) defines nonverbal codes as codes of communication comprised of any form of symbols that are not words, but may also include nonword vocalizations (p.86). The modes of nonverbal communication are the following: (a) proxemics- the study of man’s use of space and distance; (b) haptics or tactile communication- the use of touch; (c) oculesics- the study of the role of eyes (may comprise of eye contact and gaze); (d) chronemics or temporal communication- the use of time; (e) kinesics- study of bodily activity including posture, gestures and facial expressions; (f) objectics- study of the human use of clothing and other artifacts; (g) physical attractiveness and (h) paralanguage or vocalics- study of nonverbal cues of the voice (Littlejohn & Foss, 2009; Pearson et al., 2011). This study utilized only two (2) nonverbal modes of communication, namely proxemics and haptics, which would be discussed later in this study. It is interesting to note that nonverbal communication continues to expand even to the field of electronics and the internet, as evidenced by Pearson et al (2011), who considered emoticons, which are “electronic sequences of characters composed in two-dimensional written formats for the purpose of expressing emotions” (p. 83), to be a form of nonverbal communication, further cementing the importance of nonverbal communication in any given situation or context.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

17

At present, studies on nonverbal communication have spread over a wide range of fields such as linguistics, anthropology and social psychology (Littlejohn & Foss, 2009). Recent studies have also been made on the varying modes of nonverbal communication such as chronemics (Doering & Poeschl, 2007), haptics (Horan & Booth-Butterfield, 2013), kinesics (Ahn, Jabon, & Bailenson, 2009; Vargas-Urpi, 2013; Horan & Booth-Butterfield, 2013), proxemics (Amad, Sujud, and Hasan, 2007; Kang and Heo, 2006; Doering & Poeschl, 2007), oculesics (Vargas-Urpi, 2013) and paralanguage (Moons, Spoor, Kalomiris & Rizk, 2013; Reuzel et al., 2013). Vargas-Urpi (2013) discussed the implied impact nonverbal communication may have in setting the role and tasks of public service interpreters. Her study explored how interpretermediated interactions between Chinese immigrants in Catalonia and their local public service providers were affected by nonverbal communication. She utilized in-depth interviews with public service interpreters and intercultural mediators and gleaned from them the fact that nonverbal cues are a potential sources of misunderstanding- the Chinese smile and the absence of eye contact, as examples. Reuzel et al. (2013) in the study, Conversational Synchronization in Naturally Occurring Settings: A Recurrence-Based Analysis of Gaze Directions and Speech Rhythms of Staff and Clients with Intellectual Disability, sought to determine to what extent interactional synchrony is achieved between staff and clients with mild to borderline intellectual disability in their day-today interactions. The researchers made use of a cross recurrence quantification analysis to analyze the video recordings of nineteen staff members at work with one of their clients, and fifteen staff members and clients to complete a questionnaire on the quality of the video-recorded material.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

18

Horan & Booth-Butterfield (2013) proved that haptics, proxemics, and kinesics were among the nonverbal cues involved in deceptive affection. Their study attempted to describe the process of deceptive affection and later found that deceptive communication may support and maintain romantic relationships. The findings, which were a result of a 7-day diary in which each of the participants recorded their lives, their reason for lying, and their method of using deceptive affection on their romantic partners, indicated that the feelings the participants lied about were their own, about their partner and about the situation, and that reasons for deception included face-saving, conflict management or avoidance, and emotion management. Proxemics. Illinois Institute of Technology anthropologist Edward T. Hall (1982) coined the term proxemics to refer to “man’s use of space as a specialized elaboration of culture” (p. 1). Proxemics, a study of communication through interpersonal space and distance, involves the concepts of personal space, territoriality, crowding and density (Littlejohn & Foss, 2009). Personal space is an individual’s varying use of space and distance (West & Turner, 2010). Judee Burgoon (1978), a proponent of the Expectancy Violations Theory, which in its conception in the 1970’s, has been the foremost theory in determining the influence of nonverbal communication on behavior (West & Turner, 2010). The theory states that personal space is “an invisible, variable volume of space surrounding an individual which defines that individual’s preferred distance from others” (p. 130, as cited in West & Turner, 2010). Littlejohn & Foss (2009) describe personal space as a bubble, egg-shaped, that extends at about three (3) feet away from the body. In his book “The Hidden Dimension”, Hall (1982) who pioneered the study of personal space, identified the four distance zones, after observing and interviewing unacquainted middleclass Americans, who according to him, a high majority could be considered intellectuals (p.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

19

116). From nearest to farthest, including the ranges of spatial distance and the zone-appropriate behaviors, Hall’s spatial zones are the following (Hall, 1982; West & Turner, 2010; Griffin, 2012): 1. Intimate distance: 0 to 18 inches (making love to touching a person’s face) 2. Personal distance: 18 inches to 4 feet (holding someone at arm’s length; reserved for family and friends) 3. Social distance: 4 to 10 feet (for more formal relationships; office co-workers) 4. Public distance: 10 feet to infinity (for very formal discussions; classroom discussions) Therefore, distance, Pearson et al. (2011) ventured, may be a means of communicating everything nonverbally, be it from the size of your personal “bubble” to your relationship with the person you are engaged in conversation with. Numerous research and studies have been conducted following Hall’s pioneering work, and the following studies are the most recent ventures on the study of proxemics and personal space: In their study, Proxemics and its Relationship with Malay Architecture, Amad et al. (2007) attempted to determine and discuss the relationship between the spatial structure in a Malay House and the spatial communication of the inhabitants. Doering & Poeschl (2007) affirmed that SMS communication- a type of computermediated communication- though text-based and verbal in nature, does not lack in nonverbal cues such as chronemics and proxemics. As the email and text messages display automatic time stamps indicating the time a message is sent and received, the sending time of a message could be interpreted as a temporal cue of nonverbal communication. Further experimentations argue

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

20

that due to the location stamps possible via satellite systems, there is a relation between how receivers perceive SMS content and their spatial distance or proximity from the sender. Kang and Heo (2006) examined 252 Time and Newsweek magazine covers from 1991 to 2004 featuring political figures, in an attempt to determine how camera shots differ with the varying personalities of the featured figures and the tone of the cover story. They formulated three (3) hypotheses based on the “proxemics theory” of camera shots: (a) medium and close-up shots are utilized for U.S. political leaders because they cultivate a more comfortable relationship with the viewer; while the most emotional and uncomfortable extreme close-up shots are utilized for non-U.S. leaders; (b) close up shots associate with good news, while extreme close-up shots associate with bad news; and that (c) there is an apparent consistency in the shot distance use throughout magazines because deciding the distances of camera shots is considered conventional routine in visual journalism. Haptics. Tactile communication or haptics refers to the study of how one’s touching behavior or how one uses touch in nonverbal communication (Littlejohn & Foss, 2009; Pearson et al., 2011). Touch can also pertain to two highly dissociable phenomena, the first of which being the action of an object on the skin (pressure exerted on the skin), while the second being the registration of information by the skin’s sensory systems (i.e. feeling ticklish) (Hertenstein, Verkamp, Kerestes & Holmes, 2006). Now, Hertenstein (2002), clarified that when there are changes that occur in another’s perceptions, thoughts, feelings or behavior as a result of another’s touch-wherein the context when the touch ensued is considered-tactile communication occurs (as cited in Hertenstein et. al, 2006a). Furthermore, Littlejohn and Foss (2009) enumerated (a) tactile interpersonal gestures that could be defined as communication: handshakes, holding hands, kissing (cheek, lips, hand),

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

21

backslapping, a pat on the shoulder, and brushing an arm, and (b) intrapersonal tactile gestures during interpersonal communication: licking, picking, holding, and scratching. These behaviors may send messages that have the tendency to reveal the true intentions or feelings of the communicator. Hertenstein et al. (2006a) added that touch may transmit one’s perceptions, and feelings to another, as well as regulate someone else’s perceptions, thoughts, feelings or behaviors. In their extensive review of empirical research concerning the communicative functions of touch in humans, nonhuman primates and rats, Hertenstein et al. (2006a) found three points concerning communication and touch: (a) intentionality, (b) principles of equifinality (a communicative outcome can be achieved through different means) and equipotentiality (different meanings can be attached to a type of touch) and (c) context. Littlejohn & Foss (2009) further stressed that the context of the situation, the relationship between the communicators and the manner of touch are factors to be considered in deciphering the meaning conveyed from touch. Touching behaviors are also influenced by social norms and the constraints they enforce. Burgoon, Buller, and Woodall (1996, as cited in Hertenstein et al., 2006a) present two broad approaches to the study of haptics- structural and functional. The structural approach is mainly concerned with the meaning(s) attached to particular types of touch (e.g. pat, pinch, shove) and the dimensions of touch (e.g. intensity, frequency, duration). The functional approach is focused on the purposes and consequences of touch. The former is prevalent in human studies, while the latter is found in both human and animal research. Because there was a perceived lack of study on how touch signals emotion, as majority of the studies on emotional signaling has focused on the face and voice, Hertenstein, Keltner, App, Bulleit, and Jaskolka (2006) conducted three studies to determine if the nonverbal modality of

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

22

touch can effectively communicate emotion. Specifically, these studies were conducted because of three objectives: (a) to determine whether individuals could communicate distinctive emotions through tactile communication, and accurately interpret the emotions being communicated by others through touch; (b) to find out whether humans are able to communicate more emotions than what was supposed; and finally (c) to provide descriptions of the touch behaviors that people use to communicate specific emotions. The data gathering procedures were conducted both in the U.S. and in Spain. The first study utilized 212 respondents (106 unacquainted pairs) from California, U. S. A. The second utilized 58 respondents (29 unacquainted pairs) from Granada, Spain. The sample for the third study consisted of 114 undergraduates (67 women and 47 men). In the first and second study, each unacquainted pair was put in a room where they were separated by an opaque black curtain and were not allowed to see each other, except for a hole in the barrier, where the forearm of the decoder goes through. The encoder was instructed to convey each of twelve (12) different emotions (anger, fear, happiness, sadness, disgust, surprise, love, gratitude, sympathy, embarrassment, pride and envy) by touching the forearm of the decoder, who in turn chooses which emotion was conveyed through a forced-choice response sheet containing the 13 response options: the different emotions aforementioned, and none of these terms are correct. The participants in the third study were shown video clips taken from the first study showing the encoder touching the forearm of the decoder. Each clip showed only the decoder’s arm while the encoder is touching it to convey an emotion. The participants were then asked to accomplish a forced-choice response sheet similar to the ones administered in the earlier studies, but with fewer emotion choices. The authors of the study found that humans can communicate numerous emotions through touch, as participants in the first and second study

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

23

were able to decode anger, fear, disgust, love, gratitude, and sympathy via touch, but not happiness, surprise, sadness, embarrassment, envy and pride. Specific touch behaviors associated with different emotions were documented as well (e.g. sympathy was associated with stroking and patting, anger with hitting and squeezing, and disgust with a pushing motion). In the third study, it was found that participants could accurately decode distinct emotions by observing others communicate through touch. Hertenstein, Holmes, McCullough and Keltner (2009) replicated the aforementioned study in The Communication of Emotion via Touch. As the authors primarily sought to significantly extend their understanding of the extent to which touch can signal emotion, the encoders of this study, unlike those of the previous study, were allowed to touch the decoder anywhere on the body that was appropriate to convey an emotion. The findings showed that the decoder (the person being touched) could accurately name the emotion being conveyed through touch without seeing the actual tactile stimulation, and that happiness and sadness, along with emotions decoded in the previous study, could be communicated via touch. Hertenstein and Keltner (2011) revisited their data set from their previous study, (Hertenstein et al., 2006b). In the reanalysis, the researchers found that gender may play a role in the accuracy of communicating distinct emotions via touch between humans. Anger was communicated more accurately only when there was at least one male in the communicating dyad. Sympathy was communicated more accurately when there was at least one female in the communicating dyad. Lastly, happiness was communicated accurately only when the entire dyad is composed of females. Using Hertenstein et al.’s (2006) methodology, Thompson and Hampton (2011) observed whether the relationship status of partners has an effect on emotional communication and

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

24

interpretation. Specifically, the researches aimed to find out the difference between the emotions that can be distinguished via touch by strangers, and the emotions that can be distinguished via touch by romantic partners. A total of 30 couples (60 participants) took part in the study. There was a total of fifteen (15) testing sessions, each with two couples where one member of the couple is designated as the decoder and the other the encoder. Each participant performed their tasks as decoder or encoder twice, one with their romantic partner, and the other with a stranger. The findings showed that although both strangers and romantic couples were able to communicate universal and prosocial emotions, only romantic couples were able to communicate envy and pride. Television Dramas. A previous study by Rodriguez and Ticsay (2010) claimed that the prevalent television format today is television drama series. Mumford (1995) defined drama series or soap operas as "a continuing fictional dramatic television program presented in multiple serial installments each week, through narrative composed of interlocking storylines that focus on the relationship within a specific community of characters" (as cited in Shim & Paul, 2007, p. 292). In addition, Chua and Iwabuchi (2008) indicated that drama series generally contain romance, family, melodrama and suspense themes (as cited in Md Syed, 2011). A wide range of studies has been made around the topic of television plays, dramas and soap operas, some exploring the impact of television dramas, especially to its viewers and some exploring why. Pineda (2012) mentioned that the Filipino audience could relate to television dramas because “drama happens to be the small box of secrets that holds all the emotions of the viewer – passion, sympathy, misery, determination, empathy, ambition, anger, and love” (p. 55).

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

25

Wang and Lin (2010) studied the Effect Of TV Drama On Relationships Among Tourists’ Experiential Marketing, Experiential Value And Satisfaction where the findings showed that if there is an exceptional experiential marketing in a drama, the experiential value of a viewer over the marketed destination will give the tourists high satisfaction. In addition, although television medical dramas are evidently popular and have relayed health and medical related information to its viewers, studies that actually focus on the television viewers themselves are lacking. For this reason, Lee and Taylor (2014) sought to explore why viewers watch medical dramas and what the consequences of their viewership are through the Users and Gratifications perspective. A survey conducted among college students showed that health information motive, although not the primary motive for viewership, directly predicted use of health information from medical dramas. Meanwhile their entertainment-related motives for viewership indirectly and positively predicted use of information because of involvement with those dramas; and, indirectly and negatively predicted use of information because of attention to the drama storyline. Korean Dramas and Filipino Teleseryes. Drama existed in the Philippines since the Spanish colonialism in the form of sarswela (Pineda, 2012). Later on, it was the Americans who introduced the Filipinos to their first television sets in the 1950’s. Thus, it goes without saying that the Filipinos were exposed to Western media since the dawn of the television in the Philippines and were influenced by them in making their own television programs (Tiongson, 2003 as cited in Espiritu, 2011). In the 1990’s came the advent of the Mexican telenovela craze, with the Tagalog-dubbed episodes shown on Philippine television commonly portraying “sex and haciendero-katulong relations” (Sakuragi, 2011). Among these shows are the popular “Marimar” and “Rosalinda”. But as was

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

26

mentioned, there came a shift in the television viewing of the Filipino audience from Westernthemed to Eastern-themed television programs. A research by Yang (2008) identified Korean dramas as "two genres, trendy drama and family drama" (p. 64). Flores (2012) stated that the Korean popular culture in the Philippines emerged from Korean dramas, K-pop, Korean online games, cosplays and the increasing Korean migrants as well as tourists. Since the Korean Wave touched the Philippine shore in 2003, until 2012, there have been a total of 165 Korean dramas aired on Philippine television (Sakuragi, 2011). As a result, the Philippines filmmaking industry has adapted Korean production aesthetics from Korean dramas (Flores, 2012). Also, Korean dramas taught Filipinos about Korean culture, which then led to many Filipinos desiring to learn the Korean language and writing (Sakuragi, 2011). Choi (2012) said, “Unlike American shows where it was commonplace to see couples kissing, the subtleties in Korean dramas created a sense of innocence and purity.” The female Filipino respondents of Espiritu’s (2011) study find the portrayal of subtleties and the thrill of the romance-which also suggest pure and long-lasting love- in Korean dramas appealing. They also liked the lively and engaging storylines, which are mostly unusual and unpredictable, the moving portrayals of the fresh-faced actors and actresses, and the values in the Korean dramas. Filipino audiences possess cultural affinity with Korean dramas; which is why Filipinos find that they can relate to them, in terms of culture, values and environment (Kwon, 2006; Espiritu, 2012). While the respondents leaned towards Korean dramas, they averted their attention from Western-themed dramas, as they disliked “the excessive kissing in Mexican telenovelas and the too liberal values and actions in American dramas.” They also viewed negatively the too

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

27

melodramatic theme of Philippine soap operas, which had its roots from American influence, saying that it failed “fail to move them emotionally.” Moreover, because of Korean drama viewing, the American influence on Philippine media had weakened (Espiritu, 2012). That is why Filipino dramas, which were compared to Mexican telenovelas for its longwinding storylines, heavy conflicts and explicit sexual content, have started to learn from Koreanovela productions, with Filipino productions now having tighter plots and narratives, lighter storylines such as romantic comedies, and more family-oriented and teenage-aged characters (Flores, 2012). Among those Filipino dramas influenced by Korean dramas are “Together Forever" and "I Heart You, Pare" on GMA, and "My Binondo Girl" and "Budoy" on ABS-CBN (Sakuragi, 2011). Furthermore, Flores (2012) commented that, because of the popularity of Korean culture, such as K-drama and K-pop, the Filipino youth were also influenced in the fashion and beauty department, adding that Korean gadgets and other consumer products have become prestige goods. The Korean dramas and Filipino teleseryes selected were aired in their respective countries from 2009 – 2013, have similarities and parallelism in themes and have high consistent ratings according to the data of AGB Nielsen (for Korean dramas) as presented in a conference paper of the Korean Cultural Center and Kantar Media (for Filipino teleseryes). The following synopses of the television dramas were based on the synopses presented in Hancinema and ABSCBN websites.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

28

Korean Dramas: 1. Shining Inheritance (2009) Go Eun-Sung (Han Hyo-Joo) receives a call from her father asking for her to return to Korea just after 2 years of studying in New York. On the other hand, Sun-Woo Hwan (Lee Seung-Gi), is ordered by his grandmother to return to Korea after wasting his time studying abroad. Eun Sung’s father, Go Pyung-Joong (Jeon In-Taek) and his company encounter bankruptcy. A thief steals Pyung-Joong’s wallet with his ID and credit cards but later dies in a gas explosion. The police mistake the body as Go PyungJoong. Pyung-Joong does not let anyone know he is alive in order to hide from creditors. Eun-Sung and her brother struggle financially after being kicked out of the house by her stepmother, Baek Kyung-Hee (Kim Mi-Sook) and her daughter, Yoo Seung-Mi (Moon Chae-Won). After her brother, who is mentally retarded, goes missing, she meets Park Joon-Sae (Bae Soo-Bin) a friend of her former boyfriend. Joon-Sae helps her as much as he can. Still in search of her brother, Eun-Sung starts selling dumplings after being a waitress. Jang Sook-Ja (Ban Hyo-Jung), Sun-Woo’s grandmother and a founder of a food company meets Eun-sung after the latter helps the former in an accident. As Sook-Ja learns Eun-Seong’s story, she decides to make Eun-Sung the heir to her company rather than the lazy, Hwan. 2. City Hunter (2011) Lee Jin-Pyo (Kim Sa-Joong), a member of the South Korean military who was deployed to North Korea for a secret operation, witnessed his closest friend’s murder. After accomplishing the mission, it turns out that the South Korean government has plotted an execution for them to cover-up for the government. Jin-Pyo takes

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

29

responsibility of his friend’s son, Lee Yoon-Sung (Lee Min-Ho) and trained him to take vengeance against those who killed his father. Yoon-sung then enters the Blue House’s (Korea’s White House) international communications department. As he secretly exposes the controversies of the government for revenge under the mask of the “City Hunter”, he meets presidential bodyguard Kim Na-Na (Park Min-Young) and develops feelings for her. 3. Nice Guy (2012) Kang Ma-Ru (Song Joong-Ki), a promising medical student, loses his chance of becoming a doctor by taking the fall for the murder committed by his girlfriend, Han JaeHee (Park Si-Yeon). Years passed, Ma-Ru, being released from prison becomes a gigolo to support himself and his sickly sister. After learning about Jae-Hee’s current life as the wife of chaebol (rich person), he seeks for revenge. Along the way, he meets the cold and calculative Seo Eun-Gi (Moon Chae-Won), the Jae-Hee’s stepdaughter. He uses and manipulates Eun-Gi, who is deeply in love with him, as a tool of revenge against JaeHee. But in the turn of events, Ma-Ru truly falls in love with Eun-Gi. What would he do when Eun-Gi learns of his true intentions, and Jae-Hee does everything in her power to come in between the Eun-Gi and his love for her. Filipino Teleseryes: 1. Tayong Dalawa (2011) The drama revolves around two brother David “JR” Garcia, Jr. (Gerald Anderson) and David “Dave” Garcia Jr., (Jake Cuenca). Not knowing that they share the same blood because of their father, JR and Dave became good friends. Yet conflict between the two will arise as they realize that they have the same dream and the same person they love,

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

30

Audrey King (Kim Chiu). Audrey’s first encounter with JR was when she and her family went to Tagaytay, where she meets an accident and falls of the stairs. If it were not for JR, she would have died. When Audrey asked for his name, JR introduces himself as David Garcia, Jr. Not knowing that there are two David Garcia Jr., Audrey mistakes Dave as JR and develops feelings for him. Audrey’s father sends her to Cebu to study, while JR and Dave enroll in the Philippine Military Academy, and this marks the beginning of their rivalry. 2. Walang Hanggan (2012) It all starts with the strife between the Cruz sisters, Virginia (Susan Roces) and Margaret (Helen Gamboa) who fall in love with one man, Joseph Montenegro (Eddie Gutierrez). In the end, Margaret marries Joseph and has a son, Marco (Richard Gomez), who falls in love with Emily Cardenas (Dawn Zulueta), the daughter of one of their workers. But because Margaret was against it, she has her son marry Jane Bonifacio (Rita Avila). Years after Marco leaves for the US and comes back, Emily returns for revenge. The story revolves around the family, business and romantic rivalry between the sons of Marco with Jane, Nathan (Paulo Avelino) and with Emily, Daniel (Coco Martin). Both Daniel and Nathan are in love with Katerina (Julia Montes), but Nathan desperately longs for her and will do anything to marry her. 3. Ina, Kapatid, Anak (2012) Celyn (Kim Chiu,) and Margaux (Maja Salvador) grow up living opposite lives Celyn living a humble life in a remote area of Cebu while Margaux living the life of a princess as the adopted child of the owners of the country’s biggest shoe company. Fate brings them together when they end up studying at the same university, and become the

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

31

best of friends. However, when it is revealed that Celyn is the long lost daughter of Margaux’s adoptive parents, they become rivals… in status, family and love. Audience Perception. Taber (2011) defined perception as the meaning given to an experience. In addition, Hybels and Weaver II (2004) stated that it is the recognized image of a person to a particular subject that surrounds an individual. Do Kyun et al. (2009), in their study Television Drama, Narrative Engagement, and Audience Buying Behavior: The Effects of Winter Sonata in Japan, found that the Japanese audience perceived the drama as “highly coherent, realistic, and with which audiences felt a high level of emotional involvement with its plot” (p. 24). The participants interviewed in the study stated that, “Winter Sonata” depicts “pure love” which they can clearly relate to. Oppenheimer, Adams-Price, Goodman, Codling and Coker (2003) found that women and men see the female characters on television as powerful, though women acquired a higher result. African-Americans can easily relate with the strong female characters, given the history of slavery in African-Americans while Caucasian-Americans can hardly relate on it. Men perceived the characters as sexier than women. The findings showed the difference in the perception of men and women as well as races. Halse (2012) examined an episode in the television action series “24”, which is about a Muslim family, and determined how young adults in Norway perceive the stereotype “neighbor terrorist.” The results gathered show that the Norwegian participants found the series to be gratifying, while the Norwegian Muslims perceived it to be “unpleasant and offensive”. In a study conducted by Glascock (2003) on the Viewer Perception of Gender Roles on Network Prime-Time Television, findings suggested that there was a gradual change in the perceived gender roles of television characters over time, which as Twenge (1997) implied,

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

32

“women have entered the workforce, participated in organized sports and pursued advanced degrees” (as cited in Glascock, 2003). Zhuo (2011), in his research Cultural Barriers or Cultural Adaptation? – Chinese Audience’s Perception and Acceptance of Cultural Difference in Foreign TV Programs in China, found that though cultural differences are still very eminent, audience with a wider knowledge and understanding about these differences and about foreign culture “could accept cultural difference at a higher level.” It was said that individuals interpret ideas in various ways (Taber, 2009a; Taber, 2011b as cited in Griffin, 2012, p. 99). In the literature reviewed, audience perception varies according to gender, religion, culture and race. This phenomenon can be further explained by the theory of constructivism, which, according to Delia (1982) is where "persons make sense of the world through systems of personal constructs" (as cited in Griffin, 2012, p. 99). There is prior knowledge before an individual forms his or her interpretation of a concept, thus, Koreans and Filipinos have different perceptions on certain ideas or behaviors, as constructs are also culture-bound. Cultural values, which refer to the “worldview of a cultural group and its set of deeply held beliefs” (Martin & Nakayama, 2010, p. 95), are also central in understanding cultural groups. The Filipino “Kapwa”. There is a significant number of literature centered on the Filipino personality available at present, as the Filipino personality is a subject of great interest to many foreign scholars. These foreign scholars come to the country, and instead of fully immersing themselves in the Philippine culture, they used language interpreters in their quest to define the Filipino values. These so-called “Filipino values” have been taught not only to

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

33

foreigners, but to Filipinos as well, as these “values” are published as content in many Filipino textbooks of instruction (Pe-Pua & Protacio-Marcelino, 2000). These values have mostly something to do with the “SIR syndrome”, or having the tendency or the “weakness” of maintaining “smooth interpersonal relationships”. Accompanying it are the values of utang na loob (debt of gratitude), pakikisama (getting along), and hiya (shame). Concomitant to this trilogy of values is a set of negative traits attributed as unique to Filipinos: the mañana habit (chronic procrastination), ningas kugon (good starters, poor finishers), bahala na mentality (fatalism), and talangka or crab mentality (the tendency to pull down those who strive for success) (Mendoza, 2002, p. 57, as cited in Mendoza & Perkinson, 2003). These identity constructs were accepted and for generations have been what Filipinos know about themselves, thus perpetuating a distorted, if not erroneous, picture of the Filipino (Mendoza, 2002, p. 57, as cited in Mendoza & Perkinson, 2003; Pe-Pua & Protacio-Marcelino, 2000). From the perspective of Sikolohiyang Pilipino (Filipino Psychology), which is focused on the psychological nature of the Filipinos, may it be from a local or a foreign perspective (Enriquez, 1976 as cited in Pe-Pua & Protacio-Marcelino, 2000), the foreign scholars were only able to scratch the surface meaning of the “values” they found. Bahala na is not fatalism but is interpreted as determination and risk-taking (Lagmay, 1977 as cited in Pe-Pua & ProtacioMarcelino, 2000); hiya is not shame, but one’s “sense of propriety” (Salazar, 1981, 1985 as cited in Pe-Pua & Protacio-Marcelino, 2000); and utang na loob is not merely a “debt of gratitude”, but actually means “gratitude or solidarity” (Enriquez, 1977, as cited in Pe-Pua & ProtacioMarcelino, 2000).

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

34

Enriquez (1978, 1994 as cited in Pe-Pua & Protacio-Marcelino, 2000) identifies the concept of kapwa (shared identity) as the core or the heart of the structure of Filipino values. It is not maintaining smooth interpersonal relationships that matter to the Filipino, but pakikipagkapwa, reaching out to one’s fellow human being. Kapwa is divided into two categories, the Ibang-tao, which is the outsider, and the Hindi-Ibang-tao, who is considered as kin. Pe-Pua & Protacio-Marcelino (2000) added that although the Filipino is a “blend of East and West”, Western influence is only superficial, whereas Asian influence reaches into the core of the Filipino personhood- “deference for authority, modesty/humility, concern for others, etc.” (p. 56). Enriquez (1992 as cited in Pe-Pua & Protacio-Marcelino, 2000), identified twelve (12) Filipino values using the Sikolohiyang Pillipino perspective and provided a conceptual structure for them. He designated hiya (“propriety” or “dignity), utang na loob (“gratitude” or “solidarity”), and pakikisama (“companionship” or “esteem”) as colonial or accommodative surface values. Bahala na (“determination”), sama/lakas ng loob (“resentment” or “guts”), and pakikibaka (“resistance”) were categorized as confrontative surface values. Kapwa (“shared identity”) was emphasized as a core value; pakiramdam (“shared inner perception”), as pivotal interpersonal value; and kagandahang-loob (“shared humanity”) as linking socio-personal value. He designated as societal values karangalan (“dignity”), katarungan (“justice”), and kalayaan (“freedom”) which are associated with the aforementioned values (p. 56). It is interesting to note that our inclination to indirect communication could be traced back to the Filipino value pakiramdam, which is being sensitive to the nonverbal cues and having concern for the feelings of others. This has resulted in indirectness in verbal exchange,

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

35

which is considered normal for Filipinos but is misinterpreted as untruthfulness, dishonesty and hypocrisy by Westerners (Pe-Pua & Protacio-Marcelino, 2000). The Korean Han. Han is considered to be a collective sentiment of Koreans, transmitted from generation to generation, and is a key term to the understanding Korean culture (Min, 2009). It is defined as a “mixed mood of missing, sadness, suppressed anger, feeling of unfairness…or everlasting woe” (p.14). It could also be translated to English as “grudge”, “rancor”, “spite”, “regret”, “lamentation”, “grief” or “hate”. Son (2000, as cited in Considine, 2013) describes Han: … [han] is used to describe the heart of a person or people who has/have endured or is/ are enduring an affliction but the pains, wounds, and scars are not always apparent and visible because they are the kind that occur deep within the essence, core being, or heart of a person … [han] connotes a mind’s or a heart’s affliction and struggle with a deep emotional or spiritual pain which either poisons the entire being or even ends up the person … (p. 88) Han is said to be a result of Koreans’ long period of suffering and endurance coming from a long history of foreign invasions from the Chinese, the Japanese, and the West; patriarchal Confucian traditions that have silenced, enslaved and rendered women as the weaker sex for hundreds of years; the inhumane treatment of the lower class (including the maids, servants, butchers, tanners, shamans, and roaming entertainers) under the feudal caste system, and the violation of civil rights by authoritarian military regimes, one in succession of the other, during the postcolonial period (Min, 2009; Chung, n.d.). Han is a complex term and is defined in various ways: (a) jung-han- longing for a lost loved one; (b) won-han- harboring hatred or revenge; (c) hoe-han- regret for not having done

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

36

one’s best; (d) tong-han- a very painful han. These forms of han may overlap each other, and are commonly related to anger (Min, 2009). Koreans have developed procedures of healing for han, which is referred to generally as “han-puri”, meaning “solving han”. Through han-puri, the people release negative emotions in positive and creative ways. This is evident in the Korean cultural heritage such as folk songs, mask dances, folk paintings and ceramic wares that were created by unknown, low-class masters, that have been related to han (Min, 2009). Furthermore, even Korean scholars believe that han has been transformed into socially productive activities such as cultural arts and social transformation. The Korean’s passion to overcome their historical han has led them to strive for success, specifically economic growth, industrial achievement and modern democratization. Even the Hallyu wave or the flow of Korean culture, is a creative expression of the emotional power of han (Min, 2009). Korean and Filipino Cultural Patterns and Behavior. Generally speaking, Asian culture is characterized by discipline and protocol, filial piety, strong family and relational ties, and social status (Harris, Moran & Morgan, 2004). Moreover, Asians, particularly, Chinese, Pacific Islanders, Japanese and Koreans are not considered to be a touch-oriented society, where touching is limited and public displays of affection are avoided. The Philippines, on the other hand, is a touch-oriented society (Adams & Jones, 2011). Filipinos are a warm and friendly people. Although they are somewhat emotional and sensitive-which points back to their Spanish heritage, the Filipino they enjoy entertaining guests and are hospitable. They also hold great respect for their elders. Great importance is placed on one’s family. One does not strive for success for one’s sake, but for the betterment of the social position of one’s family. The importance the Filipinos give to family is evident in the

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

37

interdependence of the family as reflected from large extended families of cousins and friends (Harris et al., 2004). Handshakes or a light pat on the back is the usual way of greeting among male friends or acquaintances; while, some women would kiss each other on the cheek. An affirmative reply, a “yes”, can be given through the raising of the eyebrows. An upward jerk of the head would mean “yes,” while a jerk downward would mean “I do not know.” Like most Asians, the Filipinos are non-confrontational, and may say “yes” verbally and communicate “no” non-verbally. To beckon someone over, would extend the hand out with the palm down moving the fingers in and out as in a scratching motion. On an important note, what would be considered as “correct” or appropriate behavior in Filipino society is defined by tradition and takes into consideration one’s family and other reciprocal obligations (Harris et al., 2004). Like in Filipino society, Koreans also give respect and honor to their elders. One does not provoke an elder into anger, as serious damage could be done. This is because, regardless of the right or wrong of the situation, age gives an older person the upper hand in influencing the opinion of others. Moreover, Koreans are also a non-confrontational people, because saying “no” could hurt another’s feelings and would be considered poor etiquette. They would say “yes” but would usually do the opposite with no guilt in breaking a promise or agreement. But that would be where the similarities end (Harris et al., 2004). Koreans, unlike Filipinos, are not a touch-oriented society, and would consider it a breach of etiquette if one touches them physically without a well-established bond of friendship or childhood ties. Since Koreans are very strict in observing rules of etiquette, one should not slap someone on the back, put one’s arms around a casual acquaintance, be too familiar with someone in public, or embarrass someone by making him or her the butt of a joke, as doing these would

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

38

offend them, and in turn damage your relations with them. Occasionally, when they get drunk and become too affectionate, they would apologize while they are still drunk, and would again apologize the next they, telling their colleagues that they are sorry for imposing on one’s good nature (Harris et al., 2004). Koreans give importance to social hierarchy and protocol. Relationship tend to be vertical, in the sense that each person in society is in a relatively higher or lower position- and one should know and be aware of those levels. One should be careful to observe protocol such as this, as Koreans consider those who fail to observe the “basic rules of social exchange” as “unable” and “not a person”. Oftentimes, in relationships, one should appear to lower oneself in humility and give honor to other people. Putting oneself forward is thought to be arrogance, and would merit the scorn of others (Harris et al., 2004). It is not the custom for Koreans to introduce one person to another. Instead, two strangers would introduce themselves to one another, and it is usually the elder of the two persons would initiate the introduction. Only then can they be formally introduced to each by another person (Harris et al., 2004). In tradition, at meals, the hostess situates herself farthest from the place of honor, and often would not eat in the presence of a guest. To put your chopsticks or spoon on the table is an indication that you are finished with your meal. To put them on top of a dish or bowl is an indication that you are merely “resting”. One could show appreciation for the meal prepared by slurping soup or smacking one’s lips. Also, a courteous refusal could be accepted if the host would continue to one to eat more (Harris et al., 2004). The literature gathered gave the researcher an idea of the current research relevant to the topic at hand, which is nonverbal communication. There are various modes of nonverbal

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

39

communication, which indicates that the field of nonverbal communication is broad and will become more so, as researchers have found nonverbal communication in action even in the unlikeliest of contexts, such as the kinesics in emoticons (Pearson et al., 2011) and the chronemics and proxemics in email and text messaging (Doering & Poeschl, 2007). This just proves that even if we neglect to recognize the role of nonverbal communication in our day-today lives, it leaves a big impact in how we communicate, how we present ourselves to others, and how others perceive us. Though specifically, in comparison to the broad studies of nonverbal communication, gestures and cues, fewer studies have been conducted on the more specific nonverbal modes, such as haptics and proxemics-although proxemics has more weight over haptics in terms of being a subject of research, as there are more studies conducted about proxemics than haptics. Television dramas have also been receiving attention from scholars, namely Korean dramas. These studies explored Korean drama influence and impact on its viewers. Korean dramas, which started to rise in popularity in the early 2000’s, continue to still be popular today, especially among Filipino audiences. The steadfast popularity of Korean dramas may be due to the fact that Filipinos could relate to them more as Filipinos and Koreans were found to share similarities in culture despite religious differences. That said, Korean dramas were found to have impacted greatly on the Filipino teleserye industry, as television shows proved to have shed the Western values the Americans had introduced to us, while leaning towards more Eastern, familyoriented dramas like K-dramas. Nonverbal cues, behaviors and communication and its reception may vary from one culture to another (Hall, 1982; Littlejohn & Hoss, 2009; Samovar et al. 2012). Therefore expectancies of violations and viewer perception of these expectancy violations may have

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

40

similarities and differences from one culture to that of the other, as expectancies are learned and molded by social norms. One reason why the present study Proxemic and Haptic Expectancy Violations and Viewer Perception of Korean Drama and Filipino Teleserye is significant is that no studies on expectancy violations have been done on media fiction, especially between media fiction from different cultures. Theoretical Framework Expectancy Violations theory. The study used the Expectancy Violations Theory of Judee K. Burgoon, which holds that people have expectations on the nonverbal behavior of others, and that when these are violated, the violation would be held positively or negatively, depending on the perceived value the receiver has of the violator (Burgoon, 1978 as cited in West & Turner, 2010). The theory, which was developed by Burgoon and her associates to predict and explain the impact of unexpected communication behavior, originated as a theory about interpersonal spatial violations and its effects. It was subsequently expanded to cover both nonverbal and verbal behavior (Littlejohn & Foss, 2009). The three basic assumptions of the EVT are: (1) expectancies drive human interaction; (2) expectancies for human behavior are learned; (3) people make predictions about nonverbal behavior.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

41

Figure 1. The Nonverbal Expectancy Violations Model (Burgoon & Hale, 1988) Expectancies are “enduring patterns of anticipated verbal and nonverbal behaviour” (Burgoon & Walther, 1990 as cited in Burgoon & Hubbard, 2005). Burgoon and Hubbard (1988) identified three classes of factors that influence expectancies: (a) communicator- refer to the individual’s salient characteristics (gender, age, appearance, background and reputation) that are the “basis for categorizing people” (p. 151) and cause individuals to carry related expectations on how such a person communicates; (b) relational characteristics- refer to the characteristics

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

42

between sender and receiver (degree of familiarity, liking, attraction, similarity or status of equality); and (c) contextual factors- the features of the context or setting in which the communication takes place, including the environmental and situational constraints and definitions (e.g. privacy, formality, or task requirements) that specify certain interaction behaviors. What would be considered as a normative form of communication practices is the result of these factors (Littlejohn & Foss, 2009). When another’s behavior falls outside the range of expectancies, and are sufficiently deviant to be noticed by the receiver, an expectancy violation occurs. Deviating from the expectancies of another would result in a heightened level of arousal on the part of the receiver. Arousal is the "alertness" or "orienting response" that diverts the receiver's attention away from the message of the interaction, towards the source of arousal-the violator. (Burgoon & Hale, 1988; Littlejohn 2009) These expectancy violations are given a value, a violation valence, which would be regarded as positive or negative. How one assesses a violation as positive or negative may depend in part on the reward value of the communicator, the communicator reward valence. It is the sum of the positive and negative communicator and relationship characteristics of a person including his or her potential to carry out rewards and punishments. Communicator reward valence influences violation valence in two ways: in the interpretation of an ambiguous behavior and in the evaluation of explicit or unambiguous behavior. Nonverbal acts carry multiple interpretations, and Burgoon and Hale (1988) hold that in instances that behavior is ambiguous and holds multiple interpretations, actions committed by a high-reward communicator would be positively received, while the same actions committed by low-reward communicator would be given a negative connotation. In instances where actions

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

43

have a clear meaning, the same is found to be true. An unequivocal gesture by a high-reward communicator would be positively evaluated, while the same gesture by a low-reward communicator would be negatively evaluated. There are situations, however, when a gesture would be evaluated negatively (e.g. rude gestures) regardless if the violator were a high-reward or a low-reward communicator. There might also is be the possibility that a violation would be ignored or disregarded, either because it was seen as externally or accidentally caused, or the receiver did not find meaning to it. (Burgoon & Hale, 1988) Positively evaluated behaviors qualify as positive violations, for the reason that they are committed by a high-reward communicator, and assigned positive interpretations, or assigned a positive value within a speech community. The same goes for negatively interpreted and evaluated deviations, which would qualify as negative violations and in turn generate adverse interaction patters and outcomes. But extreme violations committed by a high-reward violation could even be positively-valenced, and produce reciprocal patterns and positive consequences (e.g higher credibility or attraction. (Burgoon & Hale, 1988). Constructivism theory. The Constructivism theory was studied in various perspectives, such as communication, psychology and education or learning. The psychology perspective, George Kelly’s Personal Construct of Psychology, would be used in this study. The main assumption of constructivism, according to Delia (1982), is that "persons make sense of the world through systems of personal constructs" (as cited in Griffin, 2012, p. 99). The interpretation of an individual, regarding a concept, is dependent on the personal constructs he or she possesses. Griffin (2012) stated that constructs are two contradicting terms such as good-bad which people form in classifying a

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

44

particular concept. People who are cognitively complex are believed to have a better grasp on how to interpret and understand ideas (Griffin, 2012). Taber (2011) mentioned that "human beings are never a complete tabula rasa: a blank slate upon anything can be written” (p. 46), because knowledge is gradually developed by life experiences. Also, people recognize patterns, which they tend to follow in interpretation. As Vygotsky (1978) stated, "the knowledge of a person living in a human community will to a large extent derive from social interaction, through which aspects of the culture are acquired” (p. 49 as cited in Taber, 2011). Clearly, culture is a factor that affects the formation of constructs. There are several schemes that categorize the formation of constructs; these schemes are called cognitive schemata. Muehlhoff (2010) discussed George Kelly's study of constructivism and classified the following schemata: (a) prototype- the clearest case or best and worst example of a category as judgments (ex. English - best subject, Math - worst subject); (b) personal constructs- pertains to the bipolar dimensions of judgment (ex. interesting - boring); (c) stereotype- the predictive generalizations about people and experiences (ex. Black Americans are slaves); and (d) scripts- guides to action (ex. behavior based on culture). All of these schemata influence construct formation. As was mentioned, cognitively complex individuals are in advantage when it comes to communication. For an individual to become cognitively complex, he or she is expected to perform the following cognitive processes as stated by Kelly (1955); (a) differentiation- an individual’s various interpretation on a concept; (b) abstraction- taking in consideration the internal motives, characters and personality traits of an individual before establishing a judgment; and (c) organization- interpretation of contradicting information and interpretations. These two key ideas- cognitive schemata and cognitive complexity- develops a person-centered

1 2

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

45

communication which is likely, to be the end result of the first two ideas in consideration of the emotional, contextual communication factor and background on a particular concept or individual prior interpretation (as cited in Muehlhoff, 2010). Conceptual Framework Communicator Characteristics

Relational Characteristics

Context

Expectancy Violation (Proxemics/Haptics)

Korean Dramas

Filipino Teleserye

Korean Viewers

Filipino Viewers

Perceived Constructs

Perceived Constructs

Commonalities

Production (Documentary) ) Figure 2. The Model for Viewer Perception of Proxemic and Haptic Expectancy Violations in Korean Drama and Filipino Teleserye. Figure 2 shows how Burgoon & Hale’s (1988) Nonverbal Expectancy Violations Model and Kelly’s (1955) Constructivism Theory were utilized in this study. The study took into

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

46

consideration the communication and relational characteristics as well as the context behind the proxemic and haptic expectancy violations portrayed in the selected Korean dramas and Filipino teleseryes, through a video content analysis. Second, were the Korean and Filipino viewers’ perceived constructs on the expectancy violations portrayed in the selected Korean dramas and the Filipino teleseryes. The commonalities between these constructs and the common perception of the Korean and Filipino viewers on the proxemic and haptic expectancy violations were determined. These findings were shown in a documentary regarding the relation of proxemic and haptic expectancy violations to Korean dramas and Filipino teleseryes, and how expectancy violations could be used purposively and deliberately as a stimulating plot device to the improvement of Filipino teleserye’s production value. Furthermore, expectancies, expectancy violation, and arousal were the EVT components used in this study, the researcher excluded violation valence and communicator reward valence, as this study attempts to determine just the expectancy violation, not the positive and negative value the receiver has put on the violation (violation valence), and his or her positive or negative regard of the violator (communicator reward valence). This is due to the fact that the violation valence, is influenced by the violator’s communicator reward valence, and this latter component is not portrayed openly in the drama, therefore making it difficult for a mere observer to review. Statement of the Problem The present study determined the commonalities of proxemic and haptic expectancy violations found in between selected Korean Dramas and Filipino Teleseryes, and found how viewers perceived those expectancy violations.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

47

Specifically, this study sought to answer the following specific questions: 1. What kind of proxemic and haptic behavior would constitute as an expectancy violation in Korean Drama? 2. What kind of proxemic and haptic behavior would constitute as an expectancy violation in Filipino Teleserye? 3. What are the commonalities in the proxemic expectancy violations between Korean Drama and Filipino Teleserye? 4. What are the commonalities in the haptic expectancy violations between Korean Drama and Filipino Teleserye? 5. How do Korean and Filipino viewers define expectancy violations? 6. Why do Korean and Filipino viewers perceive certain proxemic and haptic behaviors as violations of their expectancies? 7. How do the Korean viewers’ perception of proxemics and haptic expectancy violations coincide with Filipino viewers’ perception? 8. What output could be produced that would effectively highlight the findings of this study and briefly discuss the variables utilized (i.e. similarities in Korean and Filipino Culture, purposeful use of expectancy violations, production values particularly the storyline of Korean drama and Filipino Teleserye)? Scope and Limitations This study determined the commonalities of proxemic and haptic expectancy violations in Korean dramas and Filipino teleseryes, through comparative content analysis, and viewer perception of these violations through standard qualitative data analysis. The participants were three (3) experts as coders, who, alongside the researchers, reviewed and analyzed the Korean

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

48

Dramas and Filipino teleseryes for expectancy violations. The second set of participants were five (5) Koreans and five (5) Filipinos, who were interviewed by the researchers at the latter part of the data-gathering period. Used in this study were several episodes from Korean dramas and Filipino Teleseryes that aired on Philippine and Korean television from 2009-2013. The reason would be that 2004 was the year Korean dramas became popular in the country. This study made use of five (5) onehour episodes each from the following Korean Dramas: Shining Inheritance (2009), City Hunter (2011), and Nice Guy (2012). Meanwhile, ten (10) 30-minute episodes were used in this study from the following Filipino Teleseryes: Tayong Dalawa (2009), Walang Hanggan (2012), and Ina, Kapatid, Anak (2012). Also the expectancy violations observed for the content analysis were limited to the expectancy violations perpetrated by the lead characters of each Korean Drama and Filipino Drama. The characters observed were Go Eun Sung, Sun Woo Hwan, Yoo Seung Mi, and Park Joon Se for Shining Inheritance (2009); Lee Yoon Sung, Kim Nana, Kim Young Joo and Lee Jin Pyo for City Hunter (2011); Kang Maru, Seo Eun Gi, and Han Jae Hee for Nice Guy (2012); Audrey King, David “JR” Garcia, Jr., David “Dave” Garcia, Jr. for Tayong Dalawa (2009); Daniel Guidotti, Katerina Alcantara, Marco Montenegro, and Emilia Cardenas for Walang Hanggan (2012); and Margaux Marasigan, Celyn Marasigan, Liam Lagdameo, Ethan Castillo for Ina, Kapatid, Anak (2012). The use of the Nonverbal Expectancy Violations Model in this study was limited to the elements of (a) expectancies, (b) expectancy violations, and (c) arousal. The EVT elements of violation valence and communicator reward valence were not included in the present study. Reasons for this were mentioned in the section of the conceptual framework of this study. Also,

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

49

the types of behavior reviewed and analyzed were limited to the nonverbal communication modes of haptics and proxemics in determining the expectancy violations as seen in Korean Dramas and Filipino Teleseryes. Significance of the Study The primary objective of the study was to present a content analysis comparing proxemic and haptic expectancy violations depicted in Korean Dramas and Filipino Teleseryes, and how Korean and Filipino drama viewers are similar in their perception of the said expectancy violations. This study could prove beneficial to the following groups: The Academe. This study would serve as a contribution to the fund of knowledge, specifically as a study in the field of Communication-specifically, Expectancy Violations, Nonverbal Communication, Proxemics and Haptics, Korean Drama, and Filipino Teleserye. Also, currently, there are no studies conducted on expectancy violations in media fiction. Thus, this study would be a significant contribution to the fields of media and communication. The findings regarding the expectancy violations can be used to enhance production content in Filipino or Korean television drama, which could create a greater impact on the audience, also further expanding the market size and the Filipino film industry to the global market. Media Production Students. The research could serve as a guide in conducting similar studies. Also, the findings in this study could give them an idea on how they can use expectancy violations purposively to further improve the production value-specifically the storyline, of the films or any production they will create or produce in the future.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

50

Media Practitioners. This study would benefit media practitioners particularly drama series writers, producers and directors. This could give them an idea on how to incorporate nonverbal expectancy violations that could further improve the Filipino teleseryes’ production value-specifically the storyline. Filipino and Korean Society. The study would make the Filipinos and Koreans aware of the similarities in each culture, which would yield to a better understanding of one another’s culture. Moreover, it could also enrich the culture and values of the Filipino and Korean society. Definition of Terms Arousal. It is defined as the "alertness" or "orienting response" that diverts the receiver's attention away from the message of the interaction, towards the source of arousal-the violator (Burgoon & Hale, 1988; Littlejohn 2009). In this study, arousal would refer to the character’s response to another character’s violation of the former’s expectancies. Audience Perception. It is defined as “recognizing the inherent meaning of what is experienced” (Taber, 2011, p. 41). In this study, the audience perception would refer to the Korean’s perception on the proxemics and haptic expectancy violations portrayed in Korean dramas and the Filipino’s perception on proxemics and haptic expectancy violations portrayed in Filipino teleseryes.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

51

Communicator Characteristics. These refer to an individual’s salient characteristics, such as gender, age, appearance, background and reputation, which are the ”basis for categorizing people” (p. 151) and that which carry related expectations on how such a person communicates (Littlejohn & Foss, 2009). Operationally, it would refer to the communicator characteristics of the characters engaged in interpersonal communication portrayed in a drama (e.g gender, personality, age, appearance, reputation, style). Contextual Factors. These are the features of the context or setting in which the communication takes place including the environmental and situational constraints and definitions (e.g. privacy, formality, or task requirements), that specify certain interaction behaviors (Littlejohn & Foss, 2009). Operationally, these would refer to the situation and the location in which the expectancy violation takes place. Constructs. Constructs as defined by Griffin (2012) are two contradicting terms such as good-bad which people form in classifying a particular concept. Operationally, constructs would refer to the reasons or factors that contribute to the formation of the Koreans and Filipinos perception on the proxemic and haptic expectancy violations portrayed in Korean dramas and Filipino teleseryes.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

52

Constructivism. Constructivism according to Delia (1982) is where "persons make sense of the world through systems of personal constructs" (as cited in Griffin, 2012, p. 99). In this study, constructivism refers to the Koreans and Filipinos’ definition of proxemic and haptic expectancy violation. Expectancies. Expectancies are “enduring patterns of anticipated verbal and nonverbal behaviour” (Burgoon & Walther, 1990 as cited in Burgoon & Hubbard, 2005). An expectancy, in this study, would refer to the patterns of proxemic and haptic behavior expected from communicators in Korean Drama and Filipino Teleserye. Expectancy Violation. An expectancy violation is defined as the sufficient deviation of a communicator of another’s range of expectancies (Burgoon & Hale, 1988). Operationally, an expectancy violation would refer to any deviation in the form of proxemic and haptic behavior committed by a character that is noticeable to another character engaged in interpersonal communication in a drama. Haptics. Tactile communication or haptics refers to the study of how one’s touching behavior or how one uses touch in nonverbal communication (Littlejohn & Foss, 2009; Pearson et al., 2011). Haptics, in this study, would refer to any form of nonverbal communication related to the touching behavior of a communicator. Examples of this would be the holding of hands, kissing (cheek, lips, hand), backslapping, a pat on the shoulder, brushing an arm, or hugging.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

53

Production Value. Cummins and Chambers (2011) defined production value as the technical overall quality of a program. Operationally, production value would refer to the quality of the storyline or plot of a television drama. Proxemics. It is defined as the study of communication through interpersonal space and distance, and involves the concepts of personal space, territoriality, crowding and density (Littlejohn & Foss, 2009). In this study, proxemics would refer to any form of nonverbal communication related to a communicator’s use of space. It could pertain to a communicator’s invasion of another’s personal space, or withdrawal from it. Relational Characteristics. These refer to the characteristics between sender and receiver such as the degree of familiarity, liking, attraction, similarity or status of equality (Littlejohn & Foss, 2009). Operationally, these would refer to the degree of relation between characters portrayed in a drama (e.g. status, degree of acquaintance, history, status inequality, dominance, liking, attraction).

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

54

Chapter II Method Discussed in this chapter are the methods the researcher utilized in gathering the necessary and needed information for the accomplishment of the study. Particularly, the research design, introduction of the participants and sampling technique, instruments used, manner of gathering data, and manner of analyzing the gathered data are discussed in this chapter. Research Design The study made use of a descriptive-qualitative research design by utilizing both video content analysis and interview. The former determined the type of portrayed proxemic and haptic behavior that are considered expectancy violations in Korean drama and Filipino Teleseryes, and the commonalities found in the portrayed proxemic and haptic expectancy violations. The latter determined how Filipinos and Koreans perceive expectancy violations as portrayed in Korean Dramas and Filipino Teleseryes. Gradlyan & Baghdasaryan (2013) stated that although content analysis is generally used for analyzing textual documents, it has greater potential when used in videos. Participants and Sampling Technique The researchers employed the services of three (3) experts as coders (see Appendix A), who were briefed by the researchers to accurately code proxemics and haptic expectancy violations into the study’s proposed research instrument. Coder 1 has watched two (2) of the Korean dramas and Filipino teleseryes. Coder 2 has watched all of the Korean dramas and Filipino teleseryes, while Coder 3 has not watched any of the selected Korean dramas and Filipino teleseryes. This is for objectivity and accuracy. Clips showing proxemics and haptic expectancy violations from the aforementioned

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

55

Korean Dramas and Filipino Teleseryes were spliced together, and were shown to five (5) Koreans and (5) Filipinos, who were interviewed after. These respondents were chosen through purposive sampling, meaning only regular Filipino viewers (who have watched at least 10 Filipino teleseryes or two of the given Filipino teleseryes) and regular Korean viewers (who have watched at least 10 Korean dramas or two of the given Korean dramas) were selected for this portion of the study (see Appendix B). Research Instruments For the video content analysis, the study utilized three (3) Korean dramas and three (3) Filipino Teleseryes. The Korean dramas used for this study were Shining Inheritance (2009), City Hunter (2011), and Nice Guy (2012); The Filipino Teleseryes used for this study were Tayong Dalawa (2009), Walang Hanggan (2012), and Ina, Kapatid, Anak (2012). This study employed the use of a code book (see Appendix D) which included the essential terms and concepts for coding, and a coding sheet which was used to determine the most common type of proxemic and haptic violation present as well as the commonalities in the expectancy violations between the chosen Korean dramas and Filipino teleseryes. The coding sheet (see Appendix E) was divided into columns for each incidence of expectancy violation in an episode of the selected Korean drama and Filipino teleserye. The accomplished coding sheets were tallied and analyzed at the end of the data-gathering period. The researchers enumerated the types of gestures that constituted as proxemic and haptic behavior, mostly taken from literature reviewed by researchers. Furthermore, the researchers watched the television dramas mentioned to see if there are other proxemic and haptic gestures to be included in the coding instrument. Factors included in the coding sheet were the characteristics of the lead characters (name, gender or sex, and age) of the observed television drama, characteristics of the recipient of the violation (name,

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

56

gender or sex, and age), relationship of the recipient to the lead character, the location and situation during the violation and forms of proxemic and haptic violations perpetrated by the lead characters. A communication expert validated the coding sheet before data gathering commenced (see Appendix C). To ensure the interrater reliability of the coders before the actual data gathering process, the researchers used a set of validity tests for both the coding sheet and the content analysis method. The researchers used the Reliability Calculator (ReCal3), an online utility developed by American journalism professor David Freelon (see http://dfreelon.org/utils/ recalfront/recal3) that “computes intercoder/interrater reliability coefficients for nominal data coded by three or more coders”. The reliability coefficients for multiple coders’ assessment of nominal data were calculated by the ReCal3: average pairwise percent agreement, Fleiss’ Kappa, average pairwise Cohen’s Kappa, and Kirppendorff’s Alpha. The interrater reliability results (see Appendix F) of the three (3) coders had an average pairwise agreement percentage of not lower than eighty percent (80%) which confirmed the reliability of all three coders (minimum is 75%). In addition, for the semi-structured interviews conducted, the researchers developed questions for an interview guide (see Appendix G). The interviews determined how Korean Drama and Filipino Teleserye viewers perceived proxemics and haptic expectancy violations, and how Korean and Filipino perceptions of expectancy violations coincided with one another. An expert validated this interview guide as well. Data Gathering Procedure The researchers conducted an initial tally of the proxemic and haptic expectancy violations in all of the selected drama series - seventy (70) 1-hour episodes for Korean dramas and five hundred fifty-five (555) 30-minute episodes for Filipino teleseryes with a total of six

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

57

hundred twenty-five (625) episodes. From the initial tally, the researchers selected five (5) episodes from each of the Korean dramas and ten (10) episodes from each of the Filipino teleseryes with the most number of expectancy violations. The chosen episodes were utilized for coding. For the content analysis, the researchers briefed the three (3) experts on expectancy violations and prepared them for the coding process. A pilot test was conducted to ensure the interrater reliability of the three coders. A total of five (5) one-hour episodes each for the chosen Korean dramas, and ten (10) 30-minute episodes for the chosen Filipino teleseryes were analyzed. The duration of the first phase of the data gathering procedure was limited to one month, with all three coders given the same deadline for the accomplishment of the coding sheets. After the researchers tallied the results from the coding sheets, they spliced scenes from the drama episodes observed that depict proxemic and haptic expectancy violations. These scenes were selected according to the results garnered from the coding sheet, and shown to the five (5) Koreans and five (5) Filipinos purposively selected, which was the topic of the subsequent interview. The interviews were recorded through audio and video for later analysis. Stated below are the brief descriptions of the spliced scenes from the selected episodes of Korean dramas and Filipino teleseryes: Korean Dramas. 1. Shining Inheritance Eun Sung (Han Hyo Joo) and Hwan (Lee Seung Gi) had their bags switched at the airport. Both misunderstood each other and ended up in a bad relationship. Hwan sees Eun Sung enters his house. Eun Sung was told by Sook Ja, Hwan’s grandmother, that she

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

58

could help her find her lost brother, but in turn needs to work for her and live in her house. Without knowing the arrangement between Eun Sung and Sook Ja, Hwan rushes towards Eun Sung and yells at her asking why she was there. Hwan forces her to get out, by grabbing her arm and dragging her out. Hwan’s sister and mother call the attention of the two. Hwan’s sister clears up the misunderstanding. 2. City Hunter Yoon-Sung (Lee Min Ho) enters the house while Nana (Park Min Young) is eating. He asks her why she was not answering his calls, but Nana ignores him. Yoon-Sung suddenly grabs her by the wrist to continue the conversation; Nana demands him to release his grip and walks away. Yoon-Sung is in his room still puzzled and irritated over his conversation with Nana. Then, he checks some confidential data in his tablet, but Nana suddenly barges in and Yoon Sung jumps out of his bed. 3. Nice Guy Maru (Song Joong Ki) returns home and sees Jae Gil (Lee Kwang Soo), his best friend. Jae Gil tells him that Choco (Lee Yoo Bi), Maru’s sister, decided to leave the house. Because of shock, Maru grabs Jae Gil’s collar and asks him for an explanation. Jae Gil tells him that he prevented her from leaving but she refused. He then confronts Maru that he would rather die than use the money Maru earns from his “dirty job” which further angered Maru leading to Jae Gil being punched by in the face by his best friend. Filipino Teleseryes. 1. Walang Hanggan While Marco (Richard Gomez) is asleep in his room, Jean (Eula Valdez), who claims to be Jane’s sister (Marco’s late wife, but is actually Jane herself), approaches Marco.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

59

Marco, jumps out of his bed and yells at Jean. Jean tries to explain herself, but ended up being dragged by Marco out of the room. Emily (Dawn Zulueta), Marco’s fiancé, suddenly appears and catches the two together, which then leads to a bigger misunderstanding. Emily rushes towards Jean to harm her, but Marco prevents her from doing so and asks Jean to run away. Marco tries to explain the situation but gets ignored. Emily slaps him and walks away. Marco enters Jean’s room and blames her for the misunderstanding. 2. Tayong Dalawa Greta (Alex De Rossi), JR’s childhood friend, exposes the secret between Dave (Jake Cuenca) and her. She reveals to JR (Gerald Anderson) and Audrey (Kim Chiu), Dave’s girlfriend, that in the past, she agreed to sleep with Dave for money. Audrey walks away because of anger. Dave follows her. Dave grabs her hand, only to be slapped by Audrey. He forces her to listen to his explanation, but because of anger, she keeps on ignoring and pushing him away. JR, on the other hand, asks Greta to explain herself. She tells him that the reason for that incident was because she wants to help JR get out of prison and enter the PMA. 3. Ina, Kapatid, Anak It is Celyn and Margaux’s birthday celebration, Celyn (Kim Chiu), Teresa (Cherry Pie Picache) and Liam (Xian Lim) return to the hotel venue after Lucas (Eddie Guittierez) surprises her with a brand new car as a birthday gift. Margaux, Celyn’s “adopted” sister, approaches them and calls out Celyn. Celyn excuses herself and walks towards a mildly intoxicated Margaux. Margaux tells Celyn, how much she hates her and suddenly slaps Celyn. In a calm demeanor, Celyn, slaps her in return. The two sisters ended up in a

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

60

brawl. Beatrice (Janice de Belen), their mother, sees the two girls and stops them. Beatrice, turns to Celyn and checks up on her. Disappointed for her mother’s actions, Margaux snatches the car keys that fell on the floor and runs away. Celyn, who worries for her sister’s safety follows her leaving her mother behind. Method of Data Analysis After tallying the results from the accomplished coding sheets gathered from the coders, the researchers encoded the data in an Excel spreadsheet (see Appendix H). Since the coders had a high average pairwise agreement, the encoded data followed the pattern 333-222-111 to avoid bias and maintain objectivity. The number represents the coders and the sequence of their answers, which were encoded per variable. The spreadsheet was imported in the SPSS in order to find the common forms of proxemic and haptic expectancy violations (see Appendix I). The researchers compared the frequencies of the proxemic and haptic expectancy violations of Korean Dramas to that of Filipino Teleseryes, and found their similarities. Furthermore, the researchers reviewed the audio and video recordings of the interviews of both Filipinos and Koreans. From the transcribed interviews (see Appendix J), the researchers categorized their constructs according to the forms of expectancy violation (i.e. Hitting, Handgrabbing, Sudden Invasion of Personal Space), and afterwards analyzed the statements of the interviewees to determine the themes present in each statement (i.e Statement: She feels offended-“No respect”) (see Appendix K). After which, the researchers created another matrix, in which the statements of each interviewee were listed under their corresponding themes to determine the frequency of the themes (see Appendix L). This is to determine the most frequent themes present in the interviewee’s constructs (see Appendix N).

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

61

Chapter III Results and Discussion Presented and discussed in this chapter are the answers to the research questions borne out of conducting a content analysis on Korean Drama and Filipino Teleserye through the use of coding sheets, and in-depth interviews with five (5) Korean drama watchers and five (5) Filipino teleserye watchers. The first part of this chapter showed the tabulated data from the coding sheets which illustrated the variables necessary to answer the main problem and sub-problems in the current research: proxemic and haptic expectancy violations, communicator characteristics (character gender), relational characteristics (recipient gender and relationship to violator), and context (situation). Also, it would depict the commonalities of the proxemic and haptic expectancy violations found between Korean drama and Filipino Teleserye. The second part was an in-depth discussion of the constructs (views and perceptions) of Korean drama viewers and Filipino teleserye viewers of these expectancy violations. This chapter would be concluded by the discussion on the implications of the findings of this study.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

62

Results 1. Proxemic and Haptic Expectancy Violations in Korean Dramas 1.1 Proxemic Expectancy Violation Table 1 Proxemic Expectancy Violation in Korean Dramas Proxemic

f

%

27 24 4

12.2 10.8 1.8

41 6 45

18.5 2.7 20.3

21 9

9.5 4.1

6 20 7 12

2.7 9 3.2 5.4

Invasion of Space Public to Social Public to Personal Public to Intimate Social to Personal Social to Intimate Personal to Intimate Withdrawal from Space Intimate to Personal Intimate to Social Intimate to Public Personal to Social Personal to Public Social to Public Note. n=222   Table 1 presents the forms of proxemic expectancy violations in Korean dramas. Out of the total proxemic expectancy violations (f=222), “Personal to Intimate” is the most common (f=45), with a percentage of 20.3%. Following it is “Public to Social” (12.2%; f=27) and “Public to Personal” (10.8%; f=24). “Public to Intimate” has the lowest frequency (f=4) with a percentage 1.8%. Invasion of personal space is the most common form of proxemic expectancy violations in Korean drama, as per the table above.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

63

1.2 Haptic Expectancy Violation Table 2 Haptic Expectancy Violations in Korean Dramas Haptic Brushing Hand/Arm Patting Handholding/Handgrabbing Pushing Stroking Hitting Kissing Hugging Note. n=86

f 3 6 40 16 1 12 4 4

% 3.5 7 46.5 18.6 1.2 14 4.7 4.7

It is shown in Table 2 that the most common form of haptic expectancy violation in Korean drama is “Handholding/Handgrabbing” with a frequency of 46.5% (f=40). Second to it is “Pushing”, with a frequency of 18.6% (f=16). The least common form of haptic expectancy violations is “Stroking” with a frequency of only 1.2% (f=1).

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

64

2. Proxemic and Haptic Expectancy Violations in Filipino Teleseryes 2.1 Proxemic Expectancy Violation Table 3 Proxemic Expectancy Violation in Filipino Teleseryes Proxemic

f

%

14 23 6

10 16.4 4.3

18 11 11

12.9 7.9 7.9

17 11

12.1 7.9

6 11 7 5

4.3 7.9 5 3.6

Invasion of Space Public to Social Public to Personal Public to Intimate Social to Personal Social to Intimate Personal to Intimate Withdrawal from Space Intimate to Personal Intimate to Social Intimate to Public Personal to Social Personal to Public Social to Public Note. n=140 Table 3 presents the forms of proxemic expectancy violations in the selected Filipino Teleserye. “Public to Personal” is the most frequent at 16.4% (f=23). Second to that is “Social to Personal” at 12.9% (f=18), which is closely followed by “Intimate to Personal” at 12.1% (f=17). “Social to Public” has the lowest frequency at 3.6% (f=5).

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

65

2.2 Haptic Expectancy Violation Table 4 Haptic Expectancy Violations in Filipino Teleseryes Haptic Patting Handholding/Handgrabbing Pushing Stroking Hitting Hugging Note. n=47

f 1 15 10 3 15 3

% 2.1 31.9 21.3 6.4 31.9 6.4

Table 4 presents the common haptic expectancy violations in the selected Filipino Teleserye. “Handholding/Handgrabbing” and “Hitting” are the most common forms of haptic expectancy violations found in Filipino teleseryes, with each having the frequency of 31.9% (f=15). “Patting” is the least common form of haptic expectancy violation with a frequency of 2.1% (f=1). 3. Commonalities in the Proxemic Expectancy Violations between Korean Drama and Filipino Teleserye 3.1 Violator Communicator Characteristic Table 5 Gender of Violator in Proxemic Expectancy Violation Korean Drama Gender

f

Filipino Teleserye %

Male 144 64.9 Female 78 35.1 Note. n=222 for Korean drama, n=140 for Filipino teleserye

f

%

76 64

54.3 45.7

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

66

Data presented in Table 5 shows the commonalities in the gender of the perpetrator of proxemics expectancy violations in Korean dramas and Filipino teleseryes. Out of two hundred and twenty-two (222) incidents of proxemic expectancy violations in Korean drama, it is the male characters that commit 64.9% (f=144) of these. A lesser portion of 35.1% (f=78) are proxemic expectancy violations committed by female characters. Similarly, out of the total number of proxemic expectancy violations in Filipino teleserye (f=140), male characters commit majority of these at 54.3% (f=76). Female characters commit a slightly lesser portion of these violations at 45.7% (f=64). Data shows that the “Male” character is the most common violator of proxemic expectancies in both dramas. 3.2 Recipient (Communicator/Relational) Characteristic Table 6 Relationship of the Recipient to the Violator in Korean Dramas (Proxemic) Relationship Parent Sibling Lover Friend Love Interest Colleague Sidekick Housemate Half-sibling Stepparent Rival Enemy Stranger Ex-lover IND Note. n=222

f 10 1 12 36 47 12 8 3 7 2 32 11 21 9 11

% 4.5 0.5 5.4 16.2 21.2 5.4 3.6 1.4 3.2 0.9 14.4 5 9.5 4.1 5

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

67

Table 6 presents the common themes in the relationship of the recipient of proxemic expectancy violation to the perpetrator of the violation in the selected Korean dramas. The most common of the themes are “Love Interest “, “Friend”, and “Rival”. “Love Interest” has the highest frequency (f=47) with a percentage of 21.2%. It is closely followed by “Friend” (f=36) with a percentage of 16.2%, and “Rival” (f=32) with a percentage of 14.4%. Table 7 Relationship of the Recipient to the Violator in Filipino Teleseryes(Proxemic) Relationship Parent Friend Ex-lover Lover Spouse Half-sibling Stranger Grandparent Enemy IND Sibling Colleague Rival Child Note. n=140

f 31 28 22 16 10 6 5 5 4 4 3 2 2 2

% 22.1 20 15.7 11.4 7.1 4.3 3.6 3.6 2.9 2.9 2.1 1.4 1.4 1.4

Table 7 lists the common themes in the relationship of recipients of proxemic expectancy violations to the violators in Filipino Teleseryes. The most common are “Parent”, “Friend” and “Ex-Lover”. “Parent” is the most frequent (f=31) with a percentage of 22.1%, and is closely followed by “Friend” at 20% (f=28) and “Ex-Lover” at 15.7% (f=22). The least frequent themes of relational context are “Colleague”, “Rival” and “Child” all with a percentage of 1.4% (f=2). The data in Table 6 and 7 shows that, the usual relationship that the violator has with the recipient is “Friends”, with the second most common relationship found in both Korean drama

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

68

and Filipino teleserye. The data also presents that the people who are close or familiar with the violator were mostly recipients of proxemic expectancy violations. 3.3 Situation (Contextual Characteristics) Table 8 Situation in Korean Dramas(Proxemic) Situation

f

%

Conversation Confrontation Work Aid Emergency Encounter Wandering Special Occasion

72 33 21 6 5 35 8 5

32.4 14.9 9.5 2.7 2.3 15.8 3.6 2.3

Accident Offense Chores Chase Travel IND

3 6 2 11 7 8

1.4 2.7 0.9 5 3.2 3.6

Note. n=222

Table 8 presents the themes of situations or contexts in which the proxemic expectancy violations take place in the three (3) selected Korean dramas. “Conversation” garners the highest percentage (32.4%; f=72), while “Confrontation” follows at 14.9% (f=33). “Chores” receives the lowest percentage at 0.9% (f=2).

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

69

Table 9 Situation in Filipino Teleseryes(Proxemic) Situation Conversation Confrontation Special Occasion Encounter Work IND Chase Offense Aid Accident Wandering Travel Arrest Note. n=140

f 47 30 16 14 8 8 5 4 3 2 1 1 1

% 33.6 21.4 11.4 10.0 5.7 5.7 3.6 2.9 2.1 1.4 0.7 0.7 0.7

Listed in Table 9 are the common themes in the situations or contexts wherein the proxemic expectancy violations took place in the three (3) selected Filipino Teleseryes. Conversation has the highest percentage at 33.6% (f=47). Second to it is “Confrontation” at 21.4% (f=30). “Wandering”, “Travel” and “Arrest” have the lowest frequency at 0.7% (f=1). As presented in the data in Table 8 and 9, a large majority of the proxemic expectancy violations happens during “Conversation” and “Confrontation” for both Korean dramas and Filipino teleseryes.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

70

3.4 Incidences of Proxemic Expectancy Violation Table 10 Proxemic Expectancy Violations in Korean Drama and Filipino Teleserye Korean Drama Proxemic

Filipino Teleserye

f

%

f

%

27 24 4

12.2 10.8 1.8

14 23 6

10 16.4 4.3

41 6 45

18.5 2.7 20.3

18 11 11

12.9 7.9 7.9

21 9 6 20 7

9.5 4.1 2.7 9 3.2

17 11 6 11 7

12.1 7.9 4.3 7.9 5

Social to Public 12 5.4 Note. n=222 for Korean drama; n=40 for Filipino teleserye

5

3.6

Invasion of Space Public to Social Public to Personal Public to Intimate Social to Personal Social to Intimate Personal to Intimate Withdrawal from Space Intimate to Personal Intimate to Social Intimate to Public Personal to Social Personal to Public

Table 10 presents the forms of proxemic expectancy violations in Korean dramas and Filipino teleseryes. In Korean dramas, out of the total number of incidences of proxemic expectancy violations (f=222), “Personal to Intimate” is the most common (f=45), with a percentage of 20.3%. Following it is “Social to Personal” (18.5%; f=41) and “Public to Social” (12.2%; f=27). “Public to Intimate” has the lowest frequency (f=4) with a percentage 1.8%. “Invasion of Space” is the most common form of proxemic expectancy violations in Korean drama, as per the table above. In Filipino teleserye. “Public to Personal” is the most frequent at 16.4% (f=23). Second to that is “Social to Personal” at 12.9% (f=18), which is closely followed

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

71

by “Intimate to Personal” at 12.1% (f=17). “Social to Public” has the lowest frequency at 3.6% (f=3.6%). “Invasion of Space” is the most common form of proxemic expectancy violations in Filipino teleserye, as per the table above. The results in Table 10 show that “Social to Personal” is the second most frequent proxemic expectancy violations in Korean dramas and Filipino teleseryes. In general, the most frequent proxemic violation depicted in Korean drama and Filipino teleserye is “Invasion of Space”.   4. Commonalities in the Haptic Expectancy Violations between Korean Drama and Filipino Teleserye 4.1 Violator Communicator Characteristic Table 11 Gender of Violator in Haptic Expectancy Violation Korean Drama Gender

f

Filipino Teleserye %

Male 56 65.1 Female 30 34.9 Note. n=86 for Korean drama; n=47 for Filipino teleserye

f

%

25 22

53.2 46.8

The data presents that the “Male” lead in both Korean dramas and Filipino teleseryes is the usual violator in haptic expectancy violations. Out of a total (f=86) incidences of haptic expectancy violations found in selected Korean dramas, 65% (f=56) of these incidents are committed by male characters. Haptic expectancy violations committed by female character leads in Korean drama are lower in frequency at 34.9& (f=30). Of the forty-seven (f=47) incidences of haptic expectancy violations found in Filipino teleserye, the above table shows that

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

72

53.2% of these violations (f=25) are committed by male characters. Haptic expectancy violations committed by female characters in Filipino teleserye, amount to 46.8% (f=22). 4.2 Recipient (Communicator/Relational) Characteristic Table 12 Relationship of the Recipient to the Violator in Korean Drama (Haptic) Relationship Love Interest Rival Lover Friend Ex-lover IND Stranger Parent Colleague Sibling Stepparent Enemy Child Note. n=86

f 19 16 12 8 8 8 5 4 2 1 1 1 1

% 22.1 18.6 14. 9.3 9.3 9.3 5.8 4.7 2.3 1.2 1.2 1.2 1.2

Table 12 lists the common themes of the relationship of the recipient of haptic expectancy violations to the violator in the selected Korean dramas. “Love interest”, “Rival” and “Lover” are the most common, while “Sibling”, “Stepparent”, “Enemy” and “Child” are the least common. “Love Interest” has the highest percentage at 22.1% (f=19), closely followed by “Rival” at 18.6% (f=16) and “Lover” at 14% (f=12). “Sibling”, “Stepparent”, “Enemy” and “Child” garnered the lowest frequencies at 1.2% (f=1).

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

73

Table 13 Relationship of the Recipient to the Violator in Filipino Teleserye (Haptic) Relationship Spouse Friend Ex-lover Lover Half-sibling Rival Parent Sibling Enemy Stranger IND Child Grandparent Note. n=47

f 10 9 8 6 5 2 1 1 1 1 1 1 1

% 21.3 19.1 17 12.8 10.6 4.3 2.1 2.1 2.1 2.1 2.1 2.1 2.1

Table 13 presents the common themes of the relationship of the recipients of haptic expectancy violations to the violator in the selected Filipino Teleseryes. “Spouse” has the highest frequency at 21.3% (f=10), closely followed by “Friends” with a frequency of 19.1% (f=9). On the other hand, “Parent”, “Sibling”, “Enemy”, “Stranger”, “IND” or “indefinite”, “Child” and “Grandparent”, all have the frequency of 2.1% (f=1), which is the lowest. The data in Table 12 and 13 shows that in Korean dramas and Filipino teleseryes, the people who are close to or are familiar with the violator mostly receive the haptic expectancy violations.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

74

4.3 Incidences of Haptic Expectancy Violation Table 14 Haptic Expectancy Violations in Korean Drama and Filipino Teleserye Korean Drama Haptic f % Brushing Hand/Arm 3 3.5 Patting 6 7 Handholding/Handgrabbing 40 46.5 Pushing 16 18.6 Stroking 1 1.2 Hitting 12 14 Kissing 4 4.7 Hugging 4 4.7 Note. n=86 for Korean drama; n=47 for Filipino teleserye

Filipino Teleserye f % 1 2.1 15 31.9 10 21.3 3 6.4 15 31.9 3 6.4

Table 14 shows the most common form of haptic expectancy violation in Korean drama and Filipino teleserye. In Korean drama, “Handholding/Handgrabbing” is the most common form of haptic expectancy violation with a frequency of 46.5% (f=40). Second to it is “Pushing”, with a frequency of 18.6% (f=16) closely followed by “Hitting” (14%;f=12). The least common form of haptic expectancy violations is “Stroking” with a frequency of only 1.2% (f=1). In Filipino Teleserye. “Handholding/Handgrabbing” and “Hitting” are the most common forms of haptic expectancy violations found in Filipino teleseryes, with each having the frequency of 31.9% (f=15). “Patting” is the least common form of haptic expectancy violation with a frequency of 2.1% (f=21). The results from Table 14 show that the most frequent haptic expectancy violations in Korean dramas and Filipino telseryes are “Handholding/Handgrabbing” (having the same frequency in both Korean drama and Filipino Teleserye) and “Hitting”.      

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

75

5. Korean and Filipino Definitions of Expectancy Violations The researchers identified the most common themes from the responses of five (5) Filipino females, four female Koreans, and one Korean male. These interviewees were shown clips from Filipino dramas and Korean dramas that show incidences of proxemic and haptic expectancy violations. Generally, the clips show incidences of hitting, handgrabbing, (arm/wrist grabbing), pushing, invasion of personal space, and sudden withdrawal from personal space. The interviewees were not told what the study was about, and were not briefed in any way on proxemic and haptic expectancy violations. There was no mention of the term “expectancy violations” or any word associated to the term (i.e. expect, expectations, violate, violations) so as not to prime the respondents to respond in a way that would be leaning towards that theme. They were, however, asked to observe the body gestures and behavior of the characters in the clip prior to the interview. The researchers wanted to get their raw insights and from that, find how they would define expectancy violations without prior knowledge of the concept. The Filipino interview respondents were five (5) female college students aged 19-21 years old. They were shown three video clips, each from “Ina, Kapatid, Anak”, “Tayong Dalawa”, and “Walang Hanggan”-in that order. The first clip shown to them showed Margaux slapping her sister Celyn during their birthday party. The second showed two couples in a fight: Audrey and Dave, JR and Greta. In the scene, Audrey slaps Dave and walks away from him, Dave repeatedly grabs at Audrey’s hands and arms and forces her into a hug, and JR holds Greta’s arms after they fight. The third clip shows Marco dragging Jean by the arm, Emily’s sudden appearance, Emily rushing towards Jean, Marco holding Emily’s arms to restrain her, and Emily slapping Marco and walking out on him.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

76

The Korean interview respondents were four females (4) and one (1) male, all college students aged 18-21 years old. The respondents were fairly articulate and well-versed in the English language. They were shown three video clips each from “Nice Guy” (Chakhan Namja), “City Hunter” and “Shining Inheritance” (Chanranhan Yusan)-in that order. The first clips showed Maru and Jae Gil having a spat, leading to Maru grabbing Jae Gil by the collar, and subsequently punching him. The second clip showed Yoon Sung approaching Nana who was angry at him, Yoon Sung grabbing at Nana’s wrist and shoulders, Nana walking away from him in the middle of a conversation, and Nana barging into Yoon Sung’s room. The third clip showed Hwan suddenly appearing behind Eun Sung, Hwan rushing towards Eun Sung, Hwan grabbing tightly at Eun Sung’s arm, and Eun Sung pushing Hwan. In order to determine how Koreans and Filipino define expectancy violations, the researchers took the three (3) most common themes in the responses of the interviewees. 5.1 Filipino Definition The researchers, found that Filipinos generally define expectancy violations as any body gesture or behavior imposed to them that is contrary to the values and lessons taught to them by their parents and their education, with the perpetrator having no right or reason to do so, which in turn causes them to feel negative emotions such as anger and annoyance. Education (Family/School Influence). The interviewees define expectancy violations as any behavior that goes against the beliefs and values they were taught in school, or what their parents and family have instilled in them-how they were brought up (f=16). When shown the clip of Margaux and Celine slapping each other, majority of them shared the sentiment that slapping is not acceptable, that it is not the right thing to do in any given situation, especially between siblings-this they learned from their parents’ teachings,

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

77

family experiences and school. One respondent (I2) shared, “I think it came from my family, I was never physically harmed, I was never spanked, I was never slapped. So, for someone, specially someone not related to me, or in this case, someone who I just realized was my sister, slapped me... I would really be surprised, ‘cause I won’t really expect her to slap me.” Another respondent (I2) related how, despite not having any siblings, she usually hears her aunt admonish her cousins saying, “Wag nga kayong mag-away, ‘pag kayong dalawa na lang natira sa mundo, kayo na lang magdadamayan. Kasi nga, magkadugo nga kayo, magkapamilya kayo.”(You shouldn’t fight, because you only have each other to lean on when everything else is gone. You’re of the same blood. You’re family.) Another (I1) maintained that siblings should not hit each other for the reason that, “masakit sa feelings ng magulang” (It hurts the feelings of a parent.) I2 stated that it is not right for Celyn to return Margaux’s slap as it goes against what she has learned in school. She reasoned, “Diba pag binato ka ng bato, batuhin mo ng tinapay? (If they throw a stone at you, throw at them bread in return.)” She also pointed out that, when shown the third video clip from Walang Hanggan that what Jean did did not sit well with her, as she was taught differently growing up. What Jean did in the video was go inside Marco’s room without permission and wear his clothes. She recounted how badly her mother got upset with her when she went through her mother’s bag when she really young. “After noon, nagtanda na ako na bawal i-touch yung gamit niya kasi magagalit siya. (After that, I learned my lesson not to touch her things, unless I want her to get mad.)” When shown the clips with Margaux walking out on Celyn and her mother (“Ina, Kapatid, Anak”), Audrey walking out on Dave (“Tayong Dalawa”) and Emily walking out on Marco “Walang Hanggan”, they believe it to go against what they were taught by their parents.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

78

Mostly the responses were along the lines of: it is not respectful to turn your back on somebody who is talking to you. Some of them recounted how their parents reprimanded them when they turned their back on them or walked away while their parents were talking to them. I1 shared, “[…]magagalit mommy ko, sasabihin niya: “Magwawalk-out ka na naman?! Kabastusan yan ah! Bastos yan pagtalikod mo! Habang kinakausap ka, humarap ka, makipag-usap ka! (My mommy would get angry and say, “You’re walking away again? That’s disrespectful! That’s disrespect, turning your back on me! Face me when I’m talking to you, and talk to me!”). Another scene shown to them was Marco dragging Jean by the arm out of his bedroom. Two of the respondents (I1 and I3), said that the specific action was not what they were taught by their parents and family experiences. I1 shared how her parents told her, “’Wag kang papayag na nasasaktan ka, sa kahit anong dahilan kung kaya idaan sa pag-uusap sa matinong pag-uusap. […] wag kang papayag na hinihila-hila ka, sinasampal ka […] (Don’t let anyone raise a hand to you for whatever reason; talk it out. Never allow yourself to be dragged about, slapped…)” I3 related how her mother told her about her aunt who was a battered wife, “I remember one incident when my mom was telling me, that she was dragged out of the room by her hair. And then, I guess it just stuck.” No reason (No right). Based on all of the interviewees’ responses, another characteristic of an expectancy violation was how it was done to them without reason (f=17)-that either the violator had no right to inflict the gesture or behavior to them; or the violator had no reason to do so, given the circumstances and the relationship they shared. Three out of five respondents (I2, I4, and I5) believed that there was no reason for Margaux to slap Celyn, and Celyn to slap Margaux. One interviewee stated (I2), “Hindi siya normal, kung masasampal ka ng tao, may malalim siyang hugot kung bakit mo siya nasampal.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

79

(It’s not normal. If you’d get slapped, there should be a grave reason for that.)” Another respondent pointed out that “[…] I was just standing there!? I mean, you’d slap me if I did something to you.” I5 justified that it was not necessary for Margaux and Celyn to resort to that kind of behavior, as there was no valid reason for them to do so, as they were sisters. A number of the respondents believed that Marco had no right to treat Jean the way he did, when he dragged her out his bedroom by her arm. One respondent (I3) prompted, “[…] you don't treat women like that, especially someone who looks that vulnerable.” Some also stated that Marco had no reason to resort to that type of behavior, as he did not even give Jean time to explain herself. As one (I1) put it, “Simple lang. Wala ka pang alam para hawakan at saktan mo ako nang ganyan, at hilahin ako ng parang hayop. (Simple. You don’t know enough to touch me, hurt me, or drag me like I’m some kind of an animal.)” Another (I2) prompted, “Bakit mo ako kinaladkad, pwede naman tayong mag-usap nang maayos? (Why are you dragging me about like that, when we can just talk this out properly?)” They also believed that Emily had no right slapping Marco, and subsequently walk out on him, as it was a mere misunderstanding, and that he did not do anything wrong. I5 reasoned, “Alam mo naman sa sarili mo na wala ka namang ginawang mali, pero inaaccuse ka na ganon yung ginawa mo, so parang nakakainis kasi alam mo sa sarili mo na wala talaga. (You know that you didn’t do anything wrong, so it’s pretty annoying to think that [she’d do that] because you didn’t do anything wrong.)” Furthermore, they believed that Emily should have looked into the situation more before giving Marco a slap, and ignoring his futile attempt at explaining himself: “Kasi nga hindi niya alam, so dapat muna at least man lang humingi siya ng explanation galing sa amin. (She doesn’t know anything, so the least she could have done was ask us to explain ourselves.”

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

80

Causes anger. Another characteristic of an expectancy violation according to Filipinos was that it caused the recipient to feel negative emotions, mainly anger (f=24). For example, in situations when one is angry, one would become angrier if a gesture is done to them. Also, the recipient to an expectancy violation would also feel anger, in most cases. “Angry. Because she slapped me. I don’t want to be slapped.” was I3’s response when asked what she would feel if she was in Celyn’s shoes when Margaux slaps her. Although the others said that they would feel surprise and anger at being slapped, one said that “Mas magagalit ako. (I would get angrier)” when asked to put herself in Margaux’s shoes. Many stated that if they were in Audrey’s shoes during her argument with Dave, they would feel anger too at Dave’s actions towards her. They were referring to the instances in which Dave grabbed at her hands and arms, and forced her into a hug-begging Audrey to forgive him. One respondent (I1) stated, “Ayoko kasi di pa nga ako ready kausapin ka tapos hahawakan mo ako tapos parang kakasabi ko lang na lumayo ka muna sakin eh. (I do not want to because I said I wasn’t ready to talk to you, yet you still try to touch me even when I told you to give me space.)” Referring to Dave forcing Audrey into a hug, I3 said, “I'll be disgusted. Like I said, i wouldn't want to have anything to do with that person, and then that person goes up and hugs me. Don't touch me.” When asked how they would feel if they were in Emily’s shoes at the time Marco was holding her back by her arms so that she would not get near Jean, many of them echoed the same sentiment-if that someone tried to restrain them, they would be angry, pissed and irritated. One (I5) mentioned how her anger would intensify if one were to hold her back like Marco did: “Talaga magbibuild-up yung galit sayo. (My anger would intensify.)” One (I1) related how she would do everything that she could even deliberately say things that would hurt Marco, just so

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

81

that he would let go of her. “Tigilan mo ako. Umalis ka diyan. Away na’to. (You let me be. Move out of my way. This is a fight.”

Table 15 Most Common Definitions of Expectancy Violations (Filipinos) A. Education (Family/ School Influence) 1. Sa parents. Pag kunwari, pinapangaralan ka nila- Tapos bigla kang aalis, tapos magagalit sila kasi nga nababastos sila.

(f=16)

(From my parents. When they reproach you, and you suddenly leave, they get mad because they feel you’ve disrespected them.) 2. Diba pag binato ka ng bato, batuhin mo ng tinapay? (If they throw a stone at you, throw at them bread in return.) 3. […] sabi rin ng parents ko, "wag kang papayag na nasasaktan ka, sa kahit anong dahilan kung kaya idaan sa pag-uusap sa matinong pag-uusap. […] wag kang papayag na hinihila-hila ka, sinasampal ka […] (My parents would say, “Don’t let anyone raise a hand to you for whatever reason; talk it out. Never allow yourself to be dragged about, slapped…) B. No reason (No right) 1. Parang wala karapatan hilahin akong ganoon.

(f=16)

(You don’t have the right to jerk at me like that.) 2. Simple lang. Wala ka pang alam para hawakan at saktan mo ako nang ganyan, at hilahin ako ng parang hayop (Simple. You don’t know enough to touch me, hurt me, or drag me like I’m some kind of an animal.)” 3. Because I was just standing there?! I mean, you'd slapped me if I did something to you.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

82

C. Causes anger (f=24) 1. Ayoko kasi di pa nga ako ready kausapin ka tapos hahawakan mo ako tapos parang kakasabi ko lang na lumayo ka muna sakin eh. (I don’t like it because I’m not ready to talk to you, but you still touch me even when I told you to give me space.) 2. Because I’m angry, I don't want anything to... It's either you're so angry you explode causing harm to a person, or you're so angry that you don't want a person to even get near you. 3. Parang gusto kong pumiglas, kasi parang yun nga, galit ka pa, so parang mas lalo kang magagalit kapag ginawa yun sayo, na imbis na mag-cool-down ka muna ng mag-isa or ganyan. (I would want to break free because you’re already angry. And you’ll be angrier when it’s done to you, instead of letting you cool yourself down or give you space.)

5.2 Korean Definition The researchers found that Koreans generally define expectancy violations to be any action or behavior unexpected of a specific individual wherein the recipient of the action feels disrespected and uncomfortable, considering the degree of relationship the recipient shares with the violator. No respect (Not listening). An expectancy violation is any form of rude or offensive behavior (f=34). The proxemic and haptic behaviors that Koreans considered rude were armgrabbing/shoulder-grabbing, invasion of personal space, and sudden withdrawal from personal space. One respondent (19) commented, “It’s not polite thing” when shown Maru grabbing Jae Gil by his collar in a confrontation. Another (I6) said that one should look into the gravity of the situation to consider a gesture like that as offensive. She went on to say that if it was just a light

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

83

situation, for example, she tells her friend that she ate her friend’s candy, and her friend would grab her by the collar, she would consider that as “very rude and mean.” They felt that Hwan is being disrespectful and offensive towards Eun Sung, when he grabs tightly at her arm. First, one (I6) reasoned that they basically don’t know each other, yet he grabs at her in that aggressive manner without first asking for her explanation. I6 considered it rude and unacceptable. Also, I7 and I9 pointed out how Hwan still does not let go of Eun Sung’s arm despite her pleas to for him to do so: “Because she said, 'It hurts. Just let me go.’ But he was still grabbing the arm. (I9)” One also (I6) mentioned how in Korean culture, women are not supposed to be treated in that manner, “ […] guys shouldn't touch a girl no matter ever what happens.” Three respondents saw Yoon Sung as rude when he grabs at Nana’s shoulder while she’s about to walk away from him. One (I8) pointed out that if he was a stranger, and she was in Korea, she could sue him, because she feels offended. Another (I6) would consider it disrespectful of Yoon Sung because she considers that area of her body to be very private, as it is close to her face, and main body. As at the moment, Nana dislikes Yoon Sung, I6 would consider it very rude and disrespectful if he were to do that to her in the same context. I9 considered it very rude for Nana to just barge in Yoon Sung’s room without properly asking permission. I10 seconded this by saying that although there was no written rule that one should not get in one’s personal space, “But it's like an understanding between each other, that the room...I have this room because I want to be alone in this...my space.” All the respondents said that they felt that it was rude for Nana to walk away from Yoon Sung while he was explaining himself to her. One respondent (I7) felt bad, saying, “I'm trying to express something, but the person doesn't listen to the things that I say. Of course I will feel bad.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

84

It feels like she or he ignored me.” Another (I8) said, “Turning around and walking to another place […] shows he doesn't want to talk with me, and […] doesn't really want to listen to what I'm talking […] That’s rude.” Uncomfortable (Annoying). I7 and I10 felt uncomfortable watching Hwan grab Eun Sung’s arm as a means to force her to leave. I7 related, “It feels awkward when I see the guy grab her so hard […] Even when she says, ‘It’s painful.’ in Korean.” I8 surmised that Eun Sung “will feel uncomfortable and scared” at Hwan’s treatment of her. Again, it is because in Korea, women are to be protected, not harmed and treated in that way. I6 said that she would not like it if somebody she does not like, or is not familiar with, would grab or touch her shoulder because, “I feel so uncomfortable. Like, I become oversensitive to the per...to the area that the person is touching, but I can't say, ‘Please do not touch me!’” When asked how he would feel if somebody he disliked touches him, I7 said that he would not even like it if the person touches his clothes. In reference to Yoon Sung’s grabbing of Nana’s wrist, he remarked that having a person he disliked touch him is “something like a bothering insect is on my wrist.” Also, I6 added, “I would be kind of irritated, because I was trying to leave and he stopped me. It means like the person stopped what I was about to do.” When asked to relate how they would feel if they were in Eun Sung’s shoes at the time Hwan suddenly appeared behind her, they (I6, I7 and I8) said that it would feel uncomfortable and they would not want to be in the same place as Eun Sung. I7 explained that if he were in a fight with the person the last time they saw each other, he would want to avoid the person; and if that person suddenly appeared in front of him, he would feel embarrassed and shy. I8 simply stated, “It’s not comfortable […] to be with the person whom I dislike, in the same place. I won’t really be happy.” I6 also recounted how she was out with her other friends, and did not know

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

85

that the high school classmate she disliked was also invited. “I wanted to leave, and if there were no one else I would have left already. But I can't because my other friends are there. Yeah, the only though I had at that moment that I saw the person was, ‘I just want to leave this place.’” I10 expressed how she would feel uncomfortable if she were in Lee Yoon Sung’s position, when Nana walked away while he was talking. “I’ll feel so extremely bad…because I don’t want to be cut!” I6 related how it was already uncomfortable to be left alone, even if somebody politely asked permission to leave, “Even in that situation, it doesn't feel too good to be left alone.” Depends on the relational context. An expectancy violation is also defined as any unexpected action or behavior perpetrated by an individual, considering the degree of the relationship he or she shares with the recipient of the violation (f=26). When asked how he would feel if he were in Jae Gil’s shoes at the time Maru hit him, I7 admitted that he would feel betrayed, because his best friend broke his trust by punching him, “Bestfriend is the person who I always trust and be with […]” But when asked what he would feel if it is somebody he does not know, he said that he would just get angry, and would want to hit the person right back, “[…] because that’s just stranger, right?” He also mentioned how if one were in Korea, it would be extremely rude for him or her to turn one’s back on an older person who is talking, but considered it acceptable if the person who turned his or her back on him was his age, somebody he was familiar with, or was his friend. I10 related how she does not like people touching her, if she does not know or is not familiar with the person, whereas “skinship” with friends is acceptable in Korea. When asked

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

86

how he defined “skinship”, I7 answered that it is a way of expression emotions through touching, saying things that words cannot express: “One example of skinship is when you like someone or love someone, you can express that feeling by skinship, right?” I8 explained that “skinship” between people meant that there is a relationship between them; for in Korea, people do not generally touch each other casually, as they are a conservative society. “Skinship between friends is okay, but with someone else, not okay.” She added how she would not expect any skinship between a person she disliked, or a stranger, because the presence of skinship would mean that they are friends. I6 also shared, “I don’t like touching until we get close enough to touch each other.” In reference to Yoon Sung grabbing Nana’s shoulder to stop her from leaving, I10 thought that he should not have done that because, “[…] he's not even my boyfriend or something. We're not related to anything. He's just trying to explain […] something I don't want to listen [to].” I7 pointed out that he would feel differently if the perpetrator of the violation was someone he liked, “[…] when boyfriend or girlfriend grab your wrist, it's feel okay, right? And in that drama, she likes him.”

Table 16 Most Common Definitions of Expectancy Violations (Koreans) A. No Respect (Not Listening) 1. But that’s rude; to turn around while one is talking to me. That’s rude.

(f=34)

2. She got hurt and she was asking him to release her, but he didn’t. 3. […] each individual has his/her own boundary. And she just [keeps] jumping into my boundary, before I’m actually prepared to stop that.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

87

B. Uncomfortable (Annoyance) (f=26) 1. I would be kind of irritated, because I was trying to leave and he stopped me. It means like the person stopped what I was about to do. 2. It feels awkward when I see the guy grab her so hard […] Even when she says, “It’s painful.” in Korean. 3. It’s not comfortable […] to be with the person whom I dislike, in the same place. I won’t really be happy. C. Depends on the relational context 1. Angry, of course. Like it feels like my best friend betrays me […].

(f=26)

2. Because I don’t like touching until we get close enough to touch each other. 3. The person, whom you like, grabs your wrist. Isn’t it okay? It’s okay right?

6. Korean and Filipino Perceptions of Expectancy Violations To get the interviewees’ perception on proxemic and haptic behaviors as expectancy violations, the interviewers made them watch one clip (out of three video clips), then asked them questions after. Now, the usual line of questioning was: “Is there any particular gesture or behavior that you liked or did not like in this video clip? Anything you were comfortable with or not comfortable with?” Sometimes, the respondents pointed out some gestures included in the study, like hitting, arm-grabbing or sudden withdrawal from personal space. However, more often than not, the respondents either pointed out gestures related to the drama storyline than the gestures in the study, or did not point out anything at all. The researchers then had to show them the proxemic and haptic expectancy violations in the video clips. The researchers then asked them, “Is that okay for you? If you were in the shoes of (recipient character), would it be okay for you? If you were (recipient character), what would you feel if that gesture was done to you?” From there it was a constant asking of “Why?” and “Where did you get that mindset? That idea? That way of thinking?” The end goal of each interview was to determine how each respondent

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

88

felt about the portrayed proxemic or haptic expectancy violation, and where or how his or her perception was formed. It was interesting to note that in both Korean and Filipino interviews, there seemed to be a duality in their perception of expectancy violations. Respondents usually said that a particular gesture is something they liked, or were comfortable with-a positive perception; only to come up with a negative perception later on, when they were asked to put themselves in the shoes of the recipient of the violation. Some respondents would also view expectancy violations negatively, but at the same time would say that it is normal, or it was something they would also do, given the context. 6.1 Filipino Perception The following is the perception of the Filipinos respondents to specific proxemic and haptic gestures that are portrayed as expectancy violations in “Ina, Kapatid, Anak”, “Tayong Dalawa” and “Walang Hanggan”. The gestures presented to them were Hitting (Slapping), Handgrabbing (Arm-grabbing), Invasion of Personal Space, and Sudden Withdrawal from Personal Space. These gestures are perceived as expectancy violations; as to them, it is uncharacteristic for the perpetrator of the violation to have done the gesture considering the context in which the violation took place. Hitting (Slapping). All the interviewees perceive slapping as acceptable behavior in given circumstances, specifically in one where the recipient had committed an offense against the perpetrator of the said violation. The typical response in general was, “It’s okay if I get slapped, because I did something wrong to that person.” One stated (I4) in reference to Audrey and Dave, “Kung may kasalanan ba naman akong ganon ka hard eh, ganong ka foul, I think yung girlfriend may right na sampalin ako. (If I’ve wronged against her, in a foul way, I think

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

89

she [the girlfriend] has a right to slap me.)” Another (I3) even added, “If I was the girlfriend, I would slap him. I'd probably kick him somewhere else.” I4 replied, when asked if it was okay if Margaux slaps her, “Pain lang yan, kung siya marerelease yung pain niya, go ahead. Baka makatulong pa ako sa kanya. (That’s just [physical] pain. If it would release ease her [emotional] pain, go ahead. I might even be of help.)” Two respondents (I1 and I5) particularly liked it when Celyn returned Margaux’s slap, saying that it showed how Celyn showed that “hindi siya nagpapatalo”, refusing to just let Margaux have her way with her. “Kasi parang tayong mga Pilipino, meron tayong ugali na ayaw nating magpaapi, so tayo yung mga tao na lumalaban kung saan kaya natin. (We Filipinos are a people that refuse to be oppressed, and fight for our rights when needed.)” However, when asked to put themselves in the positions of those who were slapped, Margaux, Celyn, Dave and Marco-they gave a negative perception of slapping, saying that it would surprise them, and caused them to feel anger, especially if they did not do anything wrong to deserve to be slapped. They maintained that the characters mentioned above (except Dave) had no reason to get slapped by the perpetrators of the action. “Hindi necessary na magsasampalan, (It is not necessary to slap each other.)”, says I5. They also thought it not acceptable for Emily to slap Marco like she did as to them, Marco did not do anything wrong, it was Emily’s mistake to jump to conclusions, not Marco’s. As I5 again pointed out, “Magagalit ka tapos sisisihin mo agad, kahit without knowing yung backstory […] (You’ll get angry and accuse that person straightaway, without knowing the backstory.)” In reference to Marco being slapped by Emily, I1 said that it would be physically painful, because, it would definitely hurt to get slapped in the face. But according to her, what would hurt

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

90

more was how a loved one could stomach having it in him (or her) to hurt her, which she would not expect, because “kung nasa isang relasyon kayo, parang ang iisip mo yung all the love (when you’re in a relationship, you will think the relationship is built on love)”. She said that she would not expect someone she loves to slap her like that. One surmised (I3), “You’d slap me if I did something to you. You don't want to be slapped when you're trying to talk to somebody.” She also echoed the sentiments of I1 of not expecting to be slapped by Emily, if she were in Marco’s stead, “I’ll be shocked, I’ll be pissed and I’ll be really irritated.” When asked where the thought that “it’s okay to be slapped when you deserve it” came from, one respondent (I5) mentioned “karma”, saying that “pag may ginawa ka na masama, lalo na sa kapwa, parang babalik rin sayo yun (If you wrong against your neighbor, it would come back to you.). When asked again where she picked up that idea, she mentioned seeing it in films, as with I4. I5 also cited family experience, as with the three others (I1, I2, I3). “I think it came from my family, I was never physically harmed, I was never spanked, I was never slapped (I3).” Only one respondent (I2) mentioned that she learned to throw bread at someone who throws her a stone through her experiences in school, but at the same she has a belief that what she is given, she gives back in return, “It’s about getting even, at the end of the day.”

Hand-grabbing/Arm-grabbing/Arm-holding. Three respondents (I1, I2 and I3) perceived negatively Dave holding Audrey’s hands and arms in the course of their argument. When they are angry with someone, they do not want the person anywhere near them. It is either they leave, or the other person stays away. I1 related: “Parang may ganun ako na parang pag may kaaway ako, lumayo ka sakin baka may mangyari lang na hindi mo magustuhan. (I have that characteristic, if we’re not in good terms, stay away before I do something you would not

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

91

like).” I3 observed how it is apparent that Audrey did not want to be touched, and Dave seemed oblivious to that fact. “You're fighting with your boyfriend, tapos biglang hahawakan ka niya (then he suddenly touches you). When you're mad at somebody, you don't want to have anything to do with them.” I2 stated that he is forcing himself on Audrey by not listening to her wish that he let go of her hands and arms. According to her, that in itself is a form of disrespect: “Maiinis kasi pinipilit niya akong makinig sa kanya eh ayaw ko ngang makinig sa kanya. (I’ll be irritated at the way he is forcing me to listen to him, when I don’t want to.)” Two respondents (I2 and I4) initially found nothing wrong with the way Marco grabbed at Jean’s arm, saying that it was a consequence to her invasion of Marco’s private space by coming in his bedroom. “As a person, normal na yun, for me it's okay. Galit siya,‘di ba? (I4). I2 stressed that Jean should not complain at Marco’s treatment of her, as it was his privacy she intruded on, implying that Marco’s treatment of her was a consequence to her actions. They, however, felt that if it were done to them, it would not be okay. I2 reasoned how she would get angry at his treatment of her, “bakit mo ako kinaladkad, pwede naman tayong mag-usap nang maayos? (Why are you dragging me about, when we could talk properly?)” The reason being that in her opinion as with other forms of expectancy violations, before people resorted to physical violence, they should try to talk the problem out. I4 expressed how she would be hurt if her husband does that to her, (as Jean was Marco’s ex-wife), “Diba, may right ako sayo, diba so parang masakit... I think pwedeng gawin ng asawa yun sa galit, pero the fact na... basta mahirap i-explain pero di siya okay. (Don’t I have a right to my husband? That’s why it’s painful. My husband could do that out of anger, but it would still hurt. I can’t explain it, but it’s not okay.)” Respondents I1 and I3 shared the reaction that what Marco had no right to treat Jean in

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

92

that manner. It also showed how he had no respect for Jean as a person, “ […] sinasaktan sa pagkapit mo ako, hinihila mo na ako na parang walang respeto, yung parang bara-bara lang (You hurt me with your grip, you drag me about haphazardly, with no respect” and as a woman, “[…] you just don't treat women like that. (I3)” Respondent I1 shared how she was taught by her family to not allow herself to be mistreated in that way; they also taught her that it was better to resolve fights by talking it out and not resorting to physical violence. From I3’s perspective, this was not what Marco did as he did not listen to Eula’s explanations and opted to drag her out of the room. She added, “I'd feel like a rag doll being dragged in that way. I would feel sad.” Although she (I3) stated, “It's not that I think that people shouldn't stop you. I mean, if you were trying to hurt somebody, then someone should stop you.” when shown the scene where Marco held Emily back when she rushed towards Jean, majority expressed a negative perception at the gesture. I2 expressed how she would feel shock and anger if she were in Emily’s shoes, as she would not expect Marco to hold her back. “Kasi nga ang lakas ng loob niyang pigilan ako, eh sila nga yung may atraso sa akin? (They have the guts to hold me back, despite the fact that they are the ones who are at fault?)” Furthermore, according to I1, I2, I3 and I5, they would get angrier if they were in the same situation as Emily. Not only did it stop her from expressing her anger, they would not like the feeling of being restrained, of being blocked from doing what they want to do. I2 said that Marco had no right to restrain her, as if she were to put herself in Emily’s shoes, it was Marco and Jean who had slighted her. For that reason, “[…] dapat nga […] inooffer pa nila yung sarili nila sa akin eh kasi nga may mali sila. (They should be willing to receive my vengeance.)” She claimed that she learned in school that if one committed a wrong deed, a consequence in the form of punishment necessarily followed. Moreover, when shown JR touching Greta, after the latter walked away from him after a

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

93

fight, it was deemed favorable by majority of the respondents. Only two (I1 and I3) perceived the gesture negatively, “Ayoko kasi di pa nga ako ready kausapin ka tapos hahawakan mo ako tapos parang kakasabi ko lang na lumayo ka muna sakin eh. (I don’t like it because I’m not ready to talk to you, but you still touch me even when I told you to give me space.)” I3 stated that even though she would not like to be touched if it happened to her, it would be okay if she were in Greta’s situation, as she likes JR. The same sentiment is shared by I2, I4 and I5. “I guess sakin, okay lang kasi unang una may gusto rin ako sa kanya diba, so points ko yun na hinawakan niya ako. (I guess it would be okay since I also like him. So it would be in my favor if he touches me.” Invasion of Personal Space. Instances of invasion of personal space shown in the video clips were portrayed in “Walang Hanggan”- Emily suddenly appearing in Marco’s home, and Emily rushing towards Jean. However, respondents pointed out Jean’s unwanted presence in Marco’s bedroom and from their responses, it is apparent that they consider that a violation as well. They perceived it as disrespectful. As one (I2) put it, “[…] hindi ka naman pumupunta sa kwarto nila ng walang paalam, so ineexpect ko na rerespetuhin rin niya yung private space ko […] (You don’t enter their bedroom without permission, so I would expect that they would also respect my private space.” Furthermore, another (I5) deemed it inappropriate and reasoned, “[…] hindi tama na pumunta siya dun sa room […] kahit walang nangyari, pero di magandang tingnan. (It’s not right that she entered his room, because even if nothing happened between them, it would not look good.)-implying that societal norms have a role in the formation of that thought or construct. The respondents negatively perceived Emily’s sudden appearance at Marco’s house, as

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

94

they would feel surprise, and worry especially if what they were doing was questionable, as with Marco’s situation. (I2) related how she had a similar experience: she was venting about a teacher she disliked to her friends, when the teacher in question entered the classroom earlier than usual.“Kinabahan na parang gusto mong magwala, na parang bakit ka pumasok? (I get so nervous that I want to throw a fit, why did you suddenly come in?” I5 expressed how scared and nervous she would be if that happened to her. I3 echoeed the same sentiment, saying that she would feel uncomfortable-surprised and worried, “Like when you're trying to hide a surprise from somebody and turns out they popped out from behind you and you're trying to figure out how to lie to them?” One (I4) pointed out that Emily’s sudden appearance was rude and unbecoming, despite her being Marco’s fiancé at that time, because she entered somebody else’s house without warning. To her, it was a breach of good manners and right conduct. “Manner na lang na nasa iba kang bahay. Hindi mo kailangang mang-gera doon, ‘di ba? (Think of it as manners when you are in somebody else’s house. There is no need for you to start a brawl, is there?)” She said that her parents taught her that when she is in somebody else’s house, she has behave in a proper manner and leave a good impression to her hosts, “hindi ka pwedeng magleave ng mark doon (You cannot leave your hosts with a bad impression of you.)”. Emily’s sudden approach of Jean, meanwhile, was perceived as threatening by the respondents. I1 and I3 both said that they would not want to get hurt, as “she could really harm me (I3). I2 said, “Tatakbo ako. […] ayaw ko masaktan. Tyaka, wala ako sa mood para makipagaway. (I’ll run away because I do not want to get hurt. I’m also not in the mood for a fight.)” She also said that she would get angry, because Jean had no right to do that to her, “Wala akong atraso sa iyo, don't touch me. (I did not do anything wrong to you; don’t touch me.)” According to one respondent (I5), she would be extremely annoyed because she should not be cowering in

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

95

fear like Jean was doing; because according to her, Jean did nothing wrong. She should not be ashamed to claim that she is in the right, that she has more claim than Emily to Marco because she is the true wife. “[…]maiinis ka kasi hindi mo napaglaban mo kung ano yung alam mo yung totoo eh, na siya yung totoong asawa. (You’ll get angry, because you were not able to fight for what you know is true, that you are [Marco’s] wife.)” Sudden Withdrawal from Personal Space (Walking-out). The respondents generally deem walking away from somebody, or turning one’s back on somebody as disrespectful. Also, some perceived it as something that would cause emotional pain, and feelings of hopelessness, surprise, annoyance and anger. Some respondents also said that it can cause the prolongation of an argument. However, three of the respondents perceived it favorably, given the context in which the violation takes place. From the responses taken from the interviewees, it was evident that their thoughts and ideas came from, and were molded by, family examples, society, personal knowledge, experience, and self-concept. I1 and I3 both perceived the gesture of “walking-out” as acceptable behavior, in the contexts that were shown them, like confrontations and verbal arguments. It was because they said that they also performed the same actions, especially when they are angry or do not want to let the brunt of their emotions show. “Once na hindi ko na kaya yung feelings or emotions ko, gusto na tumakbo na lang, gusto ko ako muna, mag-isip. (Once I cannot contain my feelings and emotions anymore, I would just want to run away, to be by myself and think.)” Both say that they usually walk out on people they just had a fight with. I3 said, “I don't want to have anything to do with you. Don't touch me and don't talk to me. Don't give me excuses because I’d walk away.” I2 interestingly said that when one walks away from her, she feels that she has “won” if she were in an argument in somebody, “[…] you let your guard down.”

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

96

I1 related how her mother got mad at her when she would attempt to walk away while her mother was in the middle of telling her off, or while they were arguing. Her mother would say, “Magwawalk-out ka na naman?! Kabastusan yan ah! Bastos yan pagtalikod mo! Habang kinakausap ka, humarap ka, makipag-usap ka! (You’re walking-out on me again? That’s disrespectful! You turning your back on me is disrespectful! When a person is talking to you, you face the person and talk to the person!)” I3 also related how her mother would scold her, and tell her that one just does not walk away from somebody who is trying to hold a conversation with you. I2 also said that she learned that when her mother would get mad because she feels that she had been disrespected, when I2 would just leave while she is lecturing her. When asked if it were to be okay if a person they are talking to leaves them and walks away, they said no. They would feel disrespected. I2 and I3 said that they would have feelings of hopelessness, sadness and nervousness, not knowing what to do, especially if they were trying to explain something of weight to that person. I2 expressed that she would feel like her heart was stepped on, and all the blood has left her body. I1 related how although she does walk away from people when she is angry at them, she would not like it a person would do that to her. She related her experience fighting with her boyfriend, when at that time, it was her boyfriend who walked away from her. She says how it was painful for her, “[…] sampal sa’kin yung ginawa niya. (What he did was like a slap to my face.)” Being walked out on elicited feelings of annoyance and anger, according to I1 and I3, even if they have slighted the perpetrator of the violation. In reference to Audrey walking out on Dave, I1 commented, “Siguro kung ako yung nasa posisyon ni Dave, magagalit ako, mababadtrip ako. (If I was in Dave’s position, I would get angry. I would feel bad.)” In addition, I3 said,“[…] if someone did that to me, […] I’ll be pissed.”

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

97

Furthermore, the respondents also believed that walking out only served to prolong an argument, as the problem cannot be resolved early on. I5 said that the problem would still be there, when, instead of immediately fixing the problem between them, one walked away from it. Also, another respondent took the gesture as a sign of rejection, “Parang mas napakita na ayaw siyang pakinggan tyaka wala na talagang pag-asa na patawarin siya. (It’s like it was shown that [she] does not want to listen to [him] any longer, and there is no chance at all of [her] forgiving [him].)” 6.2 Korean Perception The following is the perception of the Korean respondents to specific proxemic and haptic gestures that are portrayed as expectancy violations in “Nice Guy”, “City Hunter” and “Shining Inheritance”. The gestures presented to the respondents were Hitting (Punching), Handgrabbing (Arm-grabbing, Shoulder-grabbing, Wrist-grabbing), Invasion of Personal Space, and Sudden Withdrawal from Personal space. Generally, these gestures were perceived as expectancy violations, as to them, it is uncharacteristic of the perpetrator of the violation to have committed the gesture, given the relation he or she has the recipient of the violator. Generally, their perceptions were borne out of experience, family and parental teachings and advice, school teachings, and personal experience. There was also one respondent who said that she learned through dramas (I10). Hitting. Generally, to Koreans, physical fights and violence is acceptable between male friends. According to I7 it is an acceptable gesture because doing so would “[…] express their emotional conflict[…]” Therefore, in the event that Korean boys have conflict with each other, it is acceptable to hit each other. “Because we believe that if it's really your friend, it's understandable, and after hitting each other, their relationship can be […] deeper.” I10

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

98

surmised that guys learn their lessons through fighting for the reason that “guys are more hottempered than girls, so they express their feelings through their fist”. I8 recounted how her friends in the Philippines would get detention slips in high school for excessive violence; while in Korea, there is no such thing. She added, “In Korea, it's not really big deal. Like fighting or punching each other, if they are friends or if they really care [for] each other? I think it could happen.” I6 shared how physical punishment, or gently hitting each other is quite acceptable in Korea. Since she went to the Philippines for her high school education, she said that while it was acceptable in Korea, it becomes a more serious matter, “a totally different problem.” She added that since she was educated here longer than in Korea, she is “more used to non-violence.” The respondents said that it would be okay for them if their friends would punch them, as they would understand. However, when asked what they would feel if their friend would hit them, the common sentiment was that they would either feel sad, angry, betrayed or disappointed. I7 shared, “If I punched my friend, that's okay. But when my friend punched me, it's not okay.” He also shared that he has had a fight with his best friend back in Korea, and when his best friend punched him, he said that he felt angry, “Angry of course, like my best friend betray me or something”. The reason, according to him, was that “a best friend is the person who I always trust and be with”, therefore, by hurting him, his friend is breaking his trust. I9 shared the same sentiments, “[…] Maybe I would be so sad? Because, how can my best friend hit me?” I6 said that since it’s her very best friend”, she’ll be surprised at first, but says that she “[…] will end up getting mad.” I10 related how she felt so bad and frightened when she experienced her first physical fight, when a friend suddenly attacked her without reason, grabbing at her neck. She also said that if her best friend would slap her, it would depend on the situation on how she

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

99

would take it. If her best friend hit her without valid reason, “I'll be mad! So mad! Maybe we wouldn't be […] best friend[s] anymore!” She also said that if a total stranger would hit her or slap her, it would be considered a crime. I7 mentioned how he will just be angry and would want to hit the person back without understanding the situation if it was a stranger who hit him. A respondent (I8) viewed the punching of somebody else as “not the right thing” and “unethical”, because she believed that problems with each other could be resolved if both parties talk to each other, but sometimes, fights are inevitable. When asked where she learned it, she answered: “Isn't it general idea of ethics? I think I learned to not punch friends or something like that when I was in grade school or in kindergarten.” Another (I9) perceived it as a form of bullying, something which she learned from her high school, Brent, in the Philippines. I10 pointed out, “Basically, hurting other people is bad, especially if you love someone; you get also hurt.” This, she learned from parents, teachers and friends. I7 thought that it would be okay if he were the one to hit his friend, but not when his friend would be the one to hit him. He reasoned, “ […] because I'm not kind of person who will hit people without a reason.” He said he learned the basic moral of not hitting a person without valid reason through experience, “[…] whenever I hit people without reason, there's always [a] bad result.” He related how he learned that lesson when he got kicked out of his high school in Korea, and for that reason, was sent to the Philippines to study. Hand-grabbing (Arm-grabbing/Shoulder-grabbing). Grabbing one’s hand, arm or shoulder is normally viewed by Koreans as a means to get one’s attention, and an effort to continue a conversation. Referring to Yoon Sung grabbing Nana’s wrist, I6 thought that it was acceptable, as “[…] grabbing arm is kind of an accepted way of you know, effort to continuing

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

100

the conversation.” I9 also considered it as acceptable as Nana was going to leave Yoon Sung, so he grabbed her wrist in an attempt to clear up the misunderstanding; which according to I9, was Yoon Sung’s responsibility. She also stated that if the same gesture is done to her, “I'll talk a litle more with them,” To I10, it was also acceptable. She reasoned that in the instances when one tries to call somebody’s attention, it would be all right to reach out and touch them when they cannot hear you calling them. “He’s just trying to talk to me, because […] I’m ignoring him.” She said that she picked that idea up from watching television shows, parents’ and friends’ example, and by observing other people. Moreover, according to I7, Yoon Sung’s grabbing of Nana’s wrist was a way for him to express his feelings for Nana, as skinship could be “grabbing the wrist”, and “[…] when you like someone or love someone, you can express that feeling by skinship.” However, it could cause anger or irritation, if the recipient disliked the person grabbing his/her hand, or did not want to be interrupted or stopped from doing what he or she wanted to do, which was usually to walk away from a conversation. I7 said that he would hate it if a person he did not like would touch any part of his body, even his clothes. He said the feeling of somebody he hated touching him could be analogous to “something like a bothering insect is on my wrist.” I9 would consider it disrespectful if a person would grab at her hand or wrist more than twice in an effort to try to talk to her. She would be angry because the person in question did not respect her wish to leave and be left alone by continuing to grab at her wrist. Both I6 and I10 expressed irritation at being touched by somebody they did not like. I6 also said that she will be irritated at being stopped, as she stated that it is a person’s right to do whatever he or she wants to do, to go about minding his or her own business. She added that she did not have the right to tell a person what to do.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

101

Although it is considered normal for males to grab another female or a male’s hand, it is not considered normal for Korean females to do the same, according to I8. Instead of grabbing at the hand of a guy who was walking away from her, what a girl would do is “[…] will just shout at his back. Not really grabbing his or her hand.”. This is because girls are expected to act conservatively in Korea, not “[…] want to show their real feelings.” As with wrist grabbing, some considered Yoon Sung’s grabbing of Nana’s shoulder as acceptable, as it is also a means of getting one’s attention and continuing a conversation. However, I8 pointed out, it was acceptable if the girl was comfortable. But if she felt uncomfortable, “That’s rude.” Moreover, that gesture can be considered as a form of sexual harassment, and in Korea, one can sue the perpetrator of the violation, especially if the violator is a stranger. If she were with friends, skinship would be acceptable; but if it were somebody she was not familiar with, it will be uncomfortable for her. Another (I10) said that if she were in Nana’s shoes, she would not like it, because she was trying to “[…] escape from the issues […]”; and to her, Yoon Sung is forcing her to listen to his explanations, even when they did not have a relationship-even if they did like each other. Personally, I6 considered shoulder grabbing as offensive, and a source of discomfort for her; because she regarded that part of her body as sensitive, and would not want anybody she does not allow, to touch her there. Hwan’s manner of grabbing at Eun Sung’s arm was perceived by all respondents to be unacceptable, and a form of violence and harassment. I6 thought of the gesture as even more aggressive as it was a guy grabbing a girl’s arm, especially when Eun Sung was asking Hwan to release her because it was painful. Furthermore, she said that in Korea, guys are not supposed to treat females like that. I7 supported that, as he said that he felt uncomfortable seeing Hwan grip Eun Sung’s arm too tightly, because that was not what he was taught, “I always think that guys

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

102

should protect girls no matter what […]” He said that he learned this in school when he was really young. Then, he would think that it was okay to fight with both boys and girls. He was taught otherwise, “[…] when we were elementary student[s], and teacher will always say, ‘You should not fight with her.’ So I said, "Why?" […] she always said, ‘Because you're a boy.’” According to majority of the respondents, Hwan showed that he has no respect for Eun Sung when he did that, because she was asking for him to let go of her, and he was not listening. I10 said that Eun Sung did not deserve Hwan’s physical violence-the same goes for everybody. She said that she learned this from values lessons in school. Some respondents also perceived the gesture as threatening, and entirely different from Yoon Sung’s gesture, which only sought to stop Nana from leaving, not harm her. I9 mentioned how she would be scared if somebody grabbed at her arm in the same manner, regardless if the perpetrator was a male or a female. Pushing. Majority of the respondents perceived pushing as an acceptable gesture given that there was a valid reason for it. But in the clip shown them, to Hwan, Eun Sung did not have a valid reason to push him because the cellphone he accidentally broke was inconsequential to him. If there was no reason for somebody to push them, they perceived the gesture as rude and unacceptable. Even though he would feel bad, I7 said that it is understandable if Eun Sung would push him because they have a conflict. I8 also said that even though she would feel angry, she would feel sorry at the same time, because she accidentally stepped on Eun Sung’s phone. “[…]even if it was an accident I did something wrong to the person. I broke her cellphone.” I6 commented how the gesture would not be okay for her, as it was something she did not mean to do, so Eun Sung did not have reason to push her in that manner. I9 surmised that Hwan would get angry at Eun Sung for pushing him, because he does not know the reason why Eun

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

103

Sung was acting the way she did at the time; therefore, he will misunderstand. “Because pushing someone is not [the] right thing to do.” She also perceives it as threatening, and a form of bullying. Invasion of Personal Space. All the respondents perceived Maru grabbing Jae Gil by the collar as an acceptable gesture, as they were having an argument. I9 commented that it is understandable for her as “they are boys and they can get into little trouble”. I10 supported that by saying that she would understand, “if I were a guy”. However, some of the respondents perceived the gesture as threatening and impolite, and would cause them to be angry, annoyed and uncomfortable. I10 said that if somebody grabbed her by the collar, it is like they are saying, “[…] if you don't want me to punch you, then shut your mouth.” She said that she learned that through watching dramas. In reference to Hwan suddenly appearing behind Eun Sung, I6 said that she would feel surprised and offended. However, if it was someone she liked or was familiar with it would alright, “I won't be so offended because they are the people whom I love or automatically love.” However, if it was a stranger or somebody she disliked, she would feel differently. Because according to her, in Korea, “If the person is not part of our group, there's no reason that I should go close to the person.” Therefore, it follows that a person who is not part of her group would not approach her. She added, “the word ‘different’ or ‘strange’ or ‘familiar’ means very big to the Koreans.” If it were somebody you like, it is acceptable. If it were somebody you do not like, you would want to avoid the person. I7 perceived Hwan’s sudden approach of Eun Sung as threatening, especially since she had a previous conflict with Hwan before. “Because if you don't want to fight, he will just ignore me or avoid me.”

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

104

Generally it is considered rude and unacceptable to enter one’s bedroom or private quarters without permission, because a bedroom is the private space of an individual, and one should respect that by asking his or her permission. One respondent (I10) related how in Korea, she has her own bedroom, because she wanted her privacy. One time, her mother went inside her room without warning, and she was caught surfing the net, when she told her mother that she would be studying for her Midterm exams. She also said that although there was no written law that one should not enter another’s room without permission, “it's like an understanding between each other, that the room...I have this room because I want to be alone in this...my space.” Sudden Withdrawal from Personal Space. All the respondents viewed walking out as sign of rejection and disrespect, while also viewing it more favorably because it can be how a person can express emotions like anger, and it was a gesture they would also do. I7 mentioned how it would be extremely rude for him to turn his back on an older person who is talking. However, he considered it acceptable if the person who turned his or her back on him was his age, somebody he was familiar with, or was his friend. He related an experience in his childhood, “When my father was talking, I just walked in my room and closed the door.” He said that after the incident, his father got mad and punished him for his disrespectful behavior. He also mentioned how he felt bad and disrespected when his younger siblings ignored him when he tried to talk to them, “When I fight with my brother, or sister, when I'm trying to saying something, they just go to their room and lock the door. At this time I will feel bad… [I’d] get mad. It's like he's younger than me. But he tried to ignore me. What's wrong with the world?” To them, it is a norm to talk seeing each other’s face. As I8 put it, “[…] but, the meaning of showing back, is that I want to draw line between you and me.” I6 claimed, “It's a very obvious sign of rejection.” I8 also mentioned that in Korea, respecting others is important to

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

105

them, because Confucius’ teachings are deeply imbibed in Korean culture, “One of his theories, ‘Yi”, which is to respect others. […] It’s really important. That's what we’ve learned from my parents and teachers.” There were some respondents who perceived walking-out or turning one’s back on another more favorably. I7 reasoned, “That's how they express their feelings, like "I'm get mad now, don't talk to me" or something.” I9 said that she would be understand if somebody walked away from her, especially if the person who walked away from her was mad at her. I10 mentioned that walking out was something she would do, if she was mad at a person.

7. Commonalities in Korean and Filipino Perception of Expectancy Violations It is interesting to note that there is a dualistic nature to quite a number of the Korean and Filipino viewers’ perceptions of expectancy violations portrayed in the selected dramas. Both see the haptic violation “Hitting (Slapping/Punching)” as acceptable in the context of the dramafrom the standpoint of an observer. But when applied to them, both negatively perceive the violation. Most of the Korean and Filipino viewers have a negative perception on the haptic expectancy violation, “Handgrabbing/Handholding (Armgrabbing) ” and proxemic expectancy violation, “Invasion of Personal Space”. When the violator has a negative relationship with the recipient, and if the situation is unfavorable, then the violation is unacceptable. But, if there is a good relationship between the recipient and violator and if there is no conflict surrounding the characters, then the violation is acceptable. Furthermore, in reference to the haptic gesture of a man grabbing a woman’s arm violently, as portrayed in Filipino and Korean drama, both stressed the gesture to be intolerable; as it caused pain, harm and disrespect to women.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

106

All Koreans and Filipinos perceived the proxemics violation “Sudden Withdrawal from Personal Space” as unacceptable. Both emphasized the violation as a form of disrespect, caused feelings of anger and discomfort, and would only prolong the argument or conflict between the characters. In general, the Koreans and the Filipinos perceive expectancy violations negatively or positively depending on the relational and situational characteristics of the expectancy violations. The perception of both Koreans and Filipinos are influenced by education and parental upbringing. Discussion. The proxemic behaviors that constituted as expectancy violations in Korean dramas were: (a) Public to Social; (b) Public to Personal; (c) Public to Intimate; (d) Social to Personal; (e) Social to Intimate; (e) Personal to Intimate; (f) Intimate to Personal; (g) Intimate to Social; (h) Intimate to Public; (i) Personal to Social; (j) Personal to Public; and (k) Social to Public. The haptic behaviors that constituted as expectancy violations are: (a) Brushing Hand/Arm; (b) Patting; (c) Handholding/Handgrabbing; (d) Pushing; (e) Stroking; (f) Hitting; (g) Kissing; (h) Hugging. In Filipino teleseryes, the proxemic behaviors that constituted as expectancy violations were: (a) Public to Social; (b) Public to Personal; (c) Public to Intimate; (d) Social to Personal; (e) Social to Intimate; (f) Personal to Intimate; (g) Intimate to Personal; (h) Intimate to Social; (i) Intimate to Public; (j) Personal to Social; (k) Personal to Public; (l) Social to Public. The haptic behavior that constitutes as expectancy violation are: (a) Patting; (b) Handholding/Handgrabbing; (c) Pushing; (d) Stroking; (e) Hitting; and (f) Hugging.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

107

In the study, the “Male” lead character is the most common violator of proxemic expectancy violations in both Korean dramas and Filipino teleseryes. Included in the factors that influence expectancies identified by Burgoon and Hubbard (1988) is the communicator characteristic which can be the “basis for categorizing people’ (p.151) and cause individuals to carry certain expectations on the manner in which that individual communicates. Gender is an example of communicator characteristic. In the interviews, the respondents attribute a specific characteristic to the gender of the character. I9 mentioned during the interview that “they are boys and they can get into little trouble.” –which implies that Korean males can be physically violent with each other. In the dramas the most common relationship that the violators have with the recipient is “Friends”, with a frequency that is second to the highest among the kinds of relationships given in both Korean drama and Filipino. In addition, the people who are close to, or familiar with the violator mostly receive the proxemic violations, such as “Love Interest” and “Parent”. This is in support of the findings of Burgoon and Hubbard (1988) that expectancies are influenced by the relational characteristics of an individual, the characteristics between sender and receiver. I3 shared, “So, for someone, specially someone not related to me, or in this case, someone who I just realized was my sister, slapped me... I would really be surprised, cause I won't really expect her to slap me.” A large majority of the proxemic expectancy violations happens during “Conversation” and “Confrontation” for both Korean dramas and Filipino teleseryes. A respondent (I1) related how her mother scolded her for walking out, “Magwawalk-out ka na naman?! Kabastusan yan ah! Bastos yan pagtalikod mo! Habang kinakausap ka, humarap ka, makipag-usap ka! (You’re walking-out on me again? That’s disrespectful! You turning your back on me is disrespectful!

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

108

When a person is talking to you, you face the person and talk to the person!)”. The findings further supported the study of Burgoon and Hubbard (1988) that the context or the situation can influence the expectancies of an individual. “Social to Personal” is second to the highest frequency of proxemic expectancy violations in Korean dramas and Filipino teleseryes. In general, the most frequent proxemic violation is “Invasion of Space”. Moreover, I2 mentioned in the interview that “[…] hindi ka naman pumupunta sa kwarto nila ng walang paalam, so ineexpect ko na rerespetuhin rin niya yung private space ko […] (You don’t enter their bedroom without permission, so I would expect that they would also respect my private space” I6 stated, “As I keep saying, I believe that each individual has our own boundary.” The results support the theory of Judee Burgoon (1978), which stated that there is “an invisible, variable volume of space, surrounding an individual, which defines that individual’s preferred distance from others” (p. 130, as cited in West & Turner, 2010). The most frequent haptic expectancy violations in Korean dramas and Filipino teleseryes are “Handholding/Handgrabbing”, which has the most number of incidences for both dramas; it is followed by “Hitting” (which actually has the same percentage as Hangrabbing/Handholding for Filipino teleseryes) and “Pushing”. Furthermore, I1 stated that “[…] sinasaktan sa pagkapit mo ako, hinihila mo na ako na parang walang respeto, yung parang bara-bara lang (You hurt me with your grip, you drag me about haphazardly, with no respect”. In reference to hitting, I7 pointed out, “that will be better to express their emotional conflict by their gesture.” Referring to a scene wherein two sisters slapped each other, “Pero, parang mas pinrove pa niya yung hatred niya na kahit alam niya na magkapatid kami. (Still, she still proved how much she hated me [by slapping me], despite the fact that we are sisters.)” The results coincided with the findings of

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

109

Hertenstein, Holmes, McCullough and Keltner (2009) that emotions can be conveyed through touch (eg. anger with hitting and squeezing). The Filipinos generally define expectancy violations as any body gesture or behavior imposed to them that is contrary to the values and lesson taught to them by their parents and education, with the perpetrator having no right or reason to do so, which in turn causes them to feel negative emotions such as anger and annoyance. The findings support the claim of Harris et al. (2004) that Filipinos give utmost respect and importance to their families. Moreover, Filipinos behavior is defined by tradition and takes into consideration one’s family and other reciprocal obligations (Harris et al., 2004). The most common themes found in the responses of the Filipino interviewees were Causes anger (f=24), No reason/No right (f=16), and Education (Family/School Influence) (f=15). These were closely followed by Tit for Tat/Consequence (f=15) and Annoyance (f=14). Some respondents also defined expectancy violations as any body gesture or behavior committed to one person in retaliation or response to an offense done to the violator by the same person. I4 remarked, referring to Audrey slapping Dave, “Kung may kasalanan ba naman akong ganon ka hard eh, ganong ka foul, I think yung girlfriend may right na sampalin ako. (If I did something so wrong, so foul, I think [my] girlfriend has a right to slap me.)” Another definition is that an expectancy violation is body gesture or behavior that would cause the recipient to be annoyed or irritated at the perpetrator of the violation. Referring to the same scene mentioned above, I1 pointed out, “Siguro kung ako yung nasa posisyon ni Dave, magagalit ako, mababad-trip ako. (If I were in Dave’s shoes, I’ll be mad. I’ll be pissed.)” The Koreans generally define expectancy violations to be any action or behavior unexpected of a specific individual wherein the recipient of the action feels disrespected and

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

110

uncomfortable, considering the degree of relationship the recipient shares with the violator. Koreans hold negative emotions from the expectancy violations. This could be related to the study of Son (2000) regarding Han, which is considered to be a collective sentiment of Koreans, transmitted from generation to generation, and is a key term to the understanding Korean culture (Min, 2009). It is defined as a “mixed mood of missing, sadness, suppressed anger, feeling of unfairness…or everlasting woe” (p.14). It could also be translated to English as “grudge”, “rancor”, “spite”, “regret”, “lamentation”, “grief” or “hate” (as cited in Considine, 2013) The most common themes found in the Korean interviewee responses were No Respect/Not listening (f=34), Annoyance/Uncomfortable (f=26), and Depends on relational context (f=26). Closely following the themes mentioned are the themes, No reason/No right (f=24) and Not acceptable (f=23). Another definition of expectancy violations would be that it would be any body gesture or behavior committed in which the perpetrator of the gesture has no reason or no right to do so. I6 points out, “If the person is not part of our group, there's no reason that I should go close to the person.” The other definition would be that an expectancy violation is any body gesture or behavior that would not be acceptable in any context. “Enemy, stranger or sometimes friend? If someone pushes me in that situation it's not really accepted as good intention. (I8)” The researchers, after showing a respondent a video clip from one drama, would ask them if they found any gestures they liked or did not like in the video. This is to determine if they perceive the portrayed proxemic and haptic gestures in the drama clips as expectancy violations or not. More often than not, they would say that they do not find anything wrong in the gestures, or would comment about something else in the video that was not part of the study. Thus, the researchers would again show the respondents each proxemic and haptic gesture in the clip, and

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

111

ask if it the gesture were “okay” to them. From this, the researchers divided the expectancy violations in the responses as unaided and aided. An unaided expectancy violation is a gesture pointed out by the respondent in the course of the interview without the aid of the researchers. An aided expectancy violation is a gesture pointed out by the researcher. In the Filipino dramas, the gestures pointed out by the respondents were Hitting (Celyn and Margaux slapping each other), Hugging (Dave to Audrey), and Arm-grabbing (Marco to Jean) which is the most mentioned gesture. It is important to note that the respondents almost always pointed out that they did not like Jean “entering” Marco’s bedroom, even if the action itself was not shown in the clip and Jean was not included in the characters whose gestures were to be observed. Thus, the researchers deemed it necessary to include the respondents’ insights in relation to that gesture. Hwan grabbing Eun Sung’s arm was the most common unaided expectancy violation found in the Korean dramas shown them, as most of them pointed it out during the interview without prompting from the researchers. Second to that is Hitting, Maru punching Jae Gil. Interestingly, all of the respondents mentioned, “pointing his finger”, referring to Hwan pointing his finger at Eun Sung while he is approaching her. That gesture is a form of kinesics, study of bodily activity including posture, gestures and facial expressions (Littlejohn & Foss, 2009; Pearson et al., 2011), thus it cannot be included in the present study. If the questioning ended there, the results from the interview would show that the portrayed expectancy violations in Korean Dramas and Filipino Telseryes are not really considered by respondents as expectancy violations. For that reason, the researchers would ask them to relate themselves to the recipient of the expectancy violation in the drama, and asked them what they would feel when the violation was done to them. When they are in the shoes of

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

112

the recipient of the violation, majority of them perceived the gestures shown to them as expectancy violations. Thus, the researchers found that both Korean and Filipino perception of expectancy violations is dualistic in nature. They would deem a violation favorably, as acceptable, in the context of the drama, but when asked if it would be alright if it would be done to them, they gave a fairly negative perception. When asked if it were okay for Margaux to run out on Celyn, I1 said, “Para sakin oo, kasi ganon din ako, For me, it is acceptable, because I’m also like that.)” When asked what she would feel if the action was done to her, she said, “Siyempre, ako mababastusan. Kinakausap pa kita eh, nag-uusap pa tayo tapos tatakbuhan mo ako? (Of course, I would be offended. I was still talking to you, we were in the middle of a conversation, then you go and run out on me?)” Their perception of proxemic and haptic gestures depended on the context or situation in which the incidence of expectancy violation took place, and their relation to the perpetrator of the violation. In a study, Taber (2011) claimed that "human beings are never a complete tabula rasa: a blank slate upon anything can be written” (p. 46), because knowledge is gradually developed by life experiences. In relation to that, all respondents cited “experience” at least once when asked where and how they formed their perception of a gesture, or an idea or mindset relating to the gesture. Also, people recognize patterns, which they tend to follow in interpretation, thus, the perception of both Koreans and Filipinos are gradually formed and influenced by society. Some of the respondents cited personal knowledge, or observations of other people’s behavior as the basis for their reasoning and perception. It is also interesting to note that both Filipinos (I1, I4, and I5) and Koreans (I8 and I10) drew their perceptions from watching movies, dramas and television shows.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

113

Based from the current research, their perceptions, ideas and mindsets in relation to expectancy violations are formed mainly by parental advice and examples, education (personal knowledge and experience) and societal norms. The findings supported the study of Delia (1982) regarding the theory of Constructivism, that "persons make sense of the world through systems of personal constructs" (as cited in Griffin, 2011, p. 99). In addition, as Vygotsky (1978) stated, "the knowledge of a person living in a human community will to a large extent derive from social interaction, through which aspects of the culture are acquired” (p. 49 as cited in Taber, 2011). Clearly, culture is a factor that affects the formation of constructs. I6, when asked why she liked Celyn returning Margaux’s slap, answered, “Kasi parang tayong mga Pilipino, meron tayong ugali na ayaw nating magpaapi, so tayo yung mga tao na lumalaban kung saan kaya natin. (We Filipinos are a people that refuse to be oppressed, and fight for our rights when needed.)” This reflects on the Filipino value, pakikibaka or resistance, which is cited as a Filipino confrontative surface value (Enriquez, 1992 as cited in Pe-Pua & Protacio-Marcelino, 2000). I5 says, “[…]maiinis ka kasi hindi mo napaglaban mo kung ano yung alam mo yung totoo eh, na siya yung totoong asawa. (You’ll get angry, because you were not able to fight for what you know is true, that you are [Marco’s] wife.)” Furthermore, the Filipino respondents thought gestures such as hitting and arm-grabbing as acceptable, if the recipient of the violation has offended or hurt the perpetrator in some way. When asked why it would be okay for her to be dragged by Marco by the arm, she answers, “Okay lang, kasi alam kong mali yung ginawa ko. […] Kasi patas lang kayo, na parang nag-geteven. (It’s okay, because I know what I did was wrong. Because you’re just getting even.)” Perhaps, those perceptions could be explained by the Filipino societal value katarungan (justice).

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

114

Another societal value, kalayaan (freedom) is evident in the instances when the respondents expressed annoyance at being held back, in the case of Marco restraining Emily. One respondent (I3) pointed out, “you wouldn't want somebody to try and stop you […]” Another also states, “Feeling ko mas lalo akong lalakas eh, kasi pinipigilan niya ako, so mas lalong magbibuild-up lalo yung galit ko. (I have a feeling my strength would intensify, because he is holding me back, so my anger would build up more.)” Generally, Koreans perceive touching, or “skinship” as acceptable only if it would to be between friends, family or loved ones. A respondent (I6) stressed, “[…] I don't like touching until we get close enough to touch each other.” Furthermore, another respondent (I8) relates how skinship is not “not allowed”, but is frowned upon when done in public places, especially by elderly people. This is because Koreans are not considered to be a touch-oriented society, where touching is limited and public displays of affection are avoided (Adams & Jones, 2011). According to Harris et al, (2004) Koreans give importance to social hierarchy and protocol. Relationship tend to be vertical, in the sense that each person in society is in a relatively higher or lower position- and one should know and be aware of those levels. Thus, Koreans are expected to give respect to those older than they are or those in authority. Likewise, this study found that the Korean respondents’ perception of an expectancy violation depends largely on the relational context, or the relationship between the violator and the recipient of the violation. When asked what he thinks of Nana’s gesture of walking away from Yoon Sung, I7 answered, “In Korea, if he's older than her, that's really rude action. Like, walk away while older people is saying something. But since they are kind of friends, or some thing, it's okay.” According to I8, Confucianism influenced Korean culture greatly, as also mentioned by Min (2009), which is why Koreans hold the value of respect at great esteem. I8 mentioned that a

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

115

teaching of Confucius, “Yi”, which means “to respect”, was taught to her by her parents and teachers. Filipinos also hold great respect for their elders (Harris et al., 2004). Great importance is placed on one’s family, which is most likely why all of the Filipino respondents often cite parental advice or family experiences as the basis of their perceptions and beliefs.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

Chapter IV Summary of Findings, Conclusions and Recommendation After gathering the data from the content analysis and interview the following are the significant results essential in answering the research’s statement of the problem. Summary of Findings To determine the commonalities of proxemic and haptic expectancy violations found in between selected Korean Dramas and Filipino Teleseryes, and find how viewers perceive these expectancy violations, it is necessary to answer the sub-problems first: 1. What kind of proxemic and haptic behavior would constitute as an expectancy violation in Korean Drama? The proxemic behaviors that constitute as expectancy violations in Korean dramas are: Public to Social; Public to Personal; Public to Intimate; Social to Personal; Social to Intimate; Personal to Intimate; Intimate to Personal; Intimate to Social; Intimate to Public; Personal to Social; Personal to Public; Social to Public. The haptic behavior that constitute as expectancy violations are: Brushing Hand/Arm; Patting; Handholding/Handgrabbing; Pushing; Stroking; Hitting; Kissing; Hugging.

2. What kind of proxemic and haptic behaviors would constitute as expectancy violations in Filipino Teleserye? In Filipino teleseryes, the proxemic behaviors that constitute as expectancy violations are: Public to Social; Public to Personal; Public to Intimate; Social to Personal; Social to Intimate; Personal to Intimate; Intimate to Personal; Intimate to Social; Intimate to Public; Personal to Social; Personal to Public; Social to Public. The haptic behavior that constitute as

116

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

117

expectancy violations are: Patting; Handholding/Handgrabbing; Pushing; Stroking; Hitting; Hugging.

3. What are the commonalities in the proxemic expectancy violations in Korean Drama and Filipino Teleserye? In Korean dramas and Filipino teleseryes, the “Male” character is the most common violator of proxemics expectancies. The most common relationship that the violators have with the recipient is “Friends”, with a frequency that is second to the highest among the kinds of relationships given. In addition, the proxemic expectancy violations are mostly received by the people who are close or familiar with the violator. A large majority of the proxemic expectancy violations happens during “Conversation” and “Confrontation” for both Korean dramas and Filipino teleseryes. “Social to Personal” is second with the highest frequency of proxemic expectancy violations in Korean dramas and Filipino teleseryes. In general, the most frequent proxemic violation is “Invasion of Space”.

4. What are the commonalities in the haptic expectancy violations in Korean Drama and Filipino Teleserye? The “Male” lead in both Korean dramas and Filipino teleseryes is the usual violator of haptic expectancy violations. The haptic violations are mostly received by the people who are close or familiar with the violator. The most frequent haptic expectancy violations in Korean dramas and Filipino telseryes are “Handholding/Handgrabbing”, which has the most number of incidences for both dramas, and “Hitting”.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

118

5. How do Korean and Filipino viewers define expectancy violations? Koreans generally define expectancy violations to be any action or behavior unexpected of a specific individual wherein the recipient of the action feels disrespected and uncomfortable, considering the degree of relationship the recipient shares with the violator. Meanwhile, Filipinos generally define expectancy violations as any body gesture or behavior imposed to them that is contrary to the values and lesson taught to them by their parents and education, with the perpetrator having no right or reason to do so, which in turn causes them to feel negative emotions such as anger and annoyance.

6. Why do Korean and Filipino viewers perceive certain proxemic and haptic behaviors as violations of their expectancies? Koreans perceive these gestures as expectancy violations; as to them, it is uncharacteristic of the perpetrator of the violation to have committed the gesture, given the relation he or she has the recipient of the violator. Meanwhile, Filipinos perceive these gestures as expectancy violations; as to them, it is uncharacteristic for the perpetrator of the violation to have done the gesture considering the context in which the violation took place.

7. How do the Korean viewers’ perception of haptic and proxemic expectancy violations coincide with Filipino viewers’ perception? There is a dualistic nature to both Korean and Filipino perception of expectancy violations. They would deem a violation favorably, as acceptable, but when asked if it would be alright if it would be done to them, they gave a fairly negative perception. Their perception of

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

119

proxemic and haptic gestures would depend on the context or situation in which the incidence of expectancy violation takes place, and their relation to the perpetrator of the violation. Their perceptions, ideas and mindsets in relation to expectancy violations are formed mainly by parental advice and examples, education (personal knowledge and experience) and societal norms. Conclusion In conclusion, there are commonalities present in the proxemic and haptic expectancy violations found in Filipino Teleserye and Korean Dramas. These proxemic and haptic behaviors, that both Koreans and Filipinos commonly deemed as violations, are Invasion of Space, Handholding or Handgrabbing and Hitting. In addition, there is a dualistic nature on both Filipino and Korean viewers’ perception regarding expectancy violations, in that, from an observer’s perspective, they would usually deem the expectancy violation as acceptable, but when the violation is applied to them, they perceive it as unreasonable and unacceptable. Recommendations To Filipino and Korean media practitioners. Based from the results of the study, the researchers suggest that filmmakers and producers of Korean and Filipino drama series should be able to utilize the different forms of expectancy violations and “play” with the audience’s expectations. Also, the researchers recommend using other methods of conflict management during confrontation scenes as a means of improving its production values particularly the storyline. Furthermore, the researchers suggest that dramas should reflect the rich culture and inculcate values that the Koreans and Filipinos have. In general, drama series or films should show the positive aspect of being a Korean and a Filipino.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

120

To future researchers. The study is only limited to three (3) Korean dramas and three (3) Filipino teleseryes. The researchers recommend increasing the number of dramas and episodes of Korean dramas and Filipino teleseryes to be observed. Also, as there are numerous genres of drama series, there may also be variations in the findings. For the viewer perception, only five (5) Koreans and five (5) Filipinos were interviewed, thus the researchers suggest increasing the number of interviewees for a more in-depth study. Though the Koreans that were interviewed are English speakers, language barrier is still present. The researchers recommend conducting the interview with a Korean interpreter for easier communication and a more accurate insight. In addition, the Koreans interviewed in the current study have been staying in the Philippines for a number of years, which may have influenced their insights hence; the researchers recommend interviewing natural born Koreans. An equal number of male and female interview respondents is also recommended by the researchers as the perception of both differs. The study focuses on two (2) types of non-verbal behavior, which is proxemic and haptic, therefore further research on gestures or other forms of non-verbal behaviors is also suggested.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

121

Chapter V Project Description Creative Title. Changing Expectancies by the Disuse of Expectancy Violations Synopsis. Changing Expectancies by the Disuse of Expectancy Violations is a short informative video that shows the cliché scenes and non-verbal behavior, particularly proxemic and haptic expectancy violations portrayed by the lead characters in the selected Korean Dramas and Filipino Teleseryes. The said video suggests that filmmakers “play” with the audience’s expectations and utilize more peaceful means of conflict management to create more impact for the drama viewers. The video also includes numerous suggestions to further improve the production value of Korean and Filipino drama series. Moreover, the video explains the key concepts of expectancy violations (see Appendix M). Sequence Treatment. 1. Romantic clips from the selected Korean and Filipino dramas were shown alongside a voice over explaining the importance of dramas in people’s lives. The visual is accompanied by mellow music to create a light and romantic ambience. 2. Cliché handgrabbing clips from the selected Korean and Filipino dramas were flashed alongside a voice over to emphasize the overuse of such scenes. 3. The background music transitions to a cheerful music as the title of the video flashes on screen. 4. Text and clips explaining the definition of expectancy violation, its factors and the two forms of non-verbal communication (proxemics and haptic) were enumerated. The visuals were shown alongside the voice over. This is to give the viewers a full grasp of the study and the entire production.

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

122

5. Clips of invasion of space, hitting and handgrabbing from the selected dramas were flashed onscreen alongside the voice over. Text and markers were incorporated to emphasize the violations. 6. In the latter part of the production, suggestions to Korean and Filipino filmmakers and producers were enumerated alongside the voice over. The clips from the selected dramas that applies the given the suggestions were flashed onscreen. Production Schedule. Sept. 25-26, 2014

Sept. 27,2014

Pre-production (Conceptualization Draft for script) Shooting Editing

Thurs Sept 25 -look for pegs for the video production -brainstorm and finalize concept for the video -develop sequence treatment -make and finalize script Fri Sept 26 -reserve Studio 2 in Assumption College San Lorenzo -seek approval of the adviser regarding the video production -gather materials or props Sat Sept 27 -shoot at Studio 2 in Assumption College San Lorenzo -shoot all the scenes -record audio -edit video Sun Sept 28 -apply graphics -edit video Mon Sept 29 -finalize video production -produce video

Sept. 28-29 ,2014

PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

123

Production Budget. COST IN PESO DEVELOPMENT Writing Research Miscellaneous PRODUCTION Studio and Lights Rental Production Materials and Supplies POST-PRODUCTION Video editing Sound editing Post Production Materials and Supplies OTHERS Travel Expenses Food and Drinks for Cast and Crew Miscellaneous TOTAL

1 ,000.00 2 ,000.00 1, 000.00 500.00 500.00 1 ,000.00 500.00 200.00 2 ,500.00 2 ,000.00 3 ,000.00 14 ,200.00

Production Process Evaluation. 1. Pre-production: Prior production, the researchers conducted an in-depth study on proxemics and haptic expectancy violations and viewer perception in Korean dramas and Filipino teleseryes. A large amount of time was spent in doing the study. The researchers looked for pegs on YouTube (Michelle Phan, TheMingThing, Ray Digital, etc). The script for the production was written based on the results of the research. 2. Production: Since, the production mainly consists of drama clips, there was no actual shooting done only audio recording. 3. Post-production: The audio was cleaned and compiled with the drama clips. The only graphics included in the video were markers such as arrows and circles to emphasize the expectancy violations. Texts were also incorporated for some parts of the video such as explanation of the concepts of expectancy violations and the suggestions during the latter part of the production.. After editing, the video was exported to .mp4 format and burned in a CD.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

124

References Books Adams, C. & Jones, P. (2011). Therapeutic communication for health professionals (3rd Ed.). New York, NY: McGraw-Hill Education. Retrieved from http://highered.mcgrawhill.com/sites/dl/free/0073402087/804438/Chapter01.pdf Burgoon, J. K., & Hubbard, A. S. (2005). Cross-cultural and intercultural applications of expectancy violations theory and interaction adaptation theory. In W. Gudykunst (Ed.), Theorizing About Intercultural Communication (pp. 149-171). Retrieved from http://books.google.com.ph (Burgoon & Hubbard, 2005) Griffin, E. (2012). A first look at communication theory (8th ed., pp. 84-96). New York, NY: McGraw-Hill. Hall, E. T. (1982). The hidden dimension (2nd ed.). New York: Anchor Books. DOI: courses.arch.ntua.gr/fsr/137555/Hall-The-Hidden-Dimension.pdf Harris, P. R., Moran, R. T., & Morgan, S. V. (2004). Managing cultural differences: Global leadership strategies for the 21st century. (6th ed., pp. 352-402). Burlington, MA: Elsevier Butterworth–Heinemann. Retrieved from http://www.scribd.com/doc/55523619/Harris-EtAl-Managing-Cultural-Differences Hybels, S., & Weaver II, R. L. (2004). Communicating effect (7th ed.). New York, NY: McGraw-Hill Littlejohn, S. W., & Foss, K. A. (2009). Nonverbal communication. In S. Littlejohn & K. Foss (Eds.), Encyclopedia of Communication Theory (pp. 690-694). California: Sage Publications. doi: www.denizyengin.com/dy/./EncyclopediaOfCommunicationTheory.pdf

 

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Martin, J. N., & Nakayama, T. K. (2010). Intercultural communication in contexts. (5th ed.).

125

New York, NY: McGraw-Hill. Pearson, J. C., Nelson, P. E., Titsworth, S., & Harter, L. (2011). Human communication (4th ed., pp. 82-97). New York, NY: McGraw-Hill. Retrieved from http://highered.mcgraw-hill.com Samovar, L., Porter, R., & McDaniel, E. (2012). Intercultural communication: A reader (13th ed., pp. 1-19). Boston, MA: Wadsworth Publishing. Retrieved from http://www.cengagebrain.com/content/samovar98317_0495898317_02.01_chapter01.pdf Taber, K. S. (2011). Constructivism as educational theory: Contingency in learning, and optimally guided instruction. In J. Hassaskhah (Ed.), Educational Theory. New York: Nova, 39-61. West, R., & Turner, L. (2010). Introducing communication theory: Analysis and application (4th ed., pp. 129-140). New York, NY: McGraw-Hill. Conference Proceedings Ahn, S. , Jabon, M. and Bailenson, J. N. , 2009-05-20 "Judging a Book by the Cover: Using Facial Expressions to Predict Performance" Paper presented at the annual meeting of the International Communication Association, Marriott, Chicago, IL Online . 2014-1019 from http://citation.allacademic.com/meta/p301013_index.html Asis, M. M. (2007). In Manolo Abella (Chair). the social dimensions of international migration in the philippines: Findings from research . In Asis, Maruja A. M. B. and Baggio, F. (Eds.), Moving Out,

Back and Up: International Migration and Development Prospects

in the Philippines (pp. 77-108). doi: 978-971-8789-14-8 Bartolome, J. (2012, September). K-drama on Pinoy prime time tv. The impact of Korean wave in the Philippines, Makati City, Philippines. Retrieved from http://www.google.com

 

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

126

  Flores, M. C. (2012, September). Korean wave: The great splash on philippine popular culture

and life. The impact of korean wave in the philippines, Makati City, Philippines. Retrieved from http://www.google.com Gradlyan, A., & Baghdasaryan, B. (2013, June). In David Lee (Chair). Youtube videos as a new source for content analysis. Crrc research methods conference, Tsibilisi, Georgia. Retrieved from http://www.crrccenters.org/store/files/Papers/Anna Gradlyan, Bella Baghdasaryan_YouTube Videos as a New Source for Content Analysis.pdf Korean Cultural Center. (2012, September). Hallyu sa pinas, Makati, Philippines Retrieved from http://www.google.com Simon, R. E. (2012, September). ABS-CBN's experience and key learnings on adaptation of Korean dramas. The impact of Korean wave in the Philippines, Makati City, Philippines. Retrieved from http://www.google.com Zhuo, F. (2011). Cultural barriers or cultural adaption? -- Chinese audience's perception and acceptance of cultural difference in foreign TV programs in China. Conference Papers International Communication Association, 1-14. Data Sets AGB Nielsen (n.d.). Television Audience Measurement Data [Data file]. Available from http://www.agbnielsen.net/ Kantar Media. (n.d.). National Television Audience Measurement Data [Data file]. Available from http://www.kantarmedia.com

 

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Essays

127

Boden, S. (2001). Women and Anime: Popular culture and its reflection of Japanese society. Retrieved from http://www.nausicaa.net/miyazaki/essay/files/SeanBoden_Womenand Anime.pdf Internet Chung, H. S. (n.d.). Han. In T. Botz-Bornstein (Ed.), The Online Dictionary of Intercultural Philosophy. Retrieved from http://odip.webs.com/Han.pdf Sakuragi, J. P. (2011, September 19). [Web log message]. Retrieved from http://www.istoryadista.com/2011/09/filipino-telenovela-culture-lazy.html Journals Amad, A., Sujud, A., & Hasan, H. (2007). Proxemics and its relationship with Malay architecture. Human Communication, 10(3), 275-287. Burgoon, J. K. (1978). A communication model of personal space violations: Explication and an initial test. Human Communication Research, 4, 129–142. Burgoon, J. K., & Hale, J. L. (1988). Nonverbal expectancy violations: Model elaboration and application to immediacy behaviors. Communication Monographs, 55(1), 58-79. Choi, J. (2012). Multivocal post-diasporic selves: entangled in Korean dramas. Journal Of Language, Identity & Education, 11(2), 109-123. doi:10.1080/15348458.2012.667305 Considine, K. (2013). Theology at the cutting edge: Han (恨) and salvation for the sinnedagainst. New Theology Review, 26(1), 87-89. Retrieved from http://newtheologyreview.org/index.php/ntr/issue/current

 

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Cummins, R., & Chambers, T. (2011). How production value impacts perceived technical

128

quality, credibility and economic value or video news. Journalism & Mass Communication Quarterly, 88(4), 737-752. Dissanayake, W. (2003). Asian approaches to human communication: Retrospect and prospect. Intercultural Communication Studies, 7(14), 17-38. Retrieved from http://www.uri.edu/iaics/content/2003v12n4/02 Wimal Dissanayake.pdf Doering, N., & Poeschl, S. (2007). Nonverbal cues in mobile phone text messages: the effects of chronemics and proxemics. Conference Papers -- International Communication Association, 1. Do Kyun, K., Singhal, A., Hanaki, T., Dunn, J., Chitnis, K., & Min Wha, H. (2009). Television Drama, Narrative Engagement and Audience Buying Behavior. International Communication Gazette, 71(7), 595-611. doi:10.1177/1748048509341894 Espiritu, B. (2011). Transnational audience reception as a theater of struggle: young Filipino women's reception of Korean television dramas. Asian Journal of Communication, 21(4), 355-372. doi:10.1080/01292986.2011.580852 Freelon, D. (2010). ReCal: Intercoder reliability calculation as a web service. International Journal of Internet Science, 5(1), 20-33. Freelon, D. (2013). ReCal OIR: Ordinal, interval, and ratio intercoder reliability as a web service. International Journal of Internet Science, 8(1), 10-16. Glascock, J. (2003). Viewer Perception of Gender Roles on Network Prime-Time Television. Communication Research Reports, 20(2), 173-181. Halse, R. (2012). Negotiating Boundaries Between Us and Them. NORDICOM Review, 33(1), 37-52.

 

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Hertenstein, M. J., Verkamp, J. M., Kerestes, A. M., & Holmes, R. M. (2006). The

129

communicative functions of touch in humans, nonhuman primates, and rats: A review and synthesis of the empirical research. Genetic, Social, and General Psychology Monographs, 132(1), 5-94. Retrieved from http://www.depauw.edu/site/learn/lab/publications /documents/touch/2006_Touch_The communicative_functions_of_touch_in_humans.pdf Hertenstein, M. J., Keltner, D., App, B., Bulleit, B. A., & Jaskolka, A. R. (2006). Touch communicates distinct emotions. Emotion, 6(3), 528-533. doi: 10.1037/1528-3542.6.3.528 Hertenstein, M. J., Holmes, R., McCullough, M., & Keltner, D. (2009). The communication of emotion via touch. Emotion, 9(4), 566-573. doi: 10.1037/a0016108 Hertenstein, M. J., & Keltner, D. (2011). Gender and the communication of emotion via touch. Sex Roles, 64, 70-80. doi: DOI 10.1007/s11199-010-9842-y Horan, S. M., & Booth-Butterfield, M. (2013). Understanding the routine expression of deceptive affection in romantic relationships. Communication Quarterly, 61(2), 195-216. doi:10.1080/01463373.2012.751435 Kang, I., & Heo, K. (2006). Framing the enemy: a proxemic analysis of U.S. news magazine cover photographs. Conference Papers -- International Communication Association, 1-17. Kwon, D. H. (2006). Is It Too Early to Talk about “Hallyu” in the Philippines? Koreanovela and Its Reception Among Filipino Audience. Cultural Space and Public Sphere in Asia (pp. 257-288). Seoul : Asia's Future Initiative. Lee, T., & Taylor, L. D. (2014). The motives for and consequences of viewing television medical dramas. Health Communication, 29(1), 13-22. doi:10.1080/10410236.2012.714346 Mendoza, S. L., & Perkinson, J. (2003). Filipino “kapwa” in global dialogue: A different politics of being-with the “other”. Intercultural Communication Studies, 12(4), 277-293. Retrieved

 

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

130

from http://www.uri.edu/iaics/content/2003v12n4/10 S. Lily Mendoza & Jim Perkinson.pdf Min, S. K. (2009). Hwabyung in Korea: Culture and dynamic analysis. World Cultural Psychiatry Research Review, 4(1), 12-21. Retrieved from www.wcprr.org/pdf/0401/2009.01.1221.pdf Moons, W., Spoor, J., Kalomiris, A., & Rizk, M. (2013). Certainty broadcasts risk preferences: verbal and nonverbal cues to risk-taking. Journal Of Nonverbal Behavior, 37(2), 79-89. doi:10.1007/s10919-013-0146-0 Pe-Pua, R., & Protacio-Marcelino, E. (2000). Sikolohiyang pilipino (filipino psychology): A legacy of virgilio g. enriquez. Asian Journal of Social Psychology, 3, 49-71. Retrieved from onlinelibrary.wiley.com/doi/10.1111/1467-839X.00054/pdf Oppenheimer, B., Adams-Price, C., Goodman, M., Codling, J., & Coker, J. (2003). Audience Perceptions of Strong Female Characters on Television. Communication Research Reports, 20(2), 161-172. Pineda, M. (2012). Message from the Philippines. Social Alternatives, 31(4), 55-56. doi: 1312731530 Reuzel, E., Embregts, P., Bosman, A., Cox, R., Nieuwenhuijzen, M., & Jahoda, A. (2013). Conversational synchronization in naturally occurring settings: a recurrence-based analysis of gaze directions and speech rhythms of staff and clients with intellectual disability. Journal Of Nonverbal Behavior, 37(4), 281-305. doi:10.1007/s10919-013-0158-9 Shim, J., & Paul, B. (2007). Effects of personality types on the use of television genre. Journal Of Broadcasting & Electronic Media, 51(2), 287-304. doi:10.1080/08838150701304852

 

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

131

  Thompson, E. H., & Hampton, J. A. (2011). The effect of relationship status on communicating emotions through touch. Cognition & Emotion, 25(2), 295-306. doi: 10.1080/02699931.2010.492957 Vargas-Urpi, M. (2013). Coping with nonverbal communication in public service interpreting

with Chinese immigrants. Journal Of Intercultural Communication Research, 42(4), 340 360. doi:10.1080/17475759.2013.838985 Wang, C. & Lin, C. (2010). A study of the effect of tv drama on relationships among tourists’ experiential marketing, experiential value and satisfaction. International Journal Of Organizational Innovation, 2(3), 107-123. doi: 194695120 Yang, F. (2008). Engaging with Korean dramas: discourses of gender, media, and class formation in Taiwan. Asian Journal Of Communication, 18(1), 64-79. doi:10.1080/01292980701823773 Thesis Md Syed, M. (2011). Engaging with modernity: Malay women, non-Western soap opera and watching competencies. School of Media and Communications. RMIT University. Rodriguez, N. R. & Ticsay, J. F. (2010). Selected college students’ exposure to local television comedy and drama programs and their perception on household helpers. Assumption College, Makati, Philippines. Web Media Muehlhoff, T. (Lecturer). (2010, October 20). [Web Video]. Retrieved from http://www.youtube.com/watch?=Ve1HdJQR8W8 Websites City hunter. (2011). Retrieved from http://www.hancinema.net/korean_drama_City_Hunter.php

 

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Nice guy. (2012). Retrieved from http://www.hancinema.net/korean_drama_Nice_Guy.php

132

Tayong dalawa. (2009). Retrieved from http://www2.abs-cbn.com/Weekdays/cast/article /2197/tayongdalawa/Tayong-Dalawa.aspx Ina, kapatid, anak. (2012). Retrieved from http://wg1.abs-cbn.com/Weekdays/episodes/article /11562/inakapatidanak/Ina-Kapatid-Anak.aspx Shining inheritance. (2009). Retrieved from http://www.hancinema.net/k orean_drama_Shining_Inheritance.php Walang hanggan. (2012). Retrieved from http://walanghanggan.abs-cbn.com/index.html Working Paper Lorenzen, M. (2009). On the globalization of the film industry (Working Paper No. 8). Retrieved from Copenhagen Business School website: http://openarchive.cbs.dk/handle/10398/7775

 

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

133

  Appendix A Letter for Coders                                                  COMMUNICATION DEPARTMENT Marie Eugenie School of Innovative Learning 817-0757 loc. 2110 ٠۰ 894-2679 July 17, 2014 Dear Madam/Sir: Greetings in the name of Marie Eugenie! We are graduating students of Assumption College Makati conducting a study on "Proxemic and Haptic Expectancy Violations and Viewer Perception in Korean Dramas and Filipino Teleseryes". In this view, we would like to invite you to be one of our valuable participants for our study. We trust your expertise as coder on fifteen (15) selected episodes of Korean Drama and thirty (30) Filipino Teleseryes. It would take about thirty (30) hours of your time for the completion of this coding activity. We do hope to get your help on this. Should you agree, we would appreciate it if we could get your contact details, your phone number or email address so that we may communicate with each other. Thank you and we are hoping for your kind consideration. In St. Marie Eugenie’s name, we remain. JOELLE EILA A. ROBLES 0917.700.4303 [email protected]

Endorsed by: PROF. CLARISA L. BARTOLOME

Noted by: THESIS PROFESSOR

CHRISTELLE I. TOLISORA 0928.863.0730/ 542.3419 [email protected]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

134

  Appendix B Letter for Interviewees Koreans                                                  COMMUNICATION DEPARTMENT Marie Eugenie School of Innovative Learning 817-0757 loc. 2110 ٠۰ 894-2679

Dear Madam/Sir: Greetings in the name of Marie Eugenie! We are graduating students of Assumption College Makati conducting data gathering for our undergraduate thesis. For the timebeing, we cannot disclose the nature of our study, as it was interfere with the objectivy of our data gathering. In this view, we would like to invite you to be one of our valuable participants for our study. We are in need of respondents who are regular Korean drama viewers (has watched at least ten (10) dramas or has watched at least one (1) of the dramas mentioned below.) As an interview respondent for our study, you would be shown clips from Korean Dramas (“Nice Guy”, “City Hunter” and “Shining Inheritance”). Questions would be asked after each clip is shown. Thank you and we are hoping for your kind consideration. In St. Marie Eugenie’s name, we remain.

JOELLE EILA A. ROBLES 0917.700.4303 [email protected]

Endorsed by: PROF. CLARISA L. BARTOLOME Noted by: THESIS PROFESSOR

CHRISTELLE I. TOLISORA 0928.863.0730/ 542.3419 [email protected]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

135

  Filipinos                                                  COMMUNICATION DEPARTMENT Marie Eugenie School of Innovative Learning 817-0757 loc. 2110 ٠۰ 894-2679

Dear Madam/Sir: Greetings in the name of Marie Eugenie! We are graduating students of Assumption College Makati conducting data gathering for our undergraduate thesis. For the timebeing, we cannot disclose the nature of our study, as it was interfere with the objectivy of our data gathering. In this view, we would like to invite you to be one of our valuable participants for our study. We are in need of respondents who are regular Korean drama viewers (has watched at least ten (10) dramas or has watched at least one (1) of the dramas mentioned below.) As an interview respondent for our study, you would be shown clips from Filipino Teleseryes (“Ina, Kapatid, Anak”, “Tayong Dalawa” and “Walang Hanggan”). Questions would be asked after each clip is shown. Thank you and we are hoping for your kind consideration. In St. Marie Eugenie’s name, we remain.

JOELLE EILA A. ROBLES 0917.700.4303 [email protected]

Endorsed by: PROF. CLARISA L. BARTOLOME

Noted by: THESIS PROFESSOR

CHRISTELLE I. TOLISORA 0928.863.0730/ 542.3419 [email protected]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

136

  Appendix C Letter to Validator                                                  COMMUNICATION DEPARTMENT Marie Eugenie School of Innovative Learning 817-0757 loc. 2110 ٠۰ 894-2679

Dear Ms. Joy Frances A. Villaluz: Greetings in the name of Marie Eugenie! We are graduating students from Media Production conducting a study on "Proxemic and Haptic Expectancy Violations and Viewer Perception in Korean Dramas and Filipino Teleseryes". In this view, we would like to ask for your expertise in validating our research instruments - code book, coding sheets and interview guide. We do hope to get your help on this. Thank you and we are hoping for your kind consideration.Thank you and we are hoping for your kind consideration. In St. Marie Eugenie’s name, we remain.

JOELLE EILA A. ROBLES 0917.700.4303 [email protected]

Endorsed by: PROF. CLARISA L. BARTOLOME Noted by: THESIS PROFESSOR

 

CHRISTELLE I. TOLISORA 0928.863.0730/ 542.3419 [email protected]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

137

  Appendix D Code Book

CODEBOOK: INCIDENCE OF EXPECTANCY VIOLATIONS IN KOREAN DRAMA AND FILIPINO TELESERYE Expectancies are “enduring patterns of anticipated verbal and nonverbal behaviour” (Burgoon & Walther, 1990 as cited in Burgoon & Hubbard, 2005). An expectancy, in this study, would refer to the patterns of proxemic and haptic behavior expected from communicators, the lead characters in Korean Drama and Filipino Teleserye. An expectancy violation is defined as the sufficient deviation of a communicator of another’s range of expectancies (Burgoon & Hale, 1988). Expectancy violations to be coded should be committed by the lead characters only, as follows:

¢ Go

KOREAN DRAMA

FILIPINO TELESERYE

Shining Inheritance

Ina, Kapatid, Anak

Eun Seung

¢ Yoo

Seung Mi

¢ Sun

Woo Hwan

¢ Park

Jun Se

¢ Margaux ¢ Ethan

Marasigan

Castillo

¢ Liam

City Hunter ¢ Lee

Yoon Sung

¢ Kim

Young Joo

Nana

¢ David

“JR” Garcia, Jr.

Jin Pyo

¢ David

“Dave” Garcia, Jr.

Nice Guy ¢ Kang ¢ Han

Maru

¢ Seo

Marasigan

Lagdameo

Tayong Dalawa

¢ Kim ¢ Lee

¢ Celyn

¢ Audrey

King

Walang Hanggan Eun Gi

Jae Hee

¢ Daniel

Guidotti

¢ Katerina

¢ Marco

Montenegro

¢ Emilia

Alcantara

Cardenas

An expectancy violation takes place if: (a) the lead character consciously or unconsciously sufficiently deviates from the expectancies of another character in the form of proxemic or haptic behavior

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

138

  (b) the violation visibly elicits arousal, in the form of a response or reaction, from the receiver of the violation (c) the violation committed by the lead character is visible or seen on video (d) the arousal or response elicited by the violation from the lead character is visible or seen on video In this study, proxemics would refer to any form of nonverbal communication related to a communicator’s use of space. It could pertain to a communicator’s invasion of another’s personal space, or sudden withdrawal from it. Proxemics, a study of communication through interpersonal space and distance, involves the concepts of personal space, territoriality, crowding and density (Littlejohn & Foss, 2009). Personal space is an individual’s varying use of space and distance (West & Turner, 2010). from the body. In his book “The Hidden Dimension”, Hall (1982) who pioneered the study of personal space, identified the four distance zones. From nearest to farthest, including the ranges of spatial distance and the zone-appropriate behaviors, Hall’s spatial zones are the following (Hall, 1982; West & Turner, 2010; Griffin, 2012): 1. Intimate distance: 0 to 18 inches (making love to touching a person’s face) 2. Personal distance: 18 inches to 4 feet (holding someone at arm’s length; reserved for family and friends) 3. Social distance: 4 to 10 feet (for more formal relationships; office co-workers) 4. Public distance: 10 feet to infinity (for very formal discussions; classroom discussions)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

139

  VARIABLES: Episode Number- refers to the actual episode number of the video, and not the sequence of the videos. (i.e. Ep.1, 3, 6, 10, 14) Timecode of EV- refers to the timecode displayed in the video playback at the time an expectancy violation takes place (i.e. 00:54:21, -14:21) Character Name- refers to the lead character who commits an expectancy violation Sex of Character- refers to the apparent biological make-up (male or female) of the lead character. Role of Character-refers to the character’s current occupation/profession when an expectancy violation takes place (gigolo, ex-con, businesswoman, lawyer, soldier, insurgent, bodyguard, stranger, prosecutor) Age of Character- refers to the apparent/perceived age of the lead character when he/she commits an expectancy violation; if truly uncertain, coder could write IND (indefinite) Recipient Name- refers to the name of the receiver of the lead character’s expectancy violation in the drama (i.e. Park Joon Ha, random girl, bus passenger); If truly uncertain, coder could write IND (indefinite). Sex of Recipient- refers to the apparent biological make-up (male or female) of the receiver of the lead character’s expectancy violation in the drama. Age of Recipient- refers to the apparent/perceived age of the receiver at the time the lead character commits an expectancy violation. If truly uncertain, coder could write IND (indefinite).

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

140

  Relationship w/ Communicator- refers to the perceived/ apparent relationship (degree of familiarity or prior relational history) between the lead character and the receiver of the expectancy violation at the time the expectancy violation takes place (i.e. love interest, rival, enemy, friend, father, lover, classmate, colleague, boss, boyfriend, girlfriend, parent, sibling, stranger). Location- refers to the perceived/ apparent location or place where the lead character commits an expectancy violation to another character (i.e. school library, sidewalk, street, office, wedding hall, church) Situation- refers to perceived/ apparent circumstance or event in a specific location wherein the expectancy violation takes place (i.e. court hearing, birthday party, business meeting, class lecture, Proxemic behaviors that could constitute an expectancy violation could be: (a) Invasion of personal space- the lead character’s sudden approach of another character from either: 1. a Public distance (10 feet-to infinity) to a Social distance (4-10 feet) 2. a Public distance (10 feet-to infinity) to a Personal distance (18 inches-4 feet) 3. a Public Distance (10 feet-to infinity) to an Intimate distance (0-18 inches) 4. a Social distance (4-10 feet) to a Personal distance (18 inches-4 feet) 5. a Social distance (4-10 feet) to an Intimate distance (0-18 inches) 6. a Personal distance (18 inches-4 feet) to an Intimate distance (0-18 inches) (b) Withdrawal from personal space- the lead character’s sudden withdrawal from another character’s personal space, from either: 1. an Intimate distance (0-18 inches) to a Personal distance (18 inches-4 feet) 2. an Intimate distance (0-18 inches) to a Social distance (4-10 feet) 3. an Intimate distance (0-18 inches) to a Public distance (10 feet-to infinity) 4. a Personal distance (18 inches-4 feet) to a Social distance (4-10 feet)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

141

  5. a Personal distance (18 inches-4 feet) to a Public distance (10 feet-to infinity) 6. a Social distance (4-10 feet) or Public distance (10 feet-to infinity) Haptics, in this study, would refer to any form of nonverbal communication related to the touching behavior of a communicator. The types of haptic expectancy violations could be: (a) Brushing the Hand or Arm- a sudden light or fleeting touch by the lead character on another character’s hand or arm. (b) Patting- a quick and gentle touch of the lead character’s hand on any part of the character’s body, particularly the shoulder, head or hand. (c) Arm/Hand holding or grabbing- sudden grasping of the lead character of the other character’s hand or arm, or any part of the recipient’s body. (d) Pushing- sudden shoving or pushing of another character by the lead character (e) Stroking- the sudden and gentle movement of the lead character’s hand on any part of the other character’s body particularly the hands, arms, or face. (f) Hitting- the sudden forceful contact of any part of the lead character’s body (particularly the hand or feet) on another character’s body, particularly slapping or punching. (g) Kissing- the sudden touch of the lead character’s lips on another character’s lips, cheek, hand or any part of the body. (h) Hugging- the lead character suddenly holding the other character in one's arm/s tightly, typically to express affection.

NOTE to CODER: If the form of expectancy violation you have seen is not included in the list of proxemic (proxemic zone and territorial zone) and haptic expectancy violations, that incidence of EV is not to be included in the coding process.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

142

  References Hall, E. T. (1982). The hidden dimension (2nd ed.). New York: Anchor Books. DOI: courses.arch.ntua.gr/fsr/137555/Hall-The-Hidden-Dimension.pdf Littlejohn, S. W., & Foss, K. A. (2009). Nonverbal communication. In S. Littlejohn & K. Foss (Eds.), Encyclopedia of Communication Theory (pp. 690-694). California: Sage Publications. doi: www.denizyengin.com/dy/./EncyclopediaOfCommunicationTheory.pdf Griffin, E. (2012). A first look at communication theory (8th ed., pp. 84-96). New York, NY: McGrawHill. Hall, E. T. (1982). The hidden dimension (2nd ed.). New York: Anchor Books. DOI: courses.arch.ntua.gr/fsr/137555/Hall-The-Hidden-Dimension.pdf Hertenstein, M. J., Keltner, D., App, B., Bulleit, B. A., & Jaskolka, A. R. (2006). Touch communicates distinct emotions. Emotion, 6(3), 528-533. doi: 10.1037/1528-3542.6.3.528 West, R., & Turner, L. (2010). Introducing communication theory: Analysis and application (4th ed., pp. 129-140). New York, NY: McGraw-Hill.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Appendix E Coding Sheet

143

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

144

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

145

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

146

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

147

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

148

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

149

  Appendix F Reliability Calculator Scores

Shining Inheritance Gender of Character

Filename Shining Inheritance Character Gender

Coders Cases Decisions

3

10

30

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

86.67%

90%

90%

80%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

86.67%

80%

100%

80%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

93.33%

100%

90%

90%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

Shining Inheritance Age of Character

Filename Shining Inheritance Character Age

Coders Cases Decisions

3

10

30

Shining Inheritance Gender of Recipient

Filename Shining Inheritance Recipient Gender

Coders Cases Decisions

3

10

30

Shining Inheritance Age of Recipient

Filename

Coders Cases Decisions

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

150

  Shining Inheritance Age of Recipient

3

10

30

93.33%

90%

100%

90%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

93.33%

90%

100%

90%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

86.67%

80%

100%

80%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

80%

80%

90%

70%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

83.33%

90%

80%

80%

Shining Inheritance Relationship

Filename Shining Inheritance Relationship

Coders Cases Decisions

3

10

30

Shining Inheritance Situation

Filename Shining Inheritance Situation

Coders Cases Decisions

3

10

30

Shining Inheritance Invasion

Filename Shining Inheritance Invasion

Coders Cases Decisions

3

10

30

Shining Inheritance Withdrawal

Filename Shining Inheritance Withdrawal

Coders Cases Decisions

3

10

30

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

151

  Shining Inheritance Haptics

Filename Shining Inheritance Haptics

Coders Cases Decisions

3

10

30

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

100%

100%

100%

100%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

93.33%

90%

100%

90%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

86.67%

80%

90%

90%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

93.33%

90%

100%

90%

Walang Hanggan Gender of Character

Filename Walang Hanggan Character Gender

Coders Cases Decisions

3

10

30

Walang Hanggan Age of Character

Filename Walang Hanggan Character Age

Coders Cases Decisions

3

10

30

Walang Hanggan Gender of Recipient

Filename Walang Hanggan Recipient Gender

Coders Cases Decisions

3

10

30

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

152

  Walang Hanggan Age of Recipient

Filename Walang Hanggan Recipient Age

Coders Cases Decisions

3

10

30

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

80%

70%

100%

70%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

93.33%

90%

100%

90%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

86.67%

80%

100%

80%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

93.33%

90%

100%

90%

Walang Hanggan Relationship

Filename Walang Hanggan Relationship

Coders Cases Decisions

3

10

30

Walang Hanggan Situation

Filename Walang Hanggan Situation

Coders Cases Decisions

3

10

30

Walang Hanggan Invasion

Filename Walang Hanggan Invasion

Coders Cases Decisions

3

10

30

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

153

  Walang Hanggan Withdrawal

Filename Walang Hanggan Withdrawal

Coders Cases Decisions

3

10

30

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

80%

70%

90%

80%

Average Pairwise Percent Agreement

Pairwise Agreement Cols 1 & 3

Pairwise Agreement Cols 1 & 2

Pairwise Agreement Cols 2 & 3

86.67%

100%

80%

80%

Walang Hanggan Haptics

Filename Walang Hanggan Haptics

Coders Cases Decisions

3

10

30

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

154

  Appendix G Interview Guide QUESTIONS: A: Respondent’s Profile 1. Please state your name, age and nationality. 2. How long have you been living in the country? B. Drama-watching Habits 1. Do you watch Filipino/Korean Dramas? 2. How many dramas have you watched for the past 6 months? 3. How many dramas have you watched in your lifetime? Could you name at least ten titles? 4. What drama genres do you usually watch? 5. Were you able to watch the following dramas? (Show poster of K-drama or Filipino Telserye) C. Perception Q: Is there a particular incident/scene that you liked or didn’t like in this scene? If yes, then… Unaided: a. LIKE: What did you like about it? Why do you like it? (If production value, storyline, acting is mentioned, then…) Specifically the action or behavior of the characters? b. DISLIKE: What is it that you did not like? Why do you not like it? Specifically the action or behavior of the characters. (If production value, storyline, acting is mentioned, then…) Specifically the action or behavior of the characters? c. Explain the situation (relational, characteristic, context). If you put yourself in the shoes of this character, what would you feel if this was done to you.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

155

  d. Why would you feel that way? What made you think that way? e. From where did you get that kind of thinking? Where did you learn it? f.

Have you experienced situations like the ones you’ve seen in real life?

If none, then… Aided: a.

(Show clip) In this scene, what did the character do?

b. Do you liked or do not like the action done by the character? c. LIKE: What did you like about it? Why do you like it? (If production value, storyline, acting is mentioned, then…) Specifically the action or behavior of the characters? d. DISLIKE: What is it that you did not like? Why do you not like it? (If production value, storyline, acting is mentioned, then…) Specifically the action or behavior of the characters? e. Explain the situation (relational, characteristic, context). If you put yourself in the shoes of this character, what would you feel if this was done to you. f.

Why would you feel that way? What made you think that way?

g. From where did you get that kind of thinking? Where did you learn it? h. Have you experienced situations like the ones you’ve seen in real life?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

156

  Appendix H Data in Excel Korean Drama KCHG   1   1   1   1   2   1   2   1   2   1   2   2   2   1   1   2   2   2   2   2   1   2   2   2   1   1   2   2   1   1   2   1   1   2   2  

KCHA   3   3   3   3   4   3   3   4   3   4   3   3   3   4   4   3   3   3   3   3   4   3   3   3   4   4   3   3   4   4   3   4   4   3   3  

KRG   2   2   2   2   1   2   2   2   2   2   2   1   1   1   1   2   2   2   2   2   2   1   1   1   2   2   1   1   2   1   2   2   2   2   1  

KRA   3   3   3   3   4   8   12   8   8   3   8   3   3   4   4   3   3   3   3   3   4   4   4   4   9   3   3   3   3   3   3   3   3   3   4  

KR   12   12   12   12   12   14   5   1   11   6   14   14   13   5   5   10   10   10   10   10   12   12   12   12   1   12   12   12   12   5   10   5   5   9   5  

KS   2   2   2   1   1   2   17   1   6   6   6   2   2   1   1   6   6   6   6   1   7   7   7   1   1   2   2   2   2   1   1   6   1   1   1  

KH  

KPI   0   0   3   3   4   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   4   0   0   0   0   0   0   0   0   3   0   0  

1   4   0   0   0   0   0   4   1   4   1   4   6   0   4   1   1   1   4   0   6   6   6   0   0   4   6   6   0   2   4   5   0   4   0  

KPW   0   0   0   0   0   3   4   0   0   0   0   0   0   4   0   0   0   0   0   4   0   0   0   0   1   0   0   0   3   0   0   0   0   0   5  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

157

  1   2   1   1   1   1   1   2   1   1   2   1   1   2   1   1   1   1   1   1   1   1   2   2   2   1   2   1   2   2   2   2   2   2   2   2   1   2   1   2   1  

4   3   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   3   4   4   4   4   4   4   4   4   4   4   4  

2   1   1   1   1   1   2   2   2   2   1   2   2   1   2   2   2   2   2   1   1   2   1   1   1   2   1   2   2   2   1   1   1   1   1   1   2   1   2   2   2  

3   4   6   3   4   4   9   12   3   3   3   3   3   3   3   3   3   3   3   3   6   7   3   3   3   3   3   3   3   9   3   4   3   3   3   3   3   3   3   8   3  

5   5   16   5   5   5   1   16   12   12   12   12   12   12   12   12   12   12   12   7   7   7   12   12   12   12   12   12   9   1   5   5   12   12   7   7   5   7   7   9   6  

2   1   1   6   1   1   6   6   1   1   1   1   1   1   1   1   1   1   1   1   1   3   6   6   15   15   15   7   1   6   3   1   7   1   3   3   13   3   3   6   2  

3   0   0   0   0   0   0   0   0   0   4   3   0   3   0   0   0   0   0   0   0   0   0   0   0   4   6   0   0   0   0   0   0   0   0   6   0   6   0   0   0  

0   0   6   4   0   0   3   4   0   0   0   0   6   0   6   0   6   0   0   0   0   0   0   4   0   0   0   6   6   4   4   0   2   0   6   0   2   0   0   4   6  

0   1   0   0   1   1   0   0   2   2   0   0   0   0   0   1   0   1   6   2   4   6   6   0   4   0   0   0   0   0   0   2   0   2   0   0   0   0   4   0   0  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

158

  1   1   2   2   2   2   2   1   1   1   1   1   1   2   1   1   1   2   1   1   2   1   1   1   1   2   2   2   1   1   1   1   1   1   2   1   1   1   2   2   2  

4   4   4   4   4   4   4   4   4   4   4   4   4   3   4   4   4   4   4   4   3   4   4   4   4   3   3   3   4   4   4   4   4   4   4   4   4   4   4   4   4  

2   2   1   1   1   1   1   2   2   2   2   2   2   2   2   2   2   1   2   2   1   1   1   1   1   1   2   2   2   1   1   2   2   2   1   2   2   2   1   1   1  

8   3   3   3   3   3   3   3   3   3   3   3   3   3   3   3   3   3   3   3   3   4   4   4   12   4   7   7   3   4   4   7   3   3   3   4   3   3   3   4   4  

1   2   6   6   6   6   6   5   5   5   6   6   6   10   12   12   5   5   5   5   5   12   12   12   5   13   1   1   5   5   5   5   6   6   6   14   6   6   6   5   5  

2   2   1   1   6   3   3   1   1   1   3   1   1   10   10   10   10   10   10   10   10   1   2   2   1   1   1   1   17   6   6   6   1   1   1   15   15   15   6   6   6  

0   3   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   3   3   3   3   0   0   6   0   0   8   3   1   0   0   0   0   0   0   0   3   2   0   0   0  

5   0   6   0   4   6   0   4   1   4   2   0   0   4   1   4   5   0   0   0   0   4   6   0   1   2   0   0   0   1   6   1   2   0   0   2   0   0   0   1   4  

0   0   0   2   0   0   4   0   0   0   0   4   4   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   4   4   0   0   0   5   0   0  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

159

  1   1   1   2   2   1   2   1   2   1   1   1   2   2   2   1   1   1   2   1   1   2   1   1   2   1   2   1   1   2   2   1   1   1   2   1   1   1   2   1   2  

4   4   4   4   4   4   4   4   3   4   4   4   4   4   4   5   5   5   4   5   5   5   5   5   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4  

2   1   2   1   1   2   1   2   1   2   2   2   2   2   1   1   1   1   1   1   2   1   2   2   1   2   1   2   2   1   2   2   2   2   1   2   1   2   1   2   1  

3   1   2   3   4   4   4   4   9   4   4   4   4   5   1   4   4   4   4   4   15   4   4   5   5   3   4   4   3   4   10   3   3   3   4   3   9   9   4   3   5  

6   16   2   4   4   4   4   4   7   4   4   4   16   11   10   5   5   5   14   5   14   15   15   15   7   14   14   14   14   14   1   14   16   16   16   16   14   14   16   16   7  

2   4   5   12   12   12   12   12   11   2   2   2   4   2   2   1   1   15   15   15   5   5   5   5   3   4   4   4   11   4   1   6   1   1   5   1   2   4   17   15   1  

3   6   0   0   4   7   0   3   0   0   0   0   3   6   0   0   0   0   0   0   0   3   0   0   0   0   4   0   0   0   0   0   0   0   0   3   0   0   0   7   0  

0   0   0   0   0   0   6   0   6   0   0   0   0   0   0   4   0   0   6   0   4   1   0   0   2   3   0   0   0   2   0   6   6   0   6   0   0   6   4   6   0  

0   0   1   1   0   0   0   0   0   1   2   1   0   0   0   0   2   2   0   1   0   0   0   1   0   0   1   0   6   0   1   0   0   1   0   3   0   0   0   0   0  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

160

  1   1   2   2   1   2   2   2   1   2   1   1   1   1   1   1   2   2   1   1   1   2   1   2   1   1   1   1   2   1   1   1   1   1   1   1   1   2   2   1   1  

4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   4   5   4   4   4   4  

2   2   1   1   2   1   1   1   2   1   2   2   2   2   2   2   1   1   2   1   1   1   2   1   1   2   2   2   1   2   2   2   2   2   2   2   2   2   1   2   2  

3   3   4   4   5   4   4   4   3   4   3   2   3   3   3   3   4   4   3   4   4   4   6   4   6   3   4   4   4   4   3   3   5   5   3   3   4   5   3   3   3  

16   4   15   15   15   5   5   5   4   4   4   2   4   15   15   15   15   15   15   5   5   7   16   15   13   15   14   4   4   4   4   4   15   15   4   4   15   11   4   4   4  

15   10   1   1   1   6   1   3   1   1   1   1   1   1   1   1   1   1   1   1   1   3   1   12   14   12   14   1   7   7   7   8   1   1   8   4   6   1   1   15   6  

3   3   7   7   0   0   0   0   5   0   0   0   1   3   0   8   3   3   0   0   6   0   0   0   0   0   4   4   0   0   0   8   0   0   3   3   3   0   3   3   0  

6   0   0   0   0   0   0   2   5   0   0   0   1   0   6   0   0   0   0   6   0   2   0   0   1   1   0   0   0   0   6   0   6   6   0   0   0   1   0   0   0  

0   0   0   0   0   4   6   0   0   0   1   0   0   0   0   0   0   0   3   0   0   0   5   6   0   0   0   0   3   1   0   0   0   0   0   0   0   0   0   0   5  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

161

  2   2   1   1   2   1   1   1   1   2   2   2   1   1   2   1   1   2   1   1   1   2   1   2   2   1   1   1   2   1   1   1   2   1   2   1   1   1   2   1   1  

4   3   4   4   3   4   4   4   4   3   3   3   9   8   3   4   4   3   4   4   4   3   4   3   3   4   4   4   3   4   4   4   3   4   3   4   4   4   3   4   4  

1   1   2   1   1   2   2   2   2   1   1   1   2   2   2   2   2   1   1   1   2   1   2   1   1   1   1   2   1   1   2   2   1   2   1   2   2   2   1   2   2  

5   4   4   4   4   4   4   4   4   4   4   4   9   9   2   2   4   4   9   4   4   4   2   3   4   4   4   4   4   6   6   6   4   4   4   4   4   4   6   4   4  

7   6   6   15   6   6   6   6   6   6   6   6   5   5   16   16   6   6   13   14   6   6   16   14   14   12   6   6   6   14   14   12   6   6   6   6   5   6   14   6   6  

3   14   14   2   2   2   2   2   2   2   2   1   6   2   1   1   1   1   10   2   2   1   17   17   12   2   2   2   4   2   2   2   14   14   14   14   4   2   11   2   2  

0   0   0   0   0   0   3   2   2   0   0   0   0   0   4   0   1   6   0   3   0   0   6   4   3   4   0   0   4   0   0   0   0   0   0   0   0   0   0   3   0  

0   4   2   4   0   1   0   0   0   0   2   3   4   6   0   4   0   0   2   0   3   0   0   0   0   0   2   0   0   5   6   6   1   0   1   0   0   1   2   0   0  

4   0   0   0   5   0   0   0   0   4   0   0   0   0   0   0   0   0   0   0   0   6   0   0   0   0   0   5   0   0   0   0   0   6   0   6   1   0   0   0   1  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

162

  1   1   1   1   1   1   1   1   1   1   1   1   1   2   1   1   1   1   2   1   1   1   1   2   1   2   1   1   1   1   2   1   1   1   1   1   2   1   1   1   2  

4   4   4   4   4   4   4   4   4   8   4   4   4   3   4   4   4   4   3   8   8   4   4   3   4   3   4   4   4   4   3   4   4   4   4   4   3   4   4   4   3  

2   2   1   1   1   1   1   1   1   1   1   1   2   1   2   1   1   1   1   2   1   2   1   1   2   1   2   1   2   1   1   2   1   1   1   2   1   1   1   1   1  

4   4   4   4   4   4   4   7   7   4   7   7   2   4   4   4   4   9   9   4   4   4   7   4   4   4   4   4   4   9   4   4   4   9   4   4   4   9   9   4   4  

6   6   12   12   12   12   12   8   8   17   8   8   6   6   6   12   12   13   16   13   6   6   8   6   6   6   5   12   6   1   6   6   7   1   12   6   5   13   13   7   6  

2   2   14   2   2   2   2   6   6   9   1   1   17   17   13   14   14   14   12   12   4   2   17   1   1   6   6   3   6   2   3   6   1   1   17   1   14   12   1   1   1  

3   3   0   0   2   4   4   0   0   6   0   0   0   2   0   4   2   0   6   0   3   0   0   0   0   0   0   0   3   0   0   4   0   0   0   0   0   0   0   0   8  

0   0   2   0   0   0   0   1   6   0   6   6   0   0   5   0   0   1   0   2   0   0   0   6   0   6   1   2   0   0   4   0   0   0   4   0   2   6   2   0   0  

0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   3   6   0   4   0   0   0   5   0   0   0   4   4   0   4   0   0   0   4   0  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

163

  2   2   2   1   1   1   1   2   1   1   1   2   1   1   2   1   1   1   1   1   1   1   1   1   1   1   1   1   1   1   1  

3   3   3   4   4   4   8   3   8   4   4   3   4   4   3   4   4   4   4   8   4   4   4   4   4   4   4   4   4   4   4  

1   1   1   2   2   2   1   1   2   1   2   1   2   1   1   1   1   1   1   1   2   2   2   1   2   2   1   1   1   1   1  

9   4   4   8   8   8   4   4   4   9   4   4   4   4   4   9   4   4   5   4   4   4   4   4   5   5   5   2   4   4   4  

13   6   6   1   1   1   8   6   13   1   6   6   6   8   6   13   14   12   13   1   6   6   6   8   14   7   14   14   14   14   12  

2   17   17   6   1   1   2   17   6   3   6   6   17   3   3   1   6   4   2   2   4   1   1   3   1   3   6   3   3   3   14  

0   0   0   0   3   3   0   0   0   0   3   6   0   0   0   0   0   3   6   0   0   0   0   0   0   0   0   0   0   0   0  

1   2   4   2   0   0   4   6   1   1   0   0   0   4   4   4   2   0   0   0   0   6   6   4   4   0   4   4   4   6   0  

0   0   0   0   0   0   0   0   0   0   0   0   4   0   0   0   0   0   0   1   1   0   0   0   0   6   0   0   0   0   6  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

164

  Filipino Teleserye FCHG   2   1   1   1   1   2   2   2   2   2   2   2   2   2   2   1   1   1   2   1   1   1   2   2   1   2   2   1   1   1   1   1   1   1   2   2   1   2  

FCHA   7   8   8   8   3   3   3   3   3   3   3   3   3   3   3   3   3   3   3   8   8   8   7   7   8   7   7   7   7   7   3   8   8   3   7   3   3   3  

FRG  

FRA   1   2   2   2   1   1   1   1   1   1   1   1   1   1   1   1   1   2   2   2   2   2   1   1   2   1   1   2   2   2   1   2   2   1   2   1   1   1  

9   9   9   9   3   3   3   3   3   3   3   3   3   3   3   3   3   3   9   3   9   9   9   9   9   9   9   9   9   9   3   9   9   9   9   3   3   3  

FR   15   15   15   15   10   3   3   3   3   3   3   3   3   3   3   10   10   10   14   17   5   5   4   4   5   4   4   5   4   5   13   15   15   14   13   4   12   15  

FS   11   11   11   11   2   2   2   2   14   12   12   12   12   12   12   2   2   2   14   1   17   2   2   2   2   2   2   2   1   2   12   1   1   2   2   2   2   2  

FH  

FPI   0   2   0   5   6   0   0   0   0   0   4   4   6   0   0   0   0   4   0   0   0   3   0   0   0   6   0   0   0   0   0   0   0   3   6   0   4   0  

0   0   5   0   0   0   0   0   0   0   0   0   0   6   0   1   0   0   2   1   3   0   1   5   6   0   0   4   1   2   2   5   0   0   0   6   0   0  

FPW   2   0   0   0   0   4   4   1   6   1   0   0   0   0   3   0   2   0   0   0   0   0   0   0   0   0   1   0   0   0   0   0   2   0   0   0   0   5  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

165

  2   2   1   1   1   1   1   1   1   1   2   1   2   1   2   1   1   1   1   2   2   1   1   2   1   2   1   1   2   1   1   1   2   1   2   2   1   2   1   2   1  

3   7   3   8   3   8   3   3   3   3   3   3   7   4   4   8   8   8   3   3   3   3   8   7   3   3   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2  

1   1   1   2   2   2   2   2   1   2   2   1   1   2   1   2   1   2   2   2   1   1   2   1   2   1   1   2   1   1   1   2   1   2   2   1   1   2   2   1   2  

3   9   9   3   3   9   13   13   3   3   6   3   9   3   3   13   3   9   9   9   4   4   13   9   3   3   10   2   2   4   4   2   2   2   5   10   6   6   2   2   2  

15   1   13   17   4   4   19   19   12   4   16   12   4   4   15   1   17   3   1   1   2   13   1   3   3   13   16   5   5   14   14   15   15   15   1   7   1   5   15   15   15  

1   6   2   1   6   6   1   14   14   6   14   2   1   15   2   2   2   1   1   1   1   1   1   17   2   1   17   6   6   2   2   2   2   2   17   3   1   6   1   1   1  

0   0   0   3   0   0   8   0   0   0   0   3   0   0   6   4   0   5   0   0   6   0   0   5   3   0   0   0   3   0   0   3   0   0   0   0   0   0   0   4   0  

0   6   4   0   5   1   0   3   0   3   6   0   3   2   0   0   6   0   0   0   0   0   5   0   0   0   2   0   0   4   5   0   0   0   0   4   0   4   6   0   0  

3   0   0   0   0   0   0   0   6   0   0   0   0   0   0   0   0   0   1   1   0   4   0   0   0   1   0   2   0   0   0   0   1   4   6   0   4   0   0   0   2  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

166

  1   2   1   2   2   2   2   2   2   2   2   2   2   1   1   2   2   2   2   2   1   2   1   1   1   2   1   2   2   2   2   2   2   1   2   2   1   1   1   2   1  

2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2  

2   2   2   1   2   2   2   2   2   1   2   2   2   2   2   2   2   2   2   2   2   2   2   2   1   2   2   1   2   2   2   1   1   1   1   1   1   2   2   2   2  

2   2   2   2   6   6   3   2   2   6   6   6   6   4   2   2   2   6   6   6   6   6   2   6   6   6   6   2   2   6   6   2   2   2   2   2   2   2   1   6   6  

5   5   15   15   1   1   16   5   5   16   1   1   1   5   5   10   10   1   1   1   5   1   5   1   5   1   3   5   2   5   5   4   4   4   4   4   5   15   5   14   1  

4   6   1   1   1   1   1   1   2   2   1   2   1   6   10   10   10   10   10   10   10   4   1   2   3   6   2   1   10   10   10   1   2   2   2   2   3   17   10   6   1  

0   0   3   0   0   0   0   0   6   4   0   0   0   0   0   6   6   0   0   0   0   0   0   0   0   0   0   0   0   0   0   0   6   0   3   4   6   0   3   0   0  

6   4   0   0   4   0   6   2   0   0   0   0   0   3   6   0   0   0   0   0   0   5   2   2   2   3   2   4   0   2   0   4   0   0   0   0   0   2   0   4   0  

0   0   0   2   0   5   0   0   0   0   3   2   3   0   0   0   0   4   2   6   2   0   0   0   0   0   0   0   4   0   4   0   0   1   0   0   0   0   0   0   1  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

167

  1   1   1   2   2   1   1   2   1   2   1   1   2   2   1   1   2   1   2   2   2   2   1   1   2   1   2   1   1   1   1   1   1   1   1   1   2   1   1   1   1  

2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   3   2   2   2   3   2   2   2   3   2   2   2   2   2   2   2  

2   1   2   1   1   2   2   1   2   1   1   1   2   1   2   2   1   2   1   1   1   1   1   2   1   2   1   2   1   2   2   1   1   2   2   1   1   2   2   2   1  

6   10   3   7   3   3   3   3   3   3   3   3   4   4   3   3   3   3   3   11   3   3   3   3   3   3   3   3   3   3   4   4   4   4   4   4   4   9   12   9   4  

1   5   5   1   5   15   5   5   15   15   5   5   7   5   5   5   5   15   5   19   12   4   14   5   4   4   4   5   10   15   10   10   10   15   4   10   4   1   19   1   2  

17   6   3   3   10   10   10   10   10   10   1   1   1   3   3   3   3   1   3   10   6   1   17   17   2   2   2   2   1   1   1   2   1   1   1   2   2   1   2   1   6  

0   0   0   0   0   0   0   0   0   0   0   6   0   6   0   0   0   0   0   0   0   0   0   3   6   8   0   3   0   4   0   4   0   0   0   0   0   0   0   0   0  

2   4   1   2   1   1   2   0   5   0   5   0   4   0   4   4   0   4   1   0   1   0   5   0   0   0   0   0   2   0   5   0   0   4   0   2   2   4   0   0   2  

0   0   0   0   0   0   0   1   0   2   0   0   0   0   0   0   4   0   0   1   0   1   0   0   0   0   1   0   0   0   0   0   6   0   3   0   0   0   4   5   0  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

168

  2   2   2   2   1   1   2   1   1   1   2   2   2   1   1   1   2   1   1   2   2   1   1   1   1   1  

2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   2   3   3   2   3   3   3   3   3  

1   1   1   2   2   2   1   2   2   2   1   1   1   2   2   2   1   2   2   1   1   2   2   2   2   1  

4   13   9   9   4   4   4   9   9   4   4   4   4   9   9   9   4   9   4   4   4   9   9   5   12   4  

15   19   1   5   15   15   15   1   1   3   15   15   3   1   1   1   3   1   3   3   3   1   1   16   19   2  

1   1   1   2   2   1   2   1   16   1   6   10   17   1   1   17   17   4   13   1   1   1   1   7   1   2  

0   0   0   0   0   0   6   0   0   3   0   0   0   0   0   0   3   0   3   8   0   0   0   0   0   0  

0   1   0   1   1   6   0   0   0   0   2   2   0   2   2   4   0   0   0   0   0   0   0   0   1   0  

2   0   5   0   0   0   0   1   1   0   0   0   1   0   0   0   0   1   0   0   3   5   5   5   0   4  

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Appendix I Coding Results Proxemic Expectancy Violations in Korean Dramas Violator Communicator Characteristic Gender of Character Gender

Frequency

Percentage %

Male Female Total

144 78 222

64.9% 35.1% 100%

Age of Character Age

Frequency

Percentage %

21-25 26-30 31-35 46-50 51-55 Total

43 166 7 5 1 222

19.4% 74.8% 3.2% 2.3% 0.5% 100%

Recipient (Communicator/Relational) Characteristic Gender of Recipient Gender

Frequency

Percentage %

Male Female Total

111 111 222

50% 50% 100%

169

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Age of Recipient Age

Frequency

Percentage %

15-20 21-25 26-30 31-35 36-40 41-45 46-50 51-55 56-60 66-70 IND Total

3 76 92 9 8 7 7 15 1 3 1 222

1.4% 34.2% 41.4% 4.1% 3.6% 3.2% 3.2% 6.8% 0.5% 1.4% 0.5% 100%

Frequency 10 1 12 36 47 12 8 3 7 2 32 11 21 9 11 222

Percentage % 4.5% 0.5% 5.4% 16.2% 21.2% 5.4% 3.6% 1.4% 3.2% 0.9% 14.4% 5% 9.5% 4.1% 5% 100%

Relationship of Recipient Relationship Parent Sibling Lover Friend Love Interest Colleague Sidekick Housemate Half-sibling Stepparent Rival Enemy Stranger Ex-lover IND Total

170

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Situation (Contextual Characteristics) Situation of the Expectancy Violation Situation

Frequency

Percentage %

Conversation Confrontation Work Aid Emergency Encounter Wandering Special Occasion

72 33 21 6 5 35 8 5

32.4% 14.9% 9.5% 2.7% 2.3% 15.8% 3.6% 2.3%

Accident Offense Chores Chase Travel IND

3 6 2 11 7 8

1.4% 2.7% 0.9% 5% 3.2% 3.6%

Total

222

100%

171

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Incidences of Proxemic Expectancy Violation Proxemic Expectancy Violation in Korean Dramas Proxemic

Frequency

Percentage %

Public to Social Public to Personal Public to Intimate Social to Personal Social to Intimate Personal to Intimate Intimate to Personal Intimate to Social

27 24 4 41 6 45 21 9

12.2% 10.8% 1.8% 18.5% 2.7% 20.3% 9.5% 4.1%

Intimate to Public Personal to Social Personal to Public Social to Public Total

6 20 7 12 222

2.7% 9% 3.2% 5.4% 100%

Proxemic Expectancy Violations in Filipino Teleserye Violator (Communicator Characteristic) Gender of Character Gender

Frequency

Percentage %

Male

76

54.3%

Female

64

45.7%

Total

140

100.0

172

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Age of Character Age

Frequency

Percentage %

15-20 21-25 26-30

91 30 1

65% 21.4% 0.7%

41-45

9

6.4%

46-50

9

6.4%

Total

140

100%

Recipient (Relational Characteristics) Gender of Recipient Gender

Frequency

Percentage %

Male

61

43.6%

Female

79

56.4%

Total

140

100.0

Age of Recipient Age 15-20 21-25 26-30 31-35 36-40 41-45 51-55 56-60 61-65 66-70 71-75 Total

Frequency 16 39 20 2 22 1 31 3 1 2 3 140

Percentage % 11.4% 27.9% 14.3% 1.4% 15.7% 0.7% 22.1% 2.1% 0.7% 1.4% 2.1% 100%

173

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Relationship of Recipient to Violator Relationship Parent Friend Ex-lover Lover Spouse Half-sibling Stranger Grandparent Enemy IND Sibling Colleague Rival Child Total

Frequency 31 28 22 16 10 6 5 5 4 4 3 2 2 2 140

Percentage % 22.1% 20% 15.7% 11.4% 7.1% 4.3% 3.6% 3.6% 2.9% 2.9% 2.1% 1.4% 1.4% 1.4% 100%

Situation (Context) Situation of the Proxemic Expectancy Violation Situation Conversation Confrontation Special Occasion Encounter Work IND Chase Offense Aid Accident Wandering Travel Arrest Total

Frequency 47 30 16 14 8 8 5 4 3 2 1 1 1 140

Percentage % 33.6% 21.4% 11.4% 10.0% 5.7% 5.7% 3.6% 2.9% 2.1% 1.4% 0.7% 0.7% 0.7% 100%

174

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Incidences of Proxemic Expectancy Violations Proxemic Expectancy Violation in Filipino Teleseryes Proxemic

Frequency

Percentage %

Public to Social Public to Personal Public to Intimate Social to Personal Social to Intimate Personal to Intimate Intimate to Personal Intimate to Social

14 23 6 18 11 11 17 11

10% 16.4% 4.3% 12.9% 7.9% 7.9% 12.1% 7.9%

Intimate to Public Personal to Social Personal to Public Social to Public Total

6 11 7 5 140

4.3% 7.9% 5% 3.6% 100%

Haptic Expectancy Violations in Korean Drama Violator Communicator Characteristics Gender of Character Gender

Frequency

Percentage %

Male Female Total

56 30 86

65.1% 34.9% 100%

175

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Age of Character Age

Frequency

Percentage %

21-25 26-30

15 67

17.4% 77.9%

41-45

2

2.3%

46-50

2

2.3%

Total

86

100%

Recipient (Relational) Characteristics Gender of Recipient Gender Male Female Total

Frequency 38 48 86

Percentage % 44.2% 55.8% 100%

Age of Recipient Age

Frequency

Percentage %

14 and below 15-20 21-25 26-30

1 2 34 42

1.2% 2.3% 39.5% 48.8%

31-35

2

2.3%

41-45

2

2.3%

46-50

2

2.3%

51-55

1

1.2%

Total

86

100%

176

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

177

  Relationship of Recipient to Violator Relationship Love Interest Rival Lover Friend Ex-lover IND Stranger Parent Colleague Sibling Stepparent Enemy Child Total

Frequency 19 16 12 8 8 8 5 4 2 1 1 1 1 86

Percentage % 22.1% 18.6% 14.% 9.3% 9.3% 9.3% 5.8% 4.7% 2.3% 1.2% 1.2% 1.2% 1.2% 100%

Situation (Contextual Characteristics) Situation of the Expectancy Violation Situation Conversation Confrontation Aid Travel Encounter Special Occasion Offense IND Chase Work Tantrum Emergency Reprimand Total

Frequency 27 17 7 7 5 5 5 4 3 2 2 1 1 86

Percentage % 31.4% 19.8% 8.1% 8.1% 5.8% 5.8% 5.8% 4.7% 3.5% 2.3% 2.3% 1.2% 1.2% 100%

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Incidences of Haptic Expectancy Violations in Korean Drama Haptic Expectancy Violations in Korean Dramas Haptic Brushing Hand/Arm Patting Handholding/Handgrabbing Pushing Stroking Hitting Kissing Hugging Total

Frequency 3 6 40 16 1 12 4 4 86

Percentage % 3.5% 7% 46.5% 18.6% 1.2% 14% 4.7% 4.7% 100%

Haptic Expectancy Violations in Filipino Teleserye Violator Communicator Characteristic Gender of Character Gender

Frequency

Percentage %

Male Female Total

25 22 47

53.2% 46.8% 100%

Age of Character Age

Frequency

Percentage %

15-20 21-25 26-30 41-45 46-50 Total

22 15 1 3 6 47

46.8% 31.9% 2.1% 6.4% 12.8% 100%

178

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Recipient (Communicator/Relational) Characteristic Gender of Recipient Gender

Frequency

Percentage %

Male Female Total

25 22 47

53.2% 46.8% 100%

Age of Recipient Age

Frequency

Percentage %

14 and below 15-20 21-25 26-30 36-40 51-55 71-75 Total

1 11 16 8 1 8 2 47

2.1% 23.4% 34% 17% 2.1% 17% 4.3% 100%

Relationship of Recipient Relationship Spouse Friend Ex-lover Lover Half-sibling Rival Parent Sibling Enemy Stranger IND Child Grandparent Total

Frequency 10 9 8 6 5 2 1 1 1 1 1 1 1 47

Percentage % 21.3% 19.1% 17% 12.8% 10.6% 4.3% 2.1% 2.1% 2.1% 2.1% 2.1% 2.1% 2.1% 100%

179

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Situation (Contextual Characteristics) Situation of Expectancy Violation Situation Confrontation Conversation Special Occasion Offense IND Work Accident Encounter Chores Total

Frequency 22 10 3 3 3 2 2 1 1 47

Percent 46.8% 21.3% 6.4% 6.4% 6.4% 4.3% 4.3% 2.1% 2.1% 100%

Incidences of Haptic Expectancy Violation Haptic Expectancy Violations in Filipino Teleseryes Haptic Patting Handholding/Handgrabbing Pushing Stroking Hitting Hugging Total

Frequency 1 15 10 3 15 3 47

Percent 2.1% 31.9% 21.3% 6.4% 31.9% 6.4% 100.%

180

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

181

  Appendix J Interview Transcriptions INTV w/ Zab Agarao Interviewed by: Joelle Robles/Christelle Tolisora [00:00:00.00] J: State your name, age, and nationality? Z: Maria Elizaben Agarao, 19, Filipino. J: How long have you been living in the Philippines? Z: 19 years. J: Do you watch Filipino dramas? Z: Sometimes. J: For the past 6 months, naka-ilang Filipino dramas ka? Z: Uh, nakailan? Siguro yung mga pinapalabas every night, mga 4. J: Anong... Sa buong buhay mo, naka-ilan ka na kaya? Estimate mo. Z: Estimated... Mga 25 to 30. J: Ano yung mga genre ng pinapanood mo? Usually. Z: Depende kasi eh. Minsan, merong drama talaga, as in yung meron nga minsan may comedy minsan may super heavy na drama, minsan light lang. Depende yung ano yung maabutan ko. J: Okay. Napanood mo ba yung "Tayong Dalawa?" [00:01:00.00] Z: "Tayong Dalawa", hindi. J: "Walang Hanggan"? Z: Uhuh. (Yes.) J: "Ina, Kapatid, Anak"? Z: Uhuh. Oo. J: Okay. So may ipapakita kaming video, tapos noon, may questions kami. Naaalala mo ba yung "Ina, Kapatid, Anak"? Z: Naaalala ko siya. J: So, hindi na namin kailangan i-explain yung scenario. Z: Hindi na. J: Okay. [VIDEO] [00:03:22.22] J: Dun sa napanood mo, meron ka bang nagustuhan, di nagustuhan, or meron ka bang specific scene, behavior na nagustuhan mo or di nagustahan, or comfortable ka or di-comfortable? Z: Actually, di naman sa nagustuhan, pero yung gusto ko lang yung part na sinampal ni Margo si Celene, tapos sinampal ni Celene si Margo. J: Bakit? Z: Wala lang. Kasi parang-[00:04:00.00] Z:--Nakita niya na sa behavior na hindi nagpapatalo, I mean na pag sinampal ka o sinaktan ka, sasaktan mo rin. Kasi parang tayong mga Pilipino, meron tayong ugali na ayaw nating magpaapi, so tayo yung mga tao na lumalaban kung saan kaya natin. J: So, aside from that, meron ka pa bang nakita? Behavior na... Ok, kung ikaw si Celine, si Kim Chiu, ok lang ba sayo, diba alam mo yung relationship nila? Ano relationship nila? Z: As magkapatid? Nung una, parang ok pa sila, tapos nung gumitna yung ano... medyo hindi na sila naging ok, kasi parang pinapakita na naiingit si--

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

182

  [00:05:00.20] Z: --Margo kay Celine kasi parang si Celine na yung, um, apple of the eye nung parents, kasi magkapatid sila eh, parang long-lost sisters sila, I mean, di alam ni Genise(?) na anak niya pala yung isa, kasi tinago. Kasi before kasi, nasanay si Margo na siya lang, diba yun yung story, nasanay na focus sakanya yung parents, lahat nakukuha niya, matalino, she living an almost perfect life, tapos biglang pagdating sa dulo, di na siya yung focus ng magulang niya, hindi na siya yung apple of the eye, hindi na siya nagtop-1, lagi na lang siya 2nd. J: So, diba yung nga yung relationship nila, given that: magkapatid sila, pero may bad blood sa kanila, kung ikaw si Celine, diba scenario dito birthday nila? Okay lang ba na gawin sayo ni Margo yung ginawa niya? Ano ba yung ginawa sa kanya? [00:06:00.00] Z: Sinampal. Siyempre hindi, I mean, pwede isang tabi lang, sakin lang, kung i-apply sakin, siguro hindi ok sakin na masampal mismo sa birthday ko, diba? Normally, kapag birthday dapat masaya ka, ineenjoy mo, walang iyakang mangyayari, kung may iyakan man, tears of joy dapat. So, parang ako, sino ba namang tao diba na gustong masampal, masaktan sa mismong birthday pa, at the fact na kapatid mo pa yung sasampal sayo so masakit siya, so ayoko sakin mangyari. J: Bakit? Z: Siyempre, masakit. Parang diba kadugo mo yun, birthday pa, di ba pwedeng pagbigyan mo muna ako ngayong araw na to? I mean, birthday pa nating dalawa, di ba pwedeng kunyari, iisang tabi yung problem muna? Ienjoy muna natin yung moment, ienjoy natin yung birthday natin parehas. Ganon. J: Bakit kapag kapatid mo siya, kapag kadugo mo kamo, eh hindi ka-[00:07:00.04] J: --dapat yun sinasampal, hindi dapat ginagawa sayo yun. Bat mo nasabi? Z: Actually, kasi parang ako lumaki ako, na parang as soon na kayo mong magtimpi, lalo na, siyempre normal naman na, katulad ko na may kapatid ako, pag may di ako nagustuhan, hindi naman ako yung nagagalit agad or something. Parang di kasi siya normal sakin ah, hindi siya normal na sinasaktan mo yung kapatid mo. Dapat pag kapatid mo, magdadamayan kayo sa problema tapos iintindihin niyo yung isa't-isa. I mean, dapat walang sakitan na magaganap kasi magkapatid kayo, magkadugo kayo eh diba. At the end of the day, kahit anong mangyari, magkapatid kayo, I mean, wala dapat nangyayaring sampalan, sabunutan, or suntukan, kasi parang masakit sa feelings ng magulang yun kasi yun yung sinasabi sakin lagi ng mommy ko eh na parang, isipin mo na lang na: ang masasaktan ay kami, siyempre ayaw namin na makikita namin yung mga anak namin na nasasaktan. [00:08:00.17] J: So, saan ulit nanggaling yung pananaw mo? Na magkapatid kayo, magdadamayan kayo, hindi niyo dapat ginagawa yung mga bagay na ganito. Z: Mga mga parents ko, sa mommy ko. J: May nangyari bang ganon din sa inyo noon? Z: Sa amin. Siguro, oo meron. J: Pero naramdaman mo naman? Z: Siyempre masakit sakin na parang nakikita ko na... words nga lang eh, words lang diba ang sakit na, lalo na kaya yung physical na parang sasampalin, kahit yung tipong papaluin lang pero napigilan, na parang: wow ha, magkapatid tayo tapos sasaktan mo ako? Hindi ka man lang ba nag-isip or something. Diba, words nga masakit na eh, pano pa kaya na mismong kamay ng kapatid mo yung nagtouch sayo. J: Ano yung ginawa sayo noon? Z: Actually, hindi sakin eh. [00:09:00.02] Z: Actually, nandoon lang ako. Nag-aaway yung kuya at ate tapos parang, siyempre yung ate ko sumasagot na siya, ganon ganon, kasi parang nakakapagsabi na si kuya ng kung ano-ano tulad ng sa parents namin, ganon ganon, tapos parang dumating dun sa point na parang gaganunin niya na lang si ate ko tapos parang lahat kami, siyempre, naiiyak na kami, hindi namin kung ano yung dapat... bakit ba bakit ganyan, tapos parang gulat kami: "magkapatid kayo, bakit kayo nagsasakitan?" So parang kami, yung mga sa teleserye noon na parang yung mga normal na pinapakita sa teleserye na wag mo saktan, kapatid mo yan, mag-isip ka. Yung mga ganong drama! So, parang ganon kami. J: Okay. So, ito naman. Okay, ito pala. Kung ikaw naman si Margo, anong ginawa ni Celine kay Margo?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

183

  Z: Sinampal. J: Sinampal din niya diba? Okay lang ba sayo yun? [00:10:00.07] Z: Na manampal? J: Na sampalin ka rin? Z: Siguro kasi, sakin ayokong masampal, kaso wala tayong magagawa eh, I mean, sakin, wala ring magagawa. Emotions yun eh, I mean, emotions lang yung kalaban mo. Mahirap pigilan ang emotions. Siguro feeling ko, kahit sinong tao, alam na pag emotions na yung umano sayo, wala na, kumbaga madadala ka na lang eh. Kung minsan, nagpapadala ka pa, kaya siguro may mga bagay or mga behavior na nagagawa because of emotions na nagtrigger sa isang tao. J: So, kung ikaw si Margo, anong mararamdaman mo? Z: Masakit. Para sakin, ikaw na nga, nasayo na yung lahat, sasampalin mo pa ako? Okay ka lang, sasaktan mo pa ako? So, parang... J: Given the situation na sinampal din siya ni Celine, kung ikaw si Margo, yung ginawa ni Celine parang:-[00:11:00.14] J: --sinampal kita. Ano yung mararamdaman mo kung biglang sinampal ka rin niya bigla? Z: Magugulat ako kasi dun sa movie, knowing din, kunwari ako si Maja(?), knowing din si Kim, parang di palaban eh diba? Magugulat ako. Bat mo ako sasampalin, diba mabait ka? Kaya nga ikaw yung gusto ng magulang natin kasi mabait ka, diba? Ako hindi, so magugulat, nagagawa mo na akong sampalin, lumalaban ka na? So parang, makikita mo rin dun sa pinakitang behavior ni Maja na parang nagulat siya, na parang "Wow ha? Nasasampal mo ako ngayon samantalang dati, salita, kahit anong gawin ko sayo, wala akong marinig." J: So, saan nanggaling, pano mo nasabi na kapag mabait yung isang tao, hindi siya nananampal, di siya nananakit, di siya lalaban? Z: Parang nature na siya eh. May mga tao talaga na-[00:12:00.01] Z: --kahit sa block natin, kahit ilang beses na siyang masaktan, kahit ilang beses na siya away-awayin, tahimik lang siya. Naniniwala ako na may taong mababait na as in a kahit anong gawin mo, saktan mo, murahin mo siguro or sabihin mo na lahat ng masamang bagay sa kanya, hindi siya magagalit. Pero may something na magttrigger sakanya para, I mean para magsalita, manakit, iyon. Meron trigger sakanya. J: Naranasan mo na ba yung ganon? San mo nakita yung ganon? Z: Actually, ako kasi parang ako talaga as much as possible, hindi ako nagagalit, minsan nagtitimpi na lang ako kahit galit na galit na ako, na hindi ako nagsasalita kasi ayoko ng away, ayoko ng gulo. Sino ba naman gusto ng gulo? Siguro yung iba, pero ako, ayoko talaga. Ako talaga yung tipo ng tao na hangga't kaya kong magtimpi, yung bigat ng nararamdaman ko, hindi ako magsasalita. Tapos yun, dumating na lang-[00:13:00.23] Z: --talaga ako sa isang point na parang sobra na, tama na, parang kailangan ko nang magsalita, kailangan ko namang ipagtanggol sarili ko. J: Nung ginawa mo yun, ano reaksyon ng tao? Z: Siyempre nagulat siya, na parang di niya expect na wow, kaya niya pala yun, ganon pala siya, tapos parang, yun na, yun lang yung mahirap eh, kaya siyempre, knowing din ako, yun din yung perception na parang pag once nagsalita ka, lumaban ka, yun na agad yung magiging perception sayo eh, na ganon yan, masama yan, kahit diba parang, once nagsalita ka na grabe sobra na or nagparinig, uy ganon yung taong yan. J: Pano mo nalaman na pag lumaban ka, nagsalita ka nang ganon, masama ka na? San nanggaling yun, pano mo nasabi yun? Z: Wala, kasi ako normal parang before kasi, merong isang event, nagsalita ako-[00:14:00.06] Z: --na ganyan ka, na-feel ko na nagbubulungan na, so alam mo naman yung feeling na ikaw yung pinag-uusapan sa di ikaw yung pinag-uusapan. So iyon, meron din akong naririnig na: "Uy. Ganito pala si Zab, ganyan ng ganyan. Wag mo gagalitin yan ah. Magiging monster yan." Yung tipong ganon. Dahil lang sa event na yun, iyon na yung naging perception sayo.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

184

  J: So parang experience? Z: Oo, experience. J: Eto, etong scene na to. Kung ikaw si... alam mo diba, nag-away sila? [VIDEO] J: Okay lang ba yung ginawa niya? [VIDEO] J: Okay lang ba yung ginawa ni Margo? Na tumakbo? Z: Oo. J: Bakit? [00:15:00.04] Z: Para sakin oo, kasi ganon din ako, once na hindi ko na kaya yung feelings or emotions ko, gusto na tumakbo na lang, gusto ko ako muna, mag-isip. Ganon ako, gets ko si Margo kung bakit siya tumakbo. Gusto niya muna, parang dati kasi "Me against the world". Feel niya na sobrang bigat na, walang nakakaintindi sakin, wala nang may pakialam sakin. Ganon siguro yung nafefeel niya. Siguro ako ganon eh, parang feeling ko kapag... Ganon eh, pag feeling ko talaga sobrang down na down ako, depress na depress na ako, wala akong ibang gagawin kundi tumakbo, mag-isip-isip. J: Kung ikaw si Celine, okay lang ba sayo na tumakbo si Margo from you? Z: From you, tumakbo siya? J: Parang kunwari-[00:16:00.04] J: --diba sila ni Margo parang, may nangyayari na away sa kanila diba. Pag ikaw si Celine, okay lang sayo na bigla na lang tatakbo si Margo? Z: Siyempre, ako mababastusan. Kinakausap pa kita eh, nag-uusap pa tayo tapos tatakbuhan mo ako? J: Pano mo nasabi na bastos yun? Bigla kang aalis, ganon tapos may nangyayari pa? Z: Actually, mommy ko, kapag nag-aaway kami, ng mommy ko, diba siyempre pinapagalitan ako. Pag sobra na emotions ko, umiiyak na ako, pero ayaw ko ipakita sakanya na di ko na kaya yung nafefeel ko, tatalikod na lang ako tapos aalis ako, tapos magwawalk-out ako. Yung magwawalk-out ako, tapos magagalit mommy ko, sasabihin niya: "Magwawalk-out ka na naman?! Kabastusan yan ah! Bastos yan pagtalikod mo! Habang kinakausap ka, humarap ka, makipag-usap ka!" So iyon, mommy ko din pag pinapagalitan niya ako. J: Okay. Thank you. [00:17:00.03] J: Di pa tayo tapos. Eto naman, "Tayong Dalawa". Since di mo napanood, bigyan kita ng summary. Si Kim Chiu tyaka Jake Cuenca tyaka si Gerald tyaka Alexandra de Rossi, kilala mo sila? Silang apat, magkaibigan sila. Si Jake tyaka Kim, mag jowa, tapos si Gerald tyaka Alexandra, childhood friends sila, si Alex may gusto kay Gerald, si Gretta si Alex. Si Gretta may gusto kay JR, si Gerald. Ngayon, nalaman, this scene takes place after sumabog yung katotohanan. Nalaman na si Dave, si Jake Cuenca, kinama si Gretta. Si Gretta parang call-girl, nagtatrabaho sa bar. Kinama-[00:18:00.04] J: -- habang sila. For money. Si Gretta, para si Gerald mapadala PMA. So, eto yung nangyari. [VIDEO] [00:22:14.27] J: Dun sa scene, may behavior ba or gesture na galing sa characters na nagustuhan mo, di nagustuhan? Z: Behavior... wala naman. Sakto lang. J: Tanungin kita. Kung ikaw si... Alam mo yung situation.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

185

  [VIDEO] J: Okay lang ba sayo na gawin yun sayo? Kung ikaw... put yourself in the shoes of Dave: May kasalanan, nagalit sayo girlfriend mo, sinubukan mong kausapin tapos sinagot(?) ka niya? [00:23:00.00] J: Okay lang ba sayo yun? Or ano yung mararamdaman mo pag ginawa yun sayo? Z: Sakin okay lang. I mean, kasi parang given na siya eh. Nature na siya na nasaktan ka, hinabol ka ng boyfriend mo, sasampalin ka eh, given na yun na parang kahit saan teleserye or movie, laging sinasabi na pag nag-cheat yung guy: "Saktan mo na ako! Sampalin mo na ako!" Kaya ganon. J: Saan nanggagaling yan? Pano mo nasabi? Z: Wala lang. Napapanood ko na siya tapos parang nung dumating sa point na, "Ay, expected na yan. Hahabulin tapos haharap yan. Diretso sampal yung girl diyan." So parang pag paulit-ulit mong nakikita, sa movies, teleserye, nagiging used to it ka na. J: So, kunwari ikaw nga yung guy tapos may ginawa kang kasalanan, nag-away kayo ng GF mo, tapos bigla kang sinampal. Anong mararamdaman mo? Z: Masakit. [00:24:00.06] Z: First reaction ko siya pag nasampal. Haha. Sino ba namang gustong masampal... Masakit pa sa mukha haha. J: Eto naman. [VIDEO] J: Kung ikaw yung... kunwri, may boyfriend ka na. Kunwari nag-away kayo ng boyfriend mo, tapos ginawa niya yung ginawa ni Dave, okay lang ba sayo yun or ano yung mararamdaman mo? Z: Makikipag-break na ako. J: Hindi, yung ginawa lang niya nung nag-away, hindi yung ginawa niya mismo. [VIDEO] J: Yan. Nag-away kayo diba? Z: Ah, ok. Nangyari na sakin yan. J: Anong mararamdaman mo? [00:25:00.09] J: Anong ginawa mo... nangyari na sayo yung ginawa niya? Z: Oo. Nagwalk-out ako nun, tapos yun. J: Anong... para hindi mas personal, anong mararamdaman mo kung ikaw si Kim, nag-away kayo diba, kung ikaw si Audrey, si Dave ginawa sayo yun, hinahawakan ka, nag-away kayo, anong mararamdaman mo, okay lang ba sayo? Anong mararamdaman mo pag ginawa yun sayo? Z: Ako ayoko. Actually, hindi, ayoko na parang gusto kong umalis, ayaw na kitang makita, bitawan mo ako, pati alam mo yun, ang sakit, na parang di ko mailabas yung emotions ko, gusto kong sumabog na parang: "Tigilan mo ako. Ayoko kita munang makita. Tama na muna. Hayaan mo muna ako on my own. Umalis ka sa harapan ko. Yun lang hinihingi ko." [00:26:00.10] Z: Parang tanda ko na nangyari sakin yan na parang ang ginaw ako: "Hayaan mo muna akong mag-isa, iwan mo ako, ayaw kitang makita." Yun yung exact words na sinabi ko na parang gusto kong sumabog, bakit parang may pumipigil sa pagsabog ko, na parang yun yung nagiging reason kung pano ako magiging ok. Yun lang yung reason ko, na lahat ng pagod, lahat ng pain, lahat ng nafefeel mo... yun ayoko talaga. J: So bakit kapag gusto mong umalis, may gusto kang gawin, pag pinipigilan ka, ayaw mo. Bakit, pano... bakit ganon? Bakit gusto mo na parang... ayaw mo pipigilan ka sa gusto mong gawin. Diba sinabi mo gusto mong umalis, gusto mong mapag-isa, pinipigilan ka niya, kaya ayaw mo. Nagagalit ka. Bakit? Z: Ayoko ko lang kasi ng--

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

186

  [00:27:00.06] Z: --lagi akong pinipigilan. Ako kasi talaga yung tipo ng tao na once nagalit ako, nalulungkot ako, gusto kong iwan yung mundo na parang, may tawag dun... J: Fight or flight. Z: Hindi eh... Parang iwan yung mundo... J: Escape? Z: Yun. Mag-escape ako na gusto kong umiyak lang para tapos na lahat. Isang iyak lang, okay na ako. Mangyari na yung dapat mangyari na parang hindi pa ako ready na harapin yung kung ano yung nangyari, yung ginawa niya. Masakit pa sakin eh, parang iyon, gusto ko munang i-sink in lahat, pag-isipan lahat bago ko siya harapin, gusto kong mapag-isa. J: Kunwari, kung eto gawin sayo-[00:28:00.22] J: So mag-usap kayo nang mabuti, tapos hinawakan ka niya habang nag-aaway kayo. Z: Ayoko. Parang gusto ko, malayo muna tayo, kasi baka ano lang yung magawa ko, masaktan ka din or kunwari, masampal nga kita or something pero siyempre given na naman yun. Gusto ko munang lumayo sayo, ayoko munang makita kita. J: Does this apply lang sa boyfriend mo or sa lahat ng tao na kagalito mo? Z: Lahat ng tao. Ayoko talaga yun, yung parang: "Wag kang lalapit sakin baka..." Parang may ganun ako na parang pag may kaaway ako, lumayo ka sakin baka may mangyari lang na hindi mo magustuhan. J: So kapag hindi ko ginawa yun, magkaaway tayo. Sabihin mo-[00:29:00.02] J: --boyfriend mo ako, kaibigan mo ako, lumapit ako sayo, hinawakan pa rin kita, anong mararamdaman mo? Kapag kunwari, diba normal sayo is "magkaaway tayo, diyan ka lang at baka kung ano lang magawa ko sayo." Pag lumapit pa rin ako at hinawakan kita, anong mararamdaman mo pag hindi ko sinunod yung sinabi mo? Z: Minsan... depende, minsan maiinis ako. Parang ayaw ko pag... lalo na pag hindi ako kalma, magagalit ako. Pero siguro habang tumatagal parang: "Sige na nga. Para matapos lang to, okay na. Sige!" J: So depende siya? Z: Oo, depende siya. J: San siya depende? Z: Depende siya pag yung sa tingin ko wala na akong magagawa. Sabihing wala na akong magagawa kahit anong pagpipiglas ko, wala na... ayaw niya akong tigilan, ayaw niya akong iwan, siguro sige mag-usap na tayo, kahit sobrang labag sa kalooban ko. [00:30:00.05] J: So, labag sa kalooban mo yung ganon? Z: Oo. Lalo na kapag... parang feeling ko hangga't hindi ako nakakatakas, hindi magiging okay. Hanggang hindi pa nagsisink-in lahat, hindi ako magiging okay. So siguro, kung makikipag-usap ako, sobrang labag sa kalooban ko. J: Okay. So ito naman, itong scene na to. [VIDEO] J: Kapag yun yung ginawa sayo, okay lang ba yan? Z: Hindi, same with Kim Chiu. Tutulak ako papalayo, kasi nga parang ayoko nung masyadong... J: Pag ginawa sayo yun, ano mararamdaman mo? Z: Magagalit ako. Parang, magagalit ako na: "Ayoko! Lumayo ka muna sakin." Alam mo yung ganon? Ayoko na. Please lang-[00:31:00.00] Z: --Lumayo ka na sakin. Ayoko kitang makausap, ayaw kitang makita. J: So yung ganon, "pag kaaway kita, ayaw kitang makita". Saan nanggaling yun? "Pag kaaway kita, pag hindi kita gustong makausap, wag kang lalapit." Saan nanggaling yun?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

187

  Z: Wala, sakin lang. Yun yung nafefeel ko eh. Ako yung talaga yung ayaw ko... kapag nag-away tayo, gusto ko magkalayo tayo kasi... nafefeel ko siya na siya yung feelings or emotions or what kung ano man yung tawag na ayaw ko talaga. J: Okay. Kapag ikaw si Dave, at ginawa iyon sayo ni Kim Chiu... [VIDEO] J: Nakita mo ba? Anong ginawa ni Kim Chiu? Z: Nag-walk-out. J: Anong mararamdaman mo? Kung ikaw si Dave, at yun nga, nag-usap kayo ni Kim Chiu, sabihin mong nag-away or nag-usap lang kayo, okay lang ba sayong mag-walk-out? [00:32:00.02] Z: Kung ako kunwari si Dave? Siyempre mababad-trip ako, parang: "Bakit hindi pa natin ayusin ngayon?! Bat di pa tayo mag-usap ngayon? Nandito nanaman tayo parehas, baka maayos pa natin yung gulo!" Siguro kung ako yung nasa posisyon ni Dave, magagalit ako, mababad-trip ako. J: Ano bang mararamdaman mo kapag ginawa sayo yun? Z: Masakit. Parang bastos na parang... medyo maiintindihan ko rin na parang may kasalanan ako eh, may ginawa akong something eh, pero siyempre, alam mo yung: "Halika na. Wag kang umalis. Mag-usap tayo!" J: May nangyari ba sayong ganoon? Z: Oo. May nangyari na nagwalk-out once. J: Anong naramdaman mo? Ano yung situation noon? Z: Nag-away kami ng boyfriend ko, tapos nagwalk-out sakin. Galit na galit siya: "Bad trip na bad trip ako ah!" Tapos sabi ko lang sakanya-[00:33:00.00] Z: --wag kang babalik dito. J: Anong naramdaman mo nung nagwalk-out siya? Z: Sakit, sobrang sakit. Parang normally ako yung gumagawa noon tapos parang ginawa sakin, parang sinampal ako. Yung parang sampal sakin yung ginawa niya. J: Parang guilt trip niya sayo. Z: Oo, parang: "Wow ha? Kaya mo nang gawin sakin yan?" Parang masakit lang, parang nakakabad-trip imbis na parang pakinggan mo akong mag-explain, walk-out walk-out ka na agad. J: Inasahan mo ba na magwalk-out siya? Z: Hindi. J: Bakit hindi? Z: Knowing him, parang normal na ako yung mahilig magwalk-out na parang knowing siya na yung tipo ng tao na "aayusin natin to anumang mangyari" ganon. So... nagulat ako, hindi ko nga ineexpect na kaya niyang gawin yun sakin eh, na magwalk-out sakin. J: Ano naramdaman mo? Z: Masakit. Parang: "Badtrip to ha! Walangya ka!--" [00:34:00.00] Z: "--Karapatan mong magwalk-out?" J: Okay eto last. Etong scene na to, last. Okay, alam mo na yung situation nito? [VIDEO] J: Kung ikaw si Gretta, at parang nagalit ka sakanya at nagwalk-out ka na nga, nilapitan ka niya at hinawakan ka niya? Okay lang ba sayo? Anong mararamdaman mo? Z: Yan kasi yung typical na napapanood ko, yun yung mga normal... mga typical na nakikita na behavior sa teleserye na may nag-away tapos nilapitan. Siguro okay lang sakin, siguro kung kalma na, kung okay na ako.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

188

  [00:36:25.21] Z: So yun nga, typical kasi siya, normally, halos lahat ata ng teleserye or Filipino movie, or Hollywood movie, mayroon ganyang part. Once may nag-away, lalapit si guy or si girl para i-comfort ka. Automatic siya eh. So siguro sa akin, kung di pa ako kalma, ganon din gagawin ko. "Wag muna. Wag mo muna akong kausapin. Hayaan mo muna ako." J: Bakit? Z: Kasi... Di pa ako okay, di pa ako ready, di pa ako kalma eh. Siguro yung-[00:37:00.01] Z: --pagpapakita ng hand gesture na ganon: "Wait lang. Hayaan mo muna ako. Hayaan mo akong i-sink-in lahat. Hayaan mo muna akong maging ok, ganon." J: Saan nanggaling yun? "Pag di pa ako okay, wag mo akong kausapin, wag mo akong lapitan." Yung ganon, saan nanggaling? Z: Galing? Siguro naadapt ko sa panonood ng movies. Ewan ko, di ko alam kung saan actually siya nanggaling. Siguro nakikita ko lang sa someone na "Uy! Ayus siguro yun!" Parang naging sign or universal sign na siya siguro. Pag nag-away kayo, magka ganyan ka, sign na siya para umalis ka muna, hindi pa ako ready or something. J: Ibig sabihin, kapag "wag mo akong lalapitan". Sabi mo kasi diba, saan nanggaling ulit yun? Mismong-[00:38:00.00] J: --magrereact ka diba, kasi ayaw mo. C: Kung ikaw si Gretta, gusto mo ba yung ginawa ni JR na paghawak sayo habang alam mong galit ka pa? Z: Ayoko. C: So, sa tingin mo, bakit ayaw mo? Z: Ayoko kasi di pa nga ako ready kausapin ka tapos hahawakan mo ako tapos parang kakasabi ko lang na lumayo ka muna sakin eh. C: Saan mo natutunan yung ganoong thought or mindset na: "Kapag ako galit, dapat di mo ako hawakan, dapat di mo ako lapitan". Saan mo natutununan? Z: Di ko sure kung sa bahay eh, kasi ganyan din yung mommy ko, kahit yung mga kapatid ko eh. Di ko sure kung sa bahay, pero may mga ugali rin yung mga kapatid ko na ganyan na parang pag galit: "Umalis ka sa kwarto, wag mo akong lalapitan, wag mo akong hahawakan." [00:39:00.05] J: So... mapanood mo na to no? Z: "Walang Hanggan"? J: So, kailangan ko pa bang i-explain sayo yung situation? Z: Okay na. [VIDEO] [00:41:04.25] J: Alright, dun sa napanood mo, meron ka bang behavior or gesture na nagustuhan, di nagustuhan, you found ok? C: Kilala mo kung sino si Eula Valdez? Z: Siya yung may gusto kay Richard? J: Si Eula Valdez diyan siya si Jane, dating asawa ni Marco, pero nagpapalit siya ng mukha kasi nagkaroon ng plane crash. So engaged sina Dawn tyaka Marco diyan. Z: Gets ko na. Yung sa helicopter something, okay gets ko na. Yun yung mga nasa dulong part na. Ah, okay. Ano yung question? C: Nay nagustuhan ka ba o di nagustuhan na specific na action diyan sa nakita mo na scenes. [00:42:00.00] Z: Wala. J: Wala, okay. Kung ikaw yung nasa lugar ni Eula, okay lang ba, given the situation, na layuan ka ni Marco? Z: Ah, wait. Alam na ba ni Richard na siya... Ano nga uli yung question? J: Kung ikaw yung nasa lugar ni Jane, okay lang ba na layuan ka ni Marco?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

189

  Z: Oo. Normal siya, lalo na di pa niya kilala, di pa gaanong kakilala. J: So kung ikaw gumawa niyan, kapag ginawa sayo, okay lang sayo? Z: Oo. J: Dahil? Z: Okay lang kasi di pa kita gaanong kakilala, parang magugulat na lang na naging office mate sila? Naging magkatrabaho sila? J: Pero nagpakilala siya as Jane. Z: Ayun, so diba, awkward noon. Ang pakilala niya kapatid ako ng-[00:43:00.10] Z: --ex-wife mo, so parang ganito may nangyari, parang nakakagulat. Parang sating mga Pilipino, di ko alam kung tama yung term, ang baboy. Diba, magkasama kayo sa isang kwarto, ex mo, kapatid ko, diba? So parang disgusting. J: Kung ikaw nga si Jane, anong mararamdaman mo kapag nagawa yun? Z: Ako siguro, kung ako si Jane, ansakit sakin na layuan mo ako na parang may nakakahawa ba akong sakit, para layuan mo ako? Pwede naman ako sigawan mo ako, parang pwede naman tayong mag-usap ng maayos na di ganito na sisigawan mo ako, lalayuan mo ako na parang nagugulat ka or nandidiri ka sakin... J: Saan mo nakuha yung di dapat ginagawa yung ginawa ni Marco? [00:44:00.02] J: Yung mga minention mo na: "Wag kang lalayo sakin na parang may nakakahawa akong sakit." Z: Siguro yung mga parents ko rin siyempre pag may tao, tapos di mo kakilala, wag kang lalayo agad-agad. Parang disrespectful naman na kakakilala lang natin, mag-hi, tapos kung ayaw mo sa kanya, wag ka naman na mambastos na ipakita mo agad na ayaw mo sa kanya parang sign siya na pambabastos at ayaw mo sa kanya. J: (?) Ok. [VIDEO] J: Yung ginawa ni Marco na yun kay Jane, okay lang ba yun? Z: Na hilahin siya palabas? [00:45:00.07] J: Oo. Z: Siguro normal kung sa akin, ayus lang kung nagulat siya or na parang bakit siya nandito. Siguro naglalaro din sa isip nung guy na parang: "Ano bang meron satin? Ano bang nangyari satin? Bakit nandito ka sa kwarto ko?" Na hindi niya alam na baka nalasing siya or something... Yun. J: Kung ikaw si Jane, okay lang ba na gawin sayo yun? Z: Hindi. Yung hihilahin ako palabas? Parang di pa nga ako nakakapag-explain, diba? Di natin alam kung, malay mo ba kung ikaw yung nagyaya sa akin dito sa bahay mo. Since mahal kita, since gusto kita, sumama ako sayo, tapos hihilahin akong ganon. Parang wala karapatan hilahin akong ganon, hindi mo pa nga alam yung totoong nangyari that night. J: Bakit hindi mo gusto? [00:46:00.02] Z: Di ko gusto, kasi diba sinasaktan, hinihila mo na ako, sinasaktan sa pagkapit mo ako, hinihila mo na ako na parang walang respeto, yung parang bara-bara lang. Hindi mo pa nga alam yung totoong nangyari, ganyan ka na agad. Baka mamaya ikaw yung may kasalanan. J: Bakit mo nasabi na: "hindi mo dapat ako saktan..." Z: Simple lang. Wala ka pang alam para hawakan at saktan mo ako nang ganyan, at hilahin ako ng parang hayop. J: Saan mo nakuha yung ganyan pag-iisip? Z: Sa parents ko. Pag sinasabi nila wag papayag na masasaktan ako ng walang dahilan tyaka sabi rin ng parents ko, "wag kang papayag na nasasaktan ka, sa kahit anong dahilan kung kaya idaan sa pag-uusap-[00:47:00.16] Z: --sa matinong pag-uusap. Doon. Pero wag kang papayag na hinihila-hila ka, sinasampal ka or something." J: Kung ikaw naman si Marco, anong naramdaman mo kapag biglang dumating si Eula tapos nagising ka na lang.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

190

  [VIDEO] J: Okay lang ba yun? Hindi mo inaasang tao, in this case si, Dawn. Z: Ako si Marco? J: Oo, ikaw si Marco. Okay lang ba sayo, hindi inaasahang tao. Z: Magugulat ako na hindi ko ineexpect na dadating ka tas ganito pa yung situation natin na may girl sa kwarto ko, fiance kita. Siympre maiisip mo tapos ganon pa yung suot? [00:48:00.04] Z: Diba, may nangyari, automatic na yun na may nangyari sa inyo, sa inyong dalawa, tapos ganyan pa yung sinabi niya na, ganoon suot mo... Diba kung bisita, bisita ba naman yung naka polo lang or something, so magugulat ako. Feeling ko end of the world na. Unexpected eh, fiance kita, future wife kita, tapos may kasama akong girl na ganito lang yung suot. J: Saan mo nakuha yung ganyang pag-iisip? Na pag nagsama isang babae, isang lalaki, tapos ganyan yung suot, sa isang kwarto? Z: Nature. Parents ko. Siyempre pag mag-asawa kayo, kayo lang dapat sa kwarto or mga anak niyo, wala nang iba babaeng pwedeng pumasok sa kwartong iyon kundi kayong dalawa lang. Given na iyon. [00:49:00.09] Z: And fact na iyon sa buong mundo, diba? Pero, huh, mag-asawa, fiance kita, may ibang kang babae sa kwarto. Yung totoo, tanggap ko pa kung sa sala eh, pero hindi sa kwarto eh. At alam kong kwarto mo yan diba? J: Pano mo nasabi na pag ganoon yung suot nila, nanggaling sila sa... C: Kung ikaw naman si Jane, tapos bigla kang sinugod ni Dawn, nakita kang ganon. Anong mararamdaman mo kung ikaw si Jane, magugustuhan mo ba iyon o hindi? Z: Ayoko. Ayokong masaktan, masampal, masabunutan. Ayoko ko lang. Siyempre, medyo di ko na alam yung mangyayari, siguro nagpapanic na yung-[00:50:00.00] Z: --utak ko. Nagpapanic na lahat sa akin na parang kung pwede lang tumakbo, tatakbo na ako. Kasi di ko alam kung ipapagtatanggol ako ni Marco kay Emily, kasi si Emily, galit na galit na eh. Lahat ng possible na gawin niya sayo, gagawin niya. Kung ano yung mahawakan niya, pwede niyang ibato. Parang out of the... Kung ako yun, kung ako yung nasa position niya, tatakbo ako ng ganito suot ko or... or tatakbo ako sa kwarto, lahat eh, kasi di mo alam kung ano pwedeng gawin sayo pag nagalit sayo yung isang tao. J: Kung ikaw nga si Jane, okay lang or di okay? Z: Hindi okay. J: Bakit? Z: Alam kong may mali ako, siguro may mali ako, pero pag-usapan muna natin, idaan natin sa maayos na paguusap. Hindi mo alam yung nangyari diba? Malay mo, ako sasaktan mo, pero yung fiance mo yung may kasalanan, dinala niya ako dito. [00:51:00.04] Z: So parang... nag-judge ka na agad based sa nakita mo, hindi mo man lang hiningi yung opinion ko or explanation ko kung bakit ako naka ganito. C: Kung ikaw naman si Emily, anong mararamdaman mo dun sa ginagawa ni Marco sayo? Z: "Tigilan mo ako. Umalis ka diyan. Away na to." Siguro ako, mararamdaman ko, parang pinapakita niya na ipinagtatanggol ni Marco si Jean na parang showing siya, na once pinipigilan, may pinagtatanggol eh. May, once ginanyan mo ako, inaawat mo ako, kasi parang ayaw mo siyang masaktan, ayaw mong-[00:52:00.02] Z: --may mangyaring masama dun sa isa. C: Saan mo nakuha yung pag-iisip na pag ako ganito, pinipigil mo, tapos may gusto akong sugurin na tao, tapos pinigilan mo ako, fiance pa kita. Saan mo nakuha na may something sa inyong dalawa? Z: Na may something...? C: Dun sa other party. Kung ikaw si Emily, pinigil ka ni Marco.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

191

  Z: Normal diba, pag may away... C: Magugustuhan mo ba yung ginawa ni Marco? Z: Ayoko, away na nga to. Magagalit ako, makakapagsabi ako ng bagay-bagay para bitawan ako ni Marco at masaktan ko, kasi dun ko mabubuhos yung damdamin ko, yung feelings ko. Parang hangga't di ko nasasaktan yung babaeng, di ako magiging okay, so tigilan mo ako. [00:53:00.04] C: Saan nanggaling yun? Saan mo nakuha yung ganyang pag-iisip na pag ako may gustong gawin, wag mo akong pipigilan? Z: Di ko alam. Feeling ko... J: Saan mo nakuha? Z: Di ko alam kung ever since ganon na siya, di ko sure kung sa daddy ko, kasi daddy ko ganyan, ay joke hindi pala. Feeling ko... hmm... Hindi ko alam, basta feeling ko, built-in, normal na siya sakin. Hindi ko alam kung saan naadapt. Hindi naman sa parents ko kasi mommy ko tahimik eh, tapos ganon din siya pag nagalit, dun lang pero di siya yung... daddy ko hindi din. Feeling ko nature, yan yung nature na talaga na siguro ever since the bata or natutuhan mo na lang or emotions-[00:54:00.00] Z: --Hindi ko alam kung saan talaga siya nanggaling. J: Kung ikaw si Marco... [VIDEO] J: Nung tinulak siya, sinampal siya, tapos ito... [VIDEO] J: Okay lang ba sayo yun, kung ikaw si Marco? Z: Hindi. Siyempre parang magwawalk-out ka, diba nga pag-usapan natin to ng maayos. Tulad nga ng sabi ko, lahat ng bagay nadadaan sa matinong usapan, kailangan lang natin maging open-minded, pero siyempre sa akin, wag ka na magwalk-out, lalo na-[00:55:00.02] Z: --kung mahal na mahal mo. Katulad niyan, mahal niya si Emily, so parang... pag-usapan natin, kung kayang ayusin, ayusin na natin ngayon kasi mahirap na, baka dumating yung panahon na pag tumagal pa, lalong lumala. J: Kung ikaw si Marco, ano mararamdaman mo kung tinulak ka tapos sinampal ka? Z: Masakit, kasi physical, siyempre masakit na masampal or matulad diba? Masakit kasi kayang gawin yun ng taong mahal mo, ng someone na di mo expect na... Para siyempre diba, kung nasa isang relasyon kayo, parang ang iisip mo yung all the love, diba parang ansakit lang isipin na dahil lang sa ganitong pangyayari, nasasaktan ang isa't-isa. [00:56:00.07] C: Saan mo nakuha mo yung pag-iisip na "mahal mo ako, nagkasakitan." Saan mo nakuha? Z: Ako sure ako sa parents ko. Sure ako sa parents ko kasi parang, nasabi lang sakin nila mama and si daddy na parang: "Daddy ko ganyan eh." Pag daw nag-asawa kami, sisiguraduhin daw namin na mahal na mahal kami ng asawa namin at hinding hindi kami sasaktan kasi parang diba, I mean, masakit masaktan, kasi yung sakin, nandiyan lang siya. Paluin ka, after ilang minutes wala na eh, pero yung mas mabigat yung bakit ka pinalo, yung taong pumalo sayo. Yun na, yung tao yung may impact-[00:57:00.05] Z: --hindi yung physical na pagpalo, so parang... basta sinabi sakin ng daddy ko na wag na wag kaming papayag na masasaktan kami, lalo na kung someone na mahal namin, so parang yung nga, mga magulang diba, pag pinapalo ka ng nanay mo, hindi yung sakit nung palo eh, yung magulang mo napapalo ako, mahal mo ako diba? Pag mahal, diba hindi sinasaktan diba, sinabi niyo yan sakin na: "Mahal kita anak kaya ko to ginagawa." Eh, "Mahal mo ako, pero bakit mo ako sinasaktan?" Nandoon yung cycle na sinasabi nila na wag kang papaag na masasaktan ka, tapos pag

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

192

  sila yung nanakit, wag kang papayag na "ginagawa ko lang anak kasi mahal kita." Tapok ako, "Huh? Bakit? Sabi mo..." J: Pag ginagawa sayo ng magulang mo, anong nararamdaman mo? [00:58:00.06] Z: Masakit. Pumapasok sa isip ko: "Mahal mo ako, tapos sinasaktan mo ako? Pinapalo mo ako? Kinukurot mo ako?" INTV w/ Pia Viray Interviewed by Joelle Robles/Christelle Tolisora [00:00:00.00] J: Please state your name, age and nationality. P: Pia Nicole Viray. 20 years old. Filipino. J: How long have you been living here in the Philippines? P: 20 years. J: And do you watch Filipino drama? P: Yes. J: For the past 6 months, ano yung mga drama na napanood mo? P: Mirabella, Pure Love, Got2Believe, Ikaw Lamang, Moon of Desire, saka yung Anak ni Zuma, Andi Eigenmann. J: Ah, sa tanan ng buhay mo. P: Hm. J: Estimate mo, nakailan kang Filipino drama? P: 20 plus siguro. J: Um, napanood mo ba yung Tayong Dalawa? P: Kay Kim Chiu? J: Oo. P: Mhm. J: Yung, Ina, Kapatid, Anak. P: Mhm. Kim Chiu rin yun di ba? J: Oo. Si Maja.. P: Maja oo. Yung magkapatid sila? J: Oo. Walang Hanggan, si Julia, si Coco. P: Mhm. J: Okay. May papanood kami sayo. [00:01:01.29] J: May papanood ako sayo, alam mo naman, naaalala mo naman yung situation? P: Oo. (show video) P: Grabe ilong niya diyan oh. [00:02:46.28] P: Selos! [00:03:14.15] J: Okay, diyan sa scene na yan... P: Bitin. (laughs) J: Mayroon ka bang behavior or gesture na nagustuhan, or di nagustuhan? P: Una yung lumapit si Margaux? Si Maja? Kasi parang nung paglapit niya, inexpect ko na na may mangyayari nang sampalan. Kasi, gumaganun siya sa kamay niya eh. Alam mo yung parang nagreready siya. Pero hindi ko inexpect yung kay Kim Chiu. J: Bakit? P: Na sasampalin niya rin. Pero napansin ko na mas malakas sampla ni Kim Chiu. Pero yun lang. J: Okay. Ah sige. Tanong ko sa'yo.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

193

  [00:04:01.06] J: Alam mo yung situation noh? P: Oo. Hindi tanggap na kapatid niya si Kim Chiu, tapos nagseselos siya. J: So si Margaux, and Celyn they're sisters. P: Mhm. J: Put yourself in the shoes of Celine. Okay lang ba sayo yung ginawa ni Margaux? P: Kasi mabait ako, ganun ba? J: Hindi, hindi. Kung ikaw lang yun. Don't ano. P: Uh... Ako okay lang. J: Na sampalin ka ng kapatid mo? P: Kasi naintindihan ko naman siya. Kasi siyempre, di naman sa... di ba di sila lumaki together. Nagkakilala lang sila nung matanda na sila. Ngayon, okay lang sa akin, dahil naiintindihan ko siya, since dati, hindi hati yung atensiyon nung mom niya. Sa kanya lang. Kaya naintindihan ko nagseselos siya. Kasi nga ngayon, kasi pinupuno ni... Sino yung girl, yung nanay? [00:05:03.09] J: Si Beaitrice. P: Oo, iyun. Pinupuno niya yung pagkukulang niya kay Kim Chiu. Kaya di na niya masyadong napapansin si Maja. J: Kung ikaw si Celyn, anong mararamdaman mo kung bigla kang sinampal ng kapatid mo? P: Magugulat ako. J: Bakit? P: Kasi, parang parang... alam... pag di ba, alam niya na hate naman siya. Parang mas naramdaman mo yung hatred sa'yo since physical pain yung binigay sa'yo ng kapatid mo, yun. Magugulat ako. J: Bakit? Bakit ka ulit magugulat? P: Kasi, alam ko na ayaw niya sa akin. Pero, parang mas pinrove pa niya yung hatred niya na kahit alam niya na magkapatid kami, na magagawa niya yun, kahit na magkapatid kami. [00:06:01.15] J: So, san mo nakuha yung paniniwala na 'pag magkapatid kayo, hindi mo dapatP: Saktan? J: Oo, hindi mo dapat gagawin yun? P: Sa family? Kasi, ako kahit wala akong mga kapatid, nakikita ko yung mga may kapatid sa family namin tapos, 'pag once na may nagawa sila or something na nasaktan nila kapatid nila, humihingi sila agad ng sorry, or finifilter muna nila yung utak nila bago muna nila sabihin o gawin ang isang bagay. Para hindi nga nila masaktan yung kapatid nila. J: So, paano mo nasabi na, 'pag magkapatid, hindi dapatP: Nasasaktan? Kasi nga magkapatid kayo, magkadugo kayo. Once na nagkaroon ka ng problem...outside family mo, ang matitira mo lang na kakampi is yung kapatid mo saka yung parents mo. [00:07:04.04] P: So, bakit mo pa aawayin ang matitira mo na lang na kakampi? J: So paano mo... saan nanggaling yung ano na... kapag kadugo mo, kapag kapatid moP: Kakampi? J: Kakampi mo... Paano mo nabuo yung thought na hindi mo dapat sila sinasaktan dahil kakampi mo sila. P: Kasi nga, since galing kayo sa iisang dugo. (laughs) WeirdJ: Saan nga nanggaling yungP: Sa family. Yung mga turo ng magulang na… wag kayo...like kunyare pag nag-away, nagsesermon yung mom, sasabihin, "Wag nga kayong mag-away, 'pag kayong dalawa na lang natira sa mundo, kayo na lang magdadamayan. Kasi nga, magkadugo nga kayo, magkapamilya kayo. Walang tatanggap sa iyo ng-" Kung...basta... [00:08:01.02] P: Basta yung taong 'yun, yung kapatid mo, siya lang yung makakatanggap sa iyo, kahit ano ka pa man. Kahit masama ka, kahit mabuti kaJ: Maging sino ka man?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

194

  P: Oo, yun. J: Sino sa pamilya mo, since sinabi mo na wala kang kapatidP: Oo. J: Sino sa pamilya mo ang nakita mong sinabihan ng ganun? Ikaw rin ba sinabihan ka ng ganun? P: Hindi. Sa akin, pinsan. Kasi, yung turing ko sa mga pinsan ko, since ano... kapatid ko na rin sila. J: So, pinagsabihan ka na rin ng ganun? P: Parang kami ni ate May? Kasi dati nag-aaway kami nun. Tapos may nasabi akong masama sa kanya. Tapos nagalit yung mom, nung wala pa si Mama, nagalit yung mom niya sa akin. Kaya, bakit ko daw ginaganun si ate May. Unang una daw mas matanda siya. Pangalawa, kami na nga lang magdadamayan, if ever na wala sila. Yun. J: Ano bang ginawa mo? P: Ang sabi ko sa kanya, pinapaaral lang siya ni Mama. [00:09:01.21] J: Uh, paano siya nagreact nung sinabi mo yun? P: Nagulat siya kasi parang, parang yung dating ata is ginagamit lang niya yung pera ni Mama. J: Ahh... P: Yun. J: SInabi ng tita mo sa'yo na nung sinabi mo 'yun parang hindi mo dapat pinagsalitaan ng ganun si Ate MayP: Oo. J: Dahil mas matanda siyaP: Mas matanda, saka kami... turingan nga namin is magkapatid. J: Saan kaya nanggaling iyon na hindi mo... kapag matanda sa iyo, hindi mo dapatP: Sasagutin? J: Oo, saan nanggaling iyon? P: Turo din ng ano... ng magulang. Parang respeto? Since nga, mas may alam sila sa'yo. Sila yung magguide sa'yo kaya kailangan respetuhin mo yung age nila. Ang haba nun ah. J: Isa pa. Ah... Kung ikaw naman si Ce[00:10:01.13] P: Celyn? J: Si Margaux. P: Ah, si Margaux? Dun sa ano? J: Mhm... P: Yung ako rin nasaktan, ganun? J: Ikaw yan. (shows video) Okay lang ba yan, na gawin sa iyo ni Celyn. P: Hindi, magagalit ako. J: Bakit? P: Kasi hindi niya dapat ginawa yun. J: Bakit sa tingin hindi niya dapat ginawa sa iyo yun? P: Since alam kong mas mabait siya sa akin, na hindi niya yun kayang gawing yon sa akin, pero ginawa niya. (laughs) J: Bakit ganun? Bakit, bakit... dahil alam mong hindi niya kayang gawin sa iyo yun, eh... P: Alam kong parang mas may ano siya... parang mas kaya niya akong intindihin. Kaysa ako. Parang ganun. J: So, kung ikaw si Margaux, anong mararamdaman[00:11:00.05] J: mo kung sinampal ka? P: Magagalit, kita mo nga kaya sila nagcat-fight sila eh? J: Bakit ka magagalit? P: Kasi kahit, parang... ewan ko parang... wait lang ifoforumulat ko lang yung aking sentence. Kasi nga ako yung masama eh. J: Kahit hindi ka yung masama, so given the situation eh, kung ikaw si Margaux tapos sinampal mo yung kapatid moP: Wait lang, di ba dapat, wait alam ko na... Diba pag binato ka ng bato, batuhin mo ng tinapay? Ginawa niya binato rin niya ako ng bato eh.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

195

  J: Saan nanggaling yung thought na yun? P: Parang kasi, alam mo yun, diba sinampal kita, gumanti ka sa akin, di matatapos yung problema kasi maggagantihan lang tayo, so kung isa sa atin[00:12:00.07] P: nagpakumbaba at tinanggap na lang yung pagkakamali ng isa, matatapos agad yung away? J: So saan nanggaling yung paniniwala mo na pag binato ka ng bato, dapat batuhin mo na lang ng tinapay, hindi bato, para matapos na yung away? P: Sa school kasi pag kunwari yung kaklase mo tinusok mo ng ballpen ganon, tapos siyempre yung isang kaklase, lalaban siya or magpapakumbaba at magsusumbong sa teacher pa mahandle yung situation. Nasagot ko ba? J: Hindi okay lang. May nangyari na ba sayo na parang ganoon? [00:12:59.29] J: Tulad nung sinabi mo na kung ginawa sayo iyon, magugulat ka? P: Yung kay Celyn, yung part ni Celyn? J: Sa part mo, part ni Margaux. Pag sinampal mo akoP: Magagalit ako lalo kasi galit na nga ako kaya kita sinampal, tapos sasampalin mo ako, tapos magagalit ako. J: Sinabi yung... yung... I got lost, so... Kung ikaw si Celyne, okay lang ba na gawin sayo yan? P: Feeling ko oo, kasi yun naman ato yung gusto ko, kasi sinampal ko siya. Di ko naman expect na lalayo na lang siya agad. J: Pano mo pala ba nasabi na expect mo yan, kapag na[00:14:00.00] J: Sinampal kita, expect mo na yan. P: Gusto mo ng away eh. J: Pano mo nasabi na pag ginawa ko sayo yun, kunwari ako si Celyne ikaw is Margaux, tapos sinampal kita, tapos lumayo ka akin, okay lang yun sayo? Ikaw si Celyne, ikaw si Margaux, ginawa ko yun sayo, okay lang yun para sayo kasi naghahanap siya ng atensyon. Pano mo nasabi na kapag gumanti ka, okay lang na gantihan ka ulit? Pano mo nasabi yun? P: Kaya ka nga gumanti ulit kasi gusto mo i-prove na mas tama ka dun sa tao. J: Saan nanggaling yung paniniwala mo na yan? P: Saan ba galing? J: Saan mo napulot? Pano mo nabuo? P: Yung idea na iyon? Sa school din, kasi di ka naman magpapaapi sa school, kunyari inaaway ka, gaganti ka, so[00:15:00.06] P: kaya mo kunwari, may nang-aasar sayo tapos sumagot ka. Kaya mo sinagot kasi naghahamon ka ng away. Gusto mo i-prove na mas tama yung paniniwala ko kaysa sayo, kaya tigilan mo ako. Siguro ganon din, pag nag-give up yung taong kaaway mo, ikaw na yung panalo, so mas na-prove mo na sa kanya na mas malakas or mas dominant ako sayo. J: So eto naman, kung ito[VIDEO] J: Anong nakita mo na ginawa ni Margaux. P: May kinuha siya eh. Ano kinuha niya, susi? J: Ano yung nakita niyo na ginawa niya pa? [00:16:00.03] P: Wala, yun lang nakita ko? J: Okay, kung ikaw si Celyn, magkapatid kayo, tapos kakagaling niyo lang sa away, kung ako si Margaux, tinakbuhan kita, umalis ako bigla, ano mararamdaman mo? P: Ako si Ceylne? J: Okay lang ba sayo na bigla akong aalis, bigla akong magwawalk-out? P: Oo.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

196

  J: Okay lang sayo? P: Kasi feel ko panalo ako. J: Bakit? P: Kasi, parang you let your guard down. Siguro, pagod na rin siya sa pag-aaway kasi... yun. J: Pano mo nasabi na dahil sa nagwalk-out siya, ibigsabihin pagod na siya sa away. P: Kasi ayaw na niya na makipag[00:17:00.04] P: deal dun sa tao. Kung gusto pa niya maayos, aayusin niya yung sarili niya, tapos mag-uusap sila, pero hindi ginawa niya tinakbuhan niya yung problema. J: So pano mo nasabi na... Kung ikaw si Celyne, ano mararamdaman mo kapag biglang nagwalk-out, kunwari nagaway kayo ni Margaux, parang may isang arguement going on, tapos biglang umalis si Margaux, anong mararamdaman mo? P: Maguguilty. J: Bakit? P: Baka kasi may nasabing mali, or nagawang mali kaya umalis siya sakin. J: Pano mo nasabi na pag umalis ka, biglang umalis yung isang tao sa ano mo, may nagawa kang mali, may nagawa kangP: Kasi hindi naman sila lalayo kung[00:18:00.18] P: wala kang nasabing mali. J: Pano mo nasabi na hindi sila lalayo kung wala kang nagawa na mali? Saan nanggaling yun? P: Kasi ibig-sabihin nun, nasaktan mo sila, so kung hindi mo naman sila nasaktan, makikipag-usap pa rin sila sayo. Or kunwari, may nasabi ka, napikon sila or nainis, so kaya sila aalis. J: Pano mo nasabi yung sinabi mo? Saan mo nakuha? P: Sa friends? Pag kunwari like... kailan ba? Ah. Like one time, sinugod ako sa classroom tapos parang ako yung nagwalk-out kasi may mga sinabi siya na hindi ko na kayang sagutin, so instead of mapahiya ako, ako na lang yung umalis. J: Ano yung naging reaction nung winalk-outan mo? [00:19:00.16] P: Natawa siya kasi para ngang natalo ako. J: Okay. Next scene na tayo. Tayong dalawa, napanood mo? So kilala mo si Audrey, si JR, si Dave, si Gretta? Naalala mo pa yung scene na to, na nag-away si Dave at tyaka si Audrey kasi nalaman niya na kinama ni Dave si Gretta? P: Hindi na masyado. J: Kasi etong scene na to, eto yung nangyari, diba magkaibigan sila? Si Dave tyaka Audrey, magboyfriend. Sina JR tyaka GrettaP: Si Audrey si? Kim Chiu? J: Kim Chiu. Si Dave si Jake Cuenca. Si JR si Gerald Anderson, si Alessandra de Rossi si Gretta. Si Gretta tyaka si Gerald Anderson, childhood friend sila pero may gusto si Gretta sa kanya. Tapos nalaman nila na magkakaibigan silang apat, tapos nalaman nalang ni[00:20:00.24] J: Kim Chiu tyaka ni Gerald, nina JR tyaka ni Audrey na kinama ni Dave si Gretta. P: Na inano? J: Kinama. P: Ah, may nangyari? J: May nangyari sa kanila. So, may nangyari sa kanila, kasi nagpakama si Gretta sa kanya para mabayaran yung... para makapunta si JR sa PMA, kaya ngayon nalaman nina JR tyaka ni Audrey, so eto yung nangyari. [VIDEO]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

197

  [00:24:22.02] P: Bitin. J: Dun sa napanood mo, may specific na behavior, gestures ka ba na nagustuhan, di nagustuhan? P: Ayoko nung niyakap ni Jake si Kim. j: Bakit? P: Kasi parang manyak. J: Pano mo nasabi yung niyakap ka nang ganon, manyak? P: Eh kasi diba nanggaling na siya kay... parang andumi niya ew, kasi call girl siya. Iyon, so parang don't touch me. J: Kung ikaw si Kim Chiu dun sa scene na iyon, okay ba yun o hindi? P: Hindi kasi alam na nga niya na may[00:25:00.29] P: something wrong sa amin tapos lalapitan pa niya ako? Mas lalo akong maiinis. J: Bakit? P: Kasi nga nalaman ko na may nangyari sa kanilang dalawa na hindi man lang sinasabi namin ni JR. Parang traitor. Parang taksil, ganon taksil. J: So, kung ikaw si Kim Chiu, so... ano mararamdaman mo, kung ginawa yun sayo, na nag-aaway kayo taposP: Pinipilit niya yung sarili niya sa akin. J: Sa tingin mo yun yung ginagawa niya? P: Oo. Yun yung dating eh. Parang since gusto niya na patawarin ko siya agad, dinadaan niya sa[00:26:00.10] P: skinship na dati okay yun kasi ayos pa rin lahat tapos ngayon na may something wrong tapos skinship parang nakakairita lang na parang lapit ka nang lapit pero may something wrogn nga. J: So bakit, nakaka-irita sayo na lapit nang lapit yung tao, o nagsiskinship yung tao na hindi ka okay? P: Kasi at that time, parang ayaw mo ng... you don't want anything to do with them kasi nga asar ka tapos ambigat pa ng problema niyo. So as much as possible, baka may magawa akong other than sampal or something, so dumidistansya kasi baka may masasaksak or something kasi nga galit ka eh. J: Saan nanggaling pag galit ka isang tao[00:26:59.29] J: ayaw mong lumalapit siya sayo, hinahawakan ka niya? Saan nanggaling yun? P: Pag nagkaroon ng arguments sa bahay or sa school, kasi sa school tyaka bahay, may rules na sinusunod. J: Ano yung mga rules na yun? P: Yung nga, respeto, tyaka wag saktan. So kung pinipilit pa rin niya yung sarili niya tapos ako pa naman... yung yaya ko dati, sabi niya magaling siya mag-drawing, bata pa ako nito? J: Ilang tao ka? P: Mga 7. Tapos nagpadrawing ako ng cloud na susi, tapos hindi niya magets, tapos naasar ako, tapos sinasabi pa niya na hindi ko nga alam eh. Tapos ako sabi ko pa, bakit sabi mo may mama[00:28:01.28] P: na marunong ka mag-drawing? Siyempre bata pa ako niyan. Edi yun, kasi malapit siya noon sa akin, naiinis ako noon sobra, tinusok ko siya ng ballpen sa legs, tapos umiyak siya dun. J: Nung ginawa mo yun, anong naramdaman mo? P: Galit ako kasi ayaw niyang i-drawing yung gusto ko eh. Ayaw niyang ibigay yung gusto ko. J: So, sa tingin mo, ano yung naramdaman niya? P: Naiyak siya. Siguro nasaktan siya kasi nga tinusok ko siya ng ballpen. J: Diba sinabi mo na pag galit eh lumayo ka muna sa tao na galit ka kasi baka mag magawa ka. Saan nanggaling yun, yung mentality mo na ganoon? P: Siguro sa akin. [00:29:00.24] P: Observations ko sa akin. Alam mo yung may galit ka, galit ka sa moment na iyon, andaming thoughts na pumapasok sa utak mo na minsan, pag sobrang galit ka, hindi mo na alam yung ginagawa mo, tapos yun pala

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

198

  nasaksak mo na or something. So yun, ako, as much as possible kapag galit ako sa situation na iyon, ako na yung lumalayo, kasi baka may magawa pa akong, yun nga tulad ng sa yaya ko. J: Aside dun sa nakita mo sa niyakap ni Jake, ano pa yung nakita mo? P: Yung ginaganon niya yung ulo niya. Yung parang, bakit ba niya ginawa yun? J: Ipapakita ko sayo. Put yourself in Dave's shoes, may nagawa kang kasalanan, [00:30:00.04] J: nag-away kayo ng girlfriend mo. [VIDEO] P: Hinablot siya? Ah. Sinampal siya. J: Sinampal siya ni Audrey. Kung ikaw si Dave, okay lang ba yun? Na sampalin ka? P: Oo kasi mas masakit yung ginawa ko sa kanya eh. J: Pano mo... P: Kasi parang... kung ikaw guilty ka dun sa ginawa mo, okay lang na saktan ka rin ng taong nasaktan mo para patas lang yung pain na dinanas niyo. J: Saan mo nakuha yung pag-iisip na yun? Na kailangan patas kayo sa sakit? P: Ganoon sa gantihan. J: Saan mo nakuha yun? Saan mo napulot? P: Sa school[00:31:01.08] P: kasi di naman pwede naman sa bahay.Pag kunwari may kaibigan ka tapos... kunwari tinulak ka niya sa stairs, edi ikaw din, gusto mo iparanas kung ano yung dinanas mo, so itutulak mo rin siya sa stairs. J: Okay sige. P: Ah, iyon. It's about getting even. At the end of the day, yes. J: So kung ikaw si Dave, anong mararamdaman mo kapag sinampal ka? P: Okay lang. Kasi naiintindihan ko siya, galit siya eh. J: Kunwari nag-aaway kayo ng somebody mo, anong mararamdaman mo pag sinampal ka? P: May ginawa ba ako, yun yung tanong? Meron? Okay lang. [00:32:00.20] J: Sa tingin mo, okay lang yung ginawa? P: Oo. J: Okay. Eto. [VIDEO] J: Ano yung ginawa ni Jake? P: Hinawakan niya yung kamay, para makinig. J: Sa tingin mo ba, okay lang yun? Kung ikaw si Kim Chiu, okay lang ba yung ginawa ni Jake? P: Hmm... Hindi kasi nga ayaw kong maging malapit sa kanya at that moment tapos hinahawakan niya yung kamay ko. J: Bakit? P: Kasi gusto niya akong pilitin na makinig dun sa mga explanation niyang walang kwenta naman. J: Kung ikaw si Kim Chiu, anong mararamdaman mo kapag kunwari, [00:33:00.13] J: may boyfriend ka... may boyfriend ka ba? P: Wala. J: Okay. Sabihin mo lang, if ever na magkakaroon ka ng boyfriend or kaibigan na nag-away kayo, tapos hinahawakan ka niya. Anong mararamdaman mo? P: Maiinis kasi pinipilit niya akong makinig sa kanya eh ayaw ko ngang makinig sa kanya.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

199

  J: Bakit maiinis? P: Kasi pinipilit niya akong makinig sa kanya eh in the first place, bakit hindi niya inisip yung kapakanan ko nung ginagawa niya yung mga kasalanan niya? J: Kung ikaw naman si Dave. [VIDEO] [00:34:01.18] J: Anong ginawa ni Kim Chiu. P: Nagwalk-out siya. Hindi, tinalikuran niya yung kausap niya. J: Kung ikaw si Dave, okay lang ba yun? P: Hmm. Hindi, kasi hindi pa ako tapos mag-explain. J: Bakit hindi okay na talikuran mo, umalis siya, habang di pa siya tapos mag-explain? P: Kasi parang mas napakita na ayaw siyang pakinggan tyaka wala na talagang pag-asa na patawarin siya. J: Pano mo nasabi yun? Pano nabuo yung perception na iyon sayo? P: Saan nanggaling? Sa mga away. J: Away saan? P: Away sa school. J: Away involving? P: Kunwari yung... kunwari kasi yung[00:35:00.17] P: kaklase ko noon lagi niyang sinusuway yung teacher, tapos at that time, wala naman talaga siyang ginawang masama, ayaw maniwala sa kanya ng teacher, so ginawa niya, inexplain niya yung sarili niya sa teacher. Yung teacher, since alam na nga niya na dati pa medyo, papetik-petiks ganon, so kahit ngayon na sinasabi... na totoo na yung sinasabi niya at wala siyang ginawa, kasi noong una pinapaniwalaan yung mga mali niyang ginawa dati, so pagod na yung teacher makinig kaya umaalis na lang. J: So, sa tingin mo, anong naramdaman mo nung estudyante? P: Parang nawalan ng pag-asa. J: Ano yung nakita mong reaction niya? P: Hinabol niya yung teacher kasi gusto pa niya talagang[00:36:00.00] P: mag-explain pero wala na. J: Kung ikaw si Dave, anong mararamdaman mo? Kung tinalikuran ka ng kausap mo bigla habang kinakausap mo siya, nag-eexplain ka pa? Kahit given na may kasalanan ka, or mukhang may kasalanan ka? P: Parang tinanggal yung puso ko tapos tinapakan. Parang nawala lahat ng dugo sa katawan, ganon. Kasi since sobrang importante ni Kim kay Jake, na parang sobrang doon na nagrerevolve yung buhay niya, so parang ang nangyari doon, tinanggal si Kim Chiu sa buhay niya. Kumbaga sa pasyente sa ospital na ginaganyan yung lungs, yun. J: Okay gets. Eto naman. Alam mo yung situation nila diba? Nagtalo sila tapos umalis si Gretta. [00:37:01.08] P: Wait lang. Alam ba niya na call girl to, tapos naging jowa pa rin niya? J: Di sila mag-jowa. May gusto lang si Gretta, kaya niya ginawa para kay JR. P: Bakit niya hinahayaang maging call girl? J: Hindi talaga siya call girl. Nagtatrabaho siya sa bar, parang GRO lang siya, pero naging call girl tapos kinama siya ni Dave, kasi baon na daw sila sa utang. Okay lang ba sayo na, galit ka dun sa tao tapos hinawakan ka ng ganoon? P: Sino ako, si Gerald? J: Ikaw si Gretta. P: Ako yung girl? Ako yung nagkamali. Okay lang. J: Dun sa ano na yan, may galit ka sakanya kasi parang[00:38:00.09] J: hindi daw siya binigyan ng chance, tapos nagalit ka sa kanya.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

200

  P: Okay lang kasi ibig sabihin noon, handa siyang tanggapin yung explanations ko, kahit konte lang. J: Si Gerald? P: Si Gerald. J: Okay lang? P: Okay lang. J: Ano mararamdaman mo kung ikaw si Gretta, galit ka ganyan? Tapos... lumapit si Gerald, hinawakan ka, anong mararamdaman mo? P: Okay lang. Parang narerelieve ng onte kasi yung gesture niya na yun means handa na siya ulit na makinig sa akin tyaka may onteng chance na magiging okay na lahat. J: Kung ikaw si Gretta, sa nangyari sa inyong four, aasahan mo bang gagawin ni Gerald yun? P: Oo, since[00:39:00.03] P: parang understanding si Gerald... tyaka parang as much as possible, gusto niyang maayos yung lahat ng relationships niya. J: Paano mo nasabi na understanding yung isang tao o gusto niyang maayos yung relationships agad, parang makeup, na gagawin niya yung gesture. Ano bang ginawa ni Gerald? P: Unang una na compare kay Jake, tumataas yung boses niya tapos defensive, si Gerald, iniintindi niya yung situation tyaka mahinahon yung pagkakausap niya kay Alessanda. J: Pano mo nasabi na... Ah. Eto yung tanong ko. Pano mo nasabi na[00:40:00.03] J: ano... diba sinabi mo naP: Na trip niyang makipag-ayos? J: Oo. Pano mo nasabi na gusto niyang makipag-ayos, dahil ginawa niya yung gesture na yun? Bakit mo nasabi? P: Kasi nga yung mga pinapakita niya before, na maayos siya makipag-usap, kahit alam niyang may problema. Parang simula pa lang ng argument nila, maayos na yung pagtanggap ni Gerald, na instead of itsurang nagmamakaawa, parang nagpapaawa na itsura, ganon yung itsura ni Jake Cuenca, mukha siyang nagmamakaawa. Siya, parang neutral siya, kung magkaayos, edi magkaayos, kung hindi, iyon. J: Thank you. Eto naman tayo. Naalala mo ba tong Walang Hanggan? P: Oo. [00:41:00.01] J: Alam... kilala mo si Marco, si Jean, tyaka si Dawn? So naaalala mo yung situation na to? P: Anong nangyari diyan? J: Dito kasi si Jean... Kilala mo si Jean? Si Eula Valdez, dati siyang asawa ni Marco, na akala ni Marco patay na. So bumalik siya, nagkunwari siya na kapatid ni Jane, which is her before, kasi iba na yung mukha niya. So there, parang strangers sila, tapos ngayon si Marco tyaka si Emily, sila, parang engaged na sila. Si Dawn tyaka siya. Eto si Emily kasi, eh, si Jean kasi pumasok siya sa kwarto ni Marco na parang, dahil namimiss niya yung asawa niya. P: Pumasok siya. J: Pero hindi na sila pwede, diba? Tapos pumasok si Marco, natulog, hindi niya napansin. So ngayon, ginawa ni Jean, tumabi siya kay Marco[00:42:00.02] J: Paggising ngayon ni MarcoP: Nakita niya katabi. J: Eto yung nangyari. [VIDEO] [00:43:37.26] J: Okay. Anong gestures... na nagustuhan, di nagustuhan sa pinakita ko sayo? P: Uhh... Yung hinatak niya si Eula. J: Ano yung-

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

201

  [00:44:00.15] J: Ano yun? P: Kasi, kunwari nasa kwarto ka, tapos lumabas ka sandali, tapos pagbalik mo nandoon na kunwari yung katulong mo, specifically sinabi mo na bawal ka pumasok kasi kwarto ko to, so gagawin mo papalabasin mo siya, tapos ipuprove mo na kwarto ko to kaya bawal ka dito, kaya kahit anong gawin ko sayo, basta nasa loob ng kwarto ko, okay lang. Dapat di ka magreklamo, tapos ininvade mo yung private space ko. J: So, ikaw, pag ginawa sa iyo na... parang ganon yung ginawa ni Jean kay Marco. So sayo, di okay yun? P: Yung alin? J: Na pumasok sa private... ano yung sinabi mo? P: Private space? J: Oo. P: Sino ulit ako? [00:45:00.02] J: Hindi hindi. Yung helper niya nasa loob tapos sabi mo, bawal pumasok dito, ang gagawin mo hahatakin mo siya paalis? P: Oo. J: Dahil? P: Para magtanda siya na wag na siya uli papasok kasi kung hindi, mas grabe pa yung magagawa ko sa kanya. J: Bakit mo na ano na hindi dapat pumapasok ang isang tao sa private space ng isang tao? P: Eh kasi, private space mo yun, tapos nirerespeto mo yung private space nila. Hindi ka naman pumupunta sa kwarto nila ng walang paalam, so ineexpect ko na irerespetuhin niya rin yung space ko tyaka kung ano yung binibigay sa akin ng tao, binabalik ko. J: Ah okay. Saan mo nakuha yung ganong paniniwala na una, dalawa eh. [00:46:00.00] J: Una, kapag... respetuhin mo yung private space, parang pag pumunta ka... kunwari sa kwarto, magpaalam ka. P: Or may kinuha ka na bagay. J: Bagay, gamit mo? Ganoon? P: Oo. J: Okay, kunwari, dapat magpaalam muna bago gamitin yung gamit, tapos pumasok sa mga kwarto or ganon. P: Kay mama, one time tulog siya tapos bata pa ako, kinalikot ko yung bag niya, as in binuhos ko lahat sa bed yung stuff niya, tapos nung paggising niya, sumigaw siya sa akin tapos umiyak siya, tapos nagsumbong siya sa lola ko, sa mommy niya. Parang bata lang, kasi daw hinawakan ko yung stuff niya tapos kinalat ko sa kama. So yun, nakakatakot magalit si mama. J: So pagkatapos noon? P: After noon, nagtanda na ako na[00:47:00.01] P: bawal i-touch yung gamit niya kasi magagalit siya. J: So, na-apply mo yun? Okay. Pangalawa yung... ah, nasagot mo na pala. So eto ngayon, kung ikaw si EulaP: Gusto ko si Dawn eh, pwede ba nating pag-usapan si Dawn? J: Ano yung nagustuhan sa ginawa ni Dawn? P: Nagsorry siya agd. Ah wait, sino ba? Si Dawn? Yung pagpasok niya, nakita ko na lahat! Yun lang nakita niya, tapos nakita na niya lahat? J: Um, sige, babalikan natin yan. Simulan natin kay Eula, napanood mo na to? [VIDEO] [00:47:59.27] J: Kung ikaw si Eula, okay lang ba yung ginawa ni Marco? P: Okay lang, kasi nagsosorry din ako, kasi alam kong mali yung ginawa ko. So okay lang. J: Pero kung ikaw si Eula, ano mararamdaman mo... wait lang. P: Medyo magulo ka bro, haha! J: Ano sagot mo? Bakit okay lang?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

202

  P: Okay lang kasi alam kong mali yung ginawa ko. J: So, ano ba yung ginawa ni Marco. P: Hinila niya si Eula palabas. J: So, bakit sa tingin mo na okay lang na pag may ginawa kang masama, okay lang na gawin yun sayo. P: Kasi patas lang kayo, na parang nag-get-even. J: Ano mararamdaman mo kung ginawa yun sayo? Na may nagawa kang masama, tapos ginawa yan sayo, hinila ka, kinaladkad ka. Anong mararamdaman mo? P: Siyempre sakin[00:49:01.27] P: hindi. Magagalit ako, kasi bakit mo ako kinaladkad, pwede naman tayong mag-usap nang maayos? J: Okay. Bakit sa tingin mo dapat mag-usap nang maayos, hindi yung ginagawa yung pananaladkad? P: Kasi ako, as much as possible, mag-usap muna. Kung hindi na talaga kaya at hindi nila ma-contain yung sarili nila sa galit, tyaka lang kayo magsuntukan. J: Saan nanggaling yung paniniwala mo na yan? P: Sa sarili ko, tyaka mas lalo na nakaaway mo yung pinaka-favorite mong tao sa buong mundo, siyempre gusto mong mag-usap kayo, magkaayos, pero iba naman kapag sa kaaway mo na nag-away kayo, siyempre iisipin mo na sapakin mo na yung mukha kasi nga galit ka eh. Siguro depende na rin yan sa tao. J: Sa tao? P: Sa tao na gumawa sayo noon. Kung important siya or[00:50:00.15] J: Parang ganon din yung sa relationship? P: Oo relationship. Yun yun. J: Okay so... P: Pero si Dawn talaga... Haha! J: Okay. Yun diba? Kung ikaw si Marco, okay lang ba... put yourself on the shoes of Marco, tapos ganon yung sitwasyon niyo, okay lang ba yung biglang pagdating ni Dawn? P: Yun yung sinabi niya? J: Hindi sinabi, yung biglang nandiyan na siya. P: Hindi, kakabahan ako nun, kasi parang magwoworry ako, anong part yung narinig niya? J: Okay. Bakit mo nasabi na... bakit ka kakabahan? P: Siyempre, pag alam niya yung pinag-uusapan, mag-aassume na yun. Andami-dami nang i-aassume, instead of dun lang sa... parang pinitik mo yung domino[00:51:01.15] P: Eh ang gusto mo lang mapatumba yung isa, yung nakadikit siya sa isa, so lahat... so lahat is nasama na. J: Kapag ngayon... bakit takot na takot ka na mag-assume siya nang mag-assume? P: Kasi alam mo naman yung utak ng tao na once na kunwari, let's say, kunwari laging umaalis sa bahay kasi gumigimmick, pero yung sinasabi nagpupunta sa school tapos biglang nagkukwento ka about sa gimmick tapos biglang pumasok yung nanay mo tapos, ah kaya pala lahat ng lumalabas ka[00:52:00.00] P: Gumigimmick. Gets mo na parang lahat ng times na umalis ka sa bahat, kahit for school talaga, is for gimmick. J: So, kapag ikaw yung ano tapos dumating yung nanay mo, ano yung mararamdaman mo? P: Parang umikot sikmura ko nun, tapos parang di ko alam kung pano i-eexplain kasi unang-una nagsinungaling ka noon tapos narinig ka niya, so wala ka talagang lusot, iyak ka na lang. J: Meron ka ba na similar time na nangyari yun? Na parang fuel situation. P: Meron akong inaano noon na teacher, kasi naaasar ako, so kinukwento ko sa kaklase ko, tapos biglang dumating yung teacher sa likod, pero buti wala siyang narinig, parang patay-mali ka na lang, i-change yung topic tayo. J: Anong naramdaman mo nung nakita mo siya? P: Parang nawala yung kaluluwa ko. J: Anong mga specific na ano? [00:53:00.06]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

203

  P: Kasi alam ko na once nalaman niya na may hinanakit ako sa kanya, pwede niya akong bigyan ng BR, behavioural report, tapos pwede niyang ipatawag parents ko. J: So, nung dumating siya... ano yung feelings? P: Kinabahan na parang gusto mong magwala, na parang bakit ka pumasok? J: Inisip mo ba na nandoon siya? P: Hindi, kasi alam kong lagi siyang late pumapasok sa classroom, eh biglang ang aga niya nun, so nashabug ako. J: Anong nashabug? P: Nagulat. Parang nasampal na... J: So gusto mo yun or hindi? P: Hindi. Ayoko ng ganon. So parang pag nag-uusap, titingin ka muna sa likod. J: Okay sige, going back. [VIDEO] [00:54:06.19] J: So kung ikaw to si Dawn, hindi kung ikaw si Eula, okay lang ba yung ginawa sayo ni Dawn? P: Na pumasok? J: Ano ba nakita mo na ginawa ni Dawn? P: Yung gumaganon? Gustong awayin? Okay lang, as much as possible, kung may space sa likod, pwede pa akong tumakbo. J: So kung ikaw yung nasa lugar ni Eula, anong mararamdaman mo kung bigla kang ginanon, bigla kang sinugod ni Dawn? P: Okay lang, pero parang gitna, kasi di niya alam kung ano yung nangyari tapos nag-aassume siya agad, pero at least may space sa likod, so pwede akong tumakbo. J: So bakit, so... [00:55:00.21] J: Reaction mo pag ginawa yun sayo? P: Tatakbo ako. J: Bakit? P: Ayoko masaktan eh. Tyaka... ayaw kong masaktan, tyaka wala ako sa mood para makipag-away. Yun. Haha! Ako ba yung pinaka-nakakatawa sa mga sumasagot? J: Kung ikaw si Eula, okay lang ba na gawin sayo ni Dawn yun? P: Okay lang kasi, yung space talaga sa likod, pwede pa akong tumakbo sa likod, tyaka... pero medyo, medyo lang naman kasi di niya alam yung nangyari. J: Bakit ano na... parang hindi mo gusto na[00:55:59.25] J: Sugurin ka nang hindi mo alam yung nangyayari? P: Kasi parang, ano pinaglalaban mo, te? Kasi kung hindi niya alam, tapos parang pumasok ka ng korte, wala ka namang criminal record tapos i-aano ka... i-jujudge ka, may trial... iyon. J: Bakit sa tingin mo, na kapag hindi mo alam yung nangyari, wag kang basta bastaP: Wag kang epal. Yun. J: Wag kang mag-aassume, wag mag-iisip ng kung anu-ano, bakit? P: Kasi parang kailangan alamin mo muna yung pinag-uusapan nila bago mo i-judge kung ano yung parte mo dun. Kung may participation ka ba or wala, kasi kung wala ka namang participation, wag mong... wag kang maki-butt-in kasi wala ka namang kinalaman sa problema eh. [00:57:04.23] P: Baka lumaki pa yung problema once na nagbutt-in ka. Ngayon, kung kasama ka sa problema, tanungin mo kung nagkamali ka ba or yung maling part nila para mag-ayos sila. J: Bakit? Para sa iyo, tama ba or mali ba yung ginawa ni Dawn? Na kung ikaw si Eula, para sayo, okay ba or di okay? P: Ngayon na-realize ko na di siya okay.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

204

  J: Bakit? P: Kasi di niya alam yung sitwasyon, kung ano yung nangyari. J: So bakit naisip mo na di okay kung ikaw yung si Eula. Bakit hindi okay na sugurin ka ni Dawn, eh wala naman siyang alam? Saan mo nakuha yung ganong pag-iisip? P: Pwedeng magkwento? Kasi, recent lang to[00:58:00.06] P: Nung Saturday, may inuwi na cheesecake si Kuya TJ, pagkain lang to, dalawang cheesecake. Nung gabi, kumain kami ni Erika tyaka ni Jason, so bukas na yung cheesecake, tapos kinabukasan, paggising ko, tinext ako ni Kuya TJ na na-comprimise na daw yung cheesecake sabi, tapos pinuntahan ko siya, sabi ko, anong nangyari sa cheesecake. Sabi niya, pareho daw binuksan, tapos biglang chineck ko yung ref, hindi naman bukas yung isa, yung isa lang tapos yung bawas tatlo pa rin, eh eight yung slices. Di, humingi ng cheesecake si mama, binuksan ko na yung pangalawa, tapos pagbalik niya, may kumain na naman daw, tapos fast forward, naubos lahat ng cheesecake. Naubos lahat. [00:59:00.09] P: Ngayon si Ate Tikang, nagagalit kasi yung fifth floor daw yung umubos ng cheesecake, eh ako lahat nung nakawitness, eh ang nangyari, yung nanay niya lahat yung nagbalot, tapos ako, bakit ka nagagalit eh yung nanay mo umubos! Ako yung dapat magalit sa nanay mo kasi siya yung nag-ubos. Tapos nung nalaman niya na yung nanay niya yung naka-ubos tapos parang nagalit pala siya sa ibang tao. So, in short napahiya siya. Yun yun. In connection doon, baka mapahiya lang si Dawn yung mali yung pinaglalaban niya. J: So para sayo, hindi okay? P: Oo, hindi siya okay. J: Kung ikaw si Eula? So saan mo nakuha yung pag-iisip na yun na kapag ako, walang ginawa, sinugod mo ako, hindi okay sa akin yun? Tyaka yung kailangan alamin mo muna yung sitwasyon bago ka[01:00:00.09] J: Sumugod, bago ka mag-assume. Saan mo nakuha yun? P: Away sa school. Di ako basagulera, tyaka yung incident nung Sabado. J: Sa school, sa bahay? P: Oo, sa bahay. Kasi nga, kasi ganito yun, ganito ko lang siya ma-eexplain yung pagsugod ng di alam, hindi ka naman pupunta sa gera ng walang baril tyaka bala, diba, so parang mukhang tanga dun. So, yun yun. J: Okay, so uulitin ko yung question ngayon, kung ikaw si Eula, ano gagawin mo, given na wala kang tatakbuhan. P: Walang space sa likod? Wala akong choice, so... J: So anong mararamdaman mo na bigla kang sinugod? P: Magagalit din. J: Magagalit din? P: Oo. J: Bakit? P: Kasi sinugod niya ako, wala naman akong ginawa sa kanya. May ginawa ako sa isa, pero hindi sa kanya. [01:01:00.07] P: So wala akong atraso sa iyo, don't touch me. J: Saan mo nakuha yung ano mo na pag wala akong ginawa sayo, wala kang karapatan na may gawin ka sa akin? Saan mo nakuha yung mentality na yun? P: Hmm... Sa observation, sa nangyari sa buhay? J: Saan? P: Elaborate pa? Parang... wait lang, mag-iisip ako. Yung nga yung incident... hindi rin eh, ano ba? Para kasing pag naglalakad ka sa Quiapo tapos nanakawan ka, tapos mabait ka na tao, bakit masama sa iyo yung mundo? Na-explain ko ba? J: So... parang ano namin. P: Parang karma. [01:02:00.03] J: Saan mo nakuha yung pag-iisip na karma? P: Sa bahay tyaka sa school. Bahay tyaka school lang naman yung pinupuntahan ko eh. Anti-social!

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

205

  J: Kung ikaw ngayon si Marco? P: Ang OA niya. Ang OA lang niya. J: Kung ikaw si Dawn, diba gusto niyang sugurin si Eula. Anong ginawa ni Marco? P: Pinigilan niya ako. J: Paano niya pinigilan? Ano yung ginawa niya? P: Ni-restrain. J: Paano niya ni-restrain? P: Hinawakan niya yung arms. J: Okay. Okay lang ba yun sayo? P: Oo, kasi di ko naman itutuloy yun eh, parang panindak lang. Sindak-sindak lang. Parang tatakutin ko lang naman si... J: Pero dito, gusto talaga niya na anuhin eh. Sabihin natin na gusto mong awayin si Eula, ano mararamdaman[01:03:00.08] J: Mo? Just mo awayin si Eula. P: Feeling ko mas lalo akong lalakas eh, kasi pinipigilan niya ako, so mas lalong magbibuild-up lalo yung galit ko. So mas marami pa yung magagawa ko dahil sa pagtigil niya sa akin. J: Okay ba yung ginagawa ni Marco sayo, or hindi? Yung pagpigil sayo. P: Hindi kasi mas napapatagal pa yung pag-away ko sa kanya eh. J: So kung ikaw si Dawn, gusto mo siyang awayin. P: Gusto ko siyang awayin. J: Aasahan mo ba na pipigilan ka? P: Ni Marco? J: Oo. Okay. Kung ikaw si Dawn, at gusto mong sugurin, pinipigilan ka ng isang tao, magugustuhan mo ba yun o hindi? P: Hindi. Kasi mas napapatagal yung proseso ng pag-aaway namin. [01:04:00.18] P: Eh kung mas gusto kong mas matagal kaming mag-away kaysa mapigilan ako. Yun. J: Okay, ano mararamdaman mo? P: Maiinis, kasi nga, alam mo yung oras ng pag ganun-ganon namin, mas nasuntok ko na sana si Eula. So parang napigilan. Oi, hindi ako basagulera. J: Ano pang mararamdaman mo kung bigla kang ni-restrain? P: Magugulat tapos maiinis. J: Bakit? P: Kasi unang una, sila yung may ginawang atraso sa akin, tapos may gana pa siyang i-restrain ako, eh dapat nga parang inooffer pa nila yung sarili nila sa akin eh kasi nga may mali sila, dapat... Ayun! Parang, diba[01:05:00.16] P: Tinuro sa atin pag may mali kang nagawa, may punishment na kasunod, so yun. Sa school. J: So, sinabi mo kanina na magugulat ka diba? Dun sa ginagawa ni Marco. P: Kasi makapal mukha niya. J: Bakit ka magugulat? P: Kasi nga ang lakas ng loob niyang pigilan ako, eh sila nga yung may atraso sa akin? J: Bakit mo nasabi na pag may atraso sayo yung isang tao, hindi ka dapat pinipigilan ng mga taong yun? Hindi dapat nila ginagawa yung mga bagay na iyon? P: Get even. J: May mentality siya. P: May mentality ako na kailangan, kung ano yung makukuha ko from the world, yun yung ibabalik ko. J: Eto naman... [VIDEO] [01:06:05.14] P: Sino ako dun?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

206

  J: Ikaw si Marco. P: Sinampal. J: Ano mararamdaman mo, okay lang ba sayo? P: Hindi, kasi diba di nga niya alam yung sitwasyon, tapos biglang magagalit siya. J: So, kung ikaw si Marco, ano mararamdaman mo? P: Maiinis. J: Bakit? P: Kasi nga hindi niya alam, so dapat muna at least man lang humingi siya ng explanation galing sa amin. J: Kung ikaw si Marco, at sabihin mo na nag-away kayo ng boyfriend mo. Nag-away kayo tapos bigla ka niyang sinampal, anong mararamdaman mo noon? P: Maiiyak ako nun. J: Ano mararamdaman mo? P: Masakit. J: Ano maiisip mo? P: Ibig sabihin sobrang lala ng ginawa ko para[01:07:00.12] P: Magawa niya yun. J: Pero kung wala kang... yun nga yun, parang wala kang ginawa. P: Magagalit ako. J: Kasi? P: Kasi nga wala akong ginagawa tapos sinampal niya ako. J: Okay. P: So mananapak ako. J: Kung yung ginawa ni Dawn... ano ginawa ni Dawn ba? P: Sinampal, ginanon niya, tapos nagwalk-out? J: Oo. So kung ikaw si Marco, okay lang ba sayo yun or hindi? P: Hindi kasi parang nabastos ako. Parang bumalik ka dito, mag-usap muna tayo. J: Bakit? P: Kasi parang hindi pa ako tapos mag-explain tapos aalis ka agad? J: So kanina nasabi mo na nabastos ka sa sinabi ni Dawn, so saan mo nakuha yung pag-iisip na, hindi pa ako tapos mag-explain, aalis ka na agad, binabastos mo ako. Saan mo nakuha yun? P: Sa parents. Pag kunwari, pinapangaralan ka nila[01:08:00.01] P: Tapos bigla kang aalis, tapos magagalit sila kasi nga nababastos sila. Siguro kasi meron pa silang gustong sabihin na importanteng marinig ko na ma-apply ko sa mangyayari sa future. J: So, nagawa mo na ba yun? Nabastos ka ba, nakabastos ka ba? P: Yung sa classroom lang, yung kanina? J: Yung nag-walk-out? So sa bahay, nangyari na ba sayo yun? P: Hindi. J: Hindi mo yun nagawa? P: Nakikita ko lang. J: Sino gumagawa? P: Yung mga pasaway ko na mga pinsan. J: Ano yung... so pinapangaralan sila ng mga magulang nila? P: Oo. J: Ano naging reaction ng magulang nila? P: Nanggigigil, kasi parang ayaw makinig eh. J: So, parang galit? P: Galit. J: Thank you, Pia! INTV w/ Gabrielle Marie U. Novenario (September 2, 2014)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

207

  Interviewer: Joelle Robles/ Christelle Tolisora [00:00:01.24] J: State your name, age and nationality. G: Gabrielle Novenario. 19. Filipino J: How long have you been living here in the Phlippines? G: 19 Years. J: 19 years. So do you watch Filipino dramas? G: Yes. J: Um, how many Filipino dramas have you watched for the past 6 months? Six months. G: (Gaby counting) 1...2...3...4...4? J: 4. So in... sa tanan ng buhay mo, ilang drama na napanood mo? G: Roughly eleven. J: 11. So, have you watched Walang Hanggan? G: Yes. J: Ina, Kapatid Anak? G: Yes. T: Tayong Dalawa? G: I think so? J: What kind of genres do you usually watch? [00:01:00.16] G: Drama. J: Drama... G. Drama. J: Drama. G: No comedy. J: So we're going to show you videos... video clips from um from the dramas i mentioned, Ina Kapatid Anak, Walang Hanggang and Tayong Dalawa G: Okay. J: So, what we want you to watch out for is the behaviors and gestures, that the characters do. So we're not focusing on the technical production aspect of the drama, just the behaviors of the actors. So are you still familiar with the premise of the story? G: No. J: No. So for the first clip, can i speak in Filipino? T: So it's easier... G: Sige, okay. J: Diyan sa ano na yan. Tatlo sila. Um si Margaux is maja salvador, Kim chiu is celine. and beatrice is janet de belen. [00:02:02.26] J: now margaux and celine were both friends. Margaux is rich. Celyn is poor. but they became friends. Margaux is an adopted child. Celyn, well, yan... siya yung totoong anak. Then so, from friends they became enemies. G: Mhmm. J: Partly-mostly because Margaux doesn't want to share. Ganun ganun ganun. So, in this scene, it's the night of their 18th birthday-their debut. And, their lolo, celyn's lolo, just gave Celyn a car. So this is what happens after. [00:04:59.17] J: So, in that video, is there any gesture or behavior that you found, that you liked, you were comofrtable with, uncomfortable withG: The one where she was slapped. Celyn slapping Margaux. I found it...off. J: Mhm... G: When she was slapped, she kept a stragiht face J: So okay... G: Yeah, yun. Yeah, so the way they slapped each other, it eventually turned into a catfight.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

208

  J: So, it wasn't comfortable for you at all? T: (Okay, okay okay...) G: Just because, like, when she was slapped, she... when Celyn was slapped by Margaux parang she was trying to be really strong. Normally, when people are slapped, they react. But here, when Celyn was slapped, she just cried and kept a straight face and she just stood there. [00:06:03.14] J: Okay. So if you were ever in Celyn's shoes, what would you feel about the slap? G: Angry. J: Why? G: Angry. She slapped me. I don't want to be slapped. J: why don't you want to be slapped? G: Because it hurts! J: Um, is it okay for you, to be slapped? G: NO! Is it okay for me to be slapped? (laughs) J: Tulungan mo ako dito. T: So, hindi sayo okay, why? G: Because it hurts, and I don't want to be slapped. THat's it. J: Like, why don't you want to be slapped? G: Hm. That's a hard one. [00:07:01.21] G: Why would a person want to be slapped? J: Okay, okay okay. So you're Celyn. G: Yeah. J: For example. You take into consideration that... For example, um, your sister... G: Hm. J: Okay. You... G: If i had a sister! J: If you had a sisterG: Allie! J: Okay. Allie. If a family member walks up to you. There's bad blood between you. Walks up to you and slaps you. What would you feel? G: Angry and surprised. J: Angry and surprised. Why? G: Because i w ouldn't expect to be slapped. J: Why wouldn't you expect to be slapped? G: Becaue I was just standing there?! I mean, you'd slapped me if I did something to you. Di ba Celyn was just standing there, Margaux went up to her. I'd probably, like if i were Margaux, well no, not if i were Margaux, I wouldn't be surprised if i was doing something... "slappable" [00:08:00.14] J: Ah, okay. So, where did you get that...concept? How did that T: Idea? J: Let me rephrase, papano nabuo sa sarili mo na... papano mo nabuo iyong paniniwala na 'pag wala kang ginagawa, wala ka namang ginagawang masama, wala ka namang ginagawa doon sa tao... G: I think it came from my family, I was never physically harmed, i was never spanked, i was never slapped. So, for someone, specially someone not related to me, or in this case, someone who i just realized was my sister, slapped me... I would really be surprised, cause i won't really expect her to slap me. J: So, you'd feel angry? G: Yeah, i'd be angry. [00:09:02.00] J: So, if you put yourself now in Margaux's shoes. If you are slapped... what would you feel, how would you feel, if Celyn slapped you back? Would it be okay for you-

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

209

  G: It wouldn't be okay for me, but then... IT wouldn't be okay for me, but I would see it coming. Kasi, you don't just slap someone and think that they'd just stand there and take it like a man. J: WHyG: No, but i mean, you would think that when you slap somebody, they would slap you back. J: Why would...what made... G: Because you pissed them off. J: What made you think that if you piss somebody off, that if you do something or you slap them, they would do the same thing to you? [00:10:01.08] G: Personally, i would think that it's just human nature. If you hurt somebody, the first instinct that comes into your mind is to hurt you back. J: How... how... physically hurt you? HowG: Physically harm somebody like physically hurt you. J: How did you come up with that? G: um, i had a cousin and we used to fight with each other a lot? She'd hit me and i'd hit her back (laughs). J: So... familyG: As a kid, as a kid, yeah. IT happened. As a kid it would happen. Like when we would fight with each other, and she'd get mad at me, and she'd hit me. "Why'd you hit me?" Oomph! Parang ganun? Like it wou-it never meant to make a big fight, it just happened, because I didn't like her hurting me, because i was never hurt by my nanny, by my parents. J: Um, put yourself in Kim, either in Celyn's shoes or the mother's shoes. G: Which one is the mother? J: The red[00:11:02.04] G: The real mother. The one in the red dressJ: The one in the red dress. Um, would you... would it be okay for you, for somebody you talk to, you're trying to have a conversation with to just run away, walk out? G: No, but based on what happened in the serye, it was um, Celyn, explained in passing that she had to run after Margaux because she wasJ: We're talking about Margaux. G: Huh? J: We're talking about MargauxG: Wh-ah okay. Aahh. What would I feel ifJ: you daughter, or your sister...You're talking to your sister, you just had a fight, she walks away. Would it be okay for you? G: As the mother, of course not. I'm talking to her... T: Yeah, so yeah. As a mother muna. [00:12:01.17] G: As the mother of Margaux?, i'm talking to her? Um, because they were coming from a fight, I wouldn't be surprised, because there is always that thing you don't want to talk about, and you'll just end up running away? But personally, if someone did that to me, I'm talking to you in the middle of something, then you start walking away, i'll be pissed. J: Why? G: Because it's rude to just walk away from somebody who you're talking to? J: SoT: From where did youJ: Pick that thought orT: Principle. J: You sh-- that when you walk away from someone, something while you're talking, and you're not done, it's rude. G: From my family also. Yeah, when i was a kid, it came from when i was a kid. Um, i'd get mad at my mom, or she'd get mad at me. Then when i couldn't stand anymore, i'd walk out, and i'd slam my door.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

210

  [00:13:04.23] G: And she'd come after me, "Don't... don't turn your back on me when i'm talking to you. Talk to me and be mature about it, ganun." That's where i got it. J: So, next clip. Okay, so this is Tayong Dalawa. So, in this, the charaters involved here is, Kim Chiu as Audrey, Jake Cuenca as Dave, Gerald Anderson- "JR", and Alessandra de Rossi si Greta. G: Okay. J: So, Audrey, Dave, are T: Silang dalawa. J: They're together. T: Boyfriend-girlfriend. J: And JR and Greta are childhood friends. Now all four of them are friends. Then, this scene happens after the secret between Jake Cuenca and Greta comes out. [00:14:07.08] J: Greta slept with Dave for money so that she could send JR to the PMA, and she did that while Audrey and Dave were together. [VIDEO] T: Ulitin mo Joey, di ata napansin ni Gab. [00:18:59.11] G: It's done. (laughs) J: Okay, so is there a particular scene or gesture that you liked or didn't like? G: I think, this is in general the ones where, it was obvious that the girl didn't like to be touched by the guys... Collectively, those were for both couples. J: Okay. So like parts where. G: Yeah, where first... Xian Lim? T: Xian LIm? G: What's his name? J: (laughs) Jake Cuenca! G: I keep on calling him Xian. Jake Cuenca was hugging, or he was trying to hold her down, and she's like "Bitiwan mo nga ako." Like that, that scene. And then, the where she turns away, and he touched her arms, she shoved them off. Like those. J: What do those scenes... what do those behaviors imply or show you? [00:20:08.25] G: Um, to me, like what did it tell me? (thinks) She didn't want to be touched. Like you know, you're fighting with your boyfriend, tapos biglang hahawakan ka niya. When you're mad at somebody, you don't want to have anything to do with them. WHen they touch you... you don't touch them. J: So, if you were Audrey... Okay, let's start with Jake. So, if you were Jake, would it be okay? G: To what? Slap you? Yeah, i'd think so. J: Your girlfriend just slapped you. G: Of course not. But then, he slept with the call girl, so i'll kind of expect it, she'll slap me. [00:21:03.06] J: Where did you get that idea that when you do something wrong, she will slap you like that? G: No, it's not that you did you something wrong that you expect a slap, it's just that, in this scene particularly, i mean, well, he did something really bad. If i was the girlfriend, i would slap him. I'd probably kick him somewhere else. (laughs) J: So... G: It's because of the rage. J: So, how were you able to say that if that would happen to you, you would do that... slap...kick... G: If i was the girl? Ehrm...What, wait, if i were her? T: Where, from where were you able to come up with that kind of thinking?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

211

  [00:22:01.06] G: From where did I get that kind of thinkingJ: From where did you pick up that kind of thinking thatT: When you did something wrongJ: He does something wrong to you, it's okay for you to likeG: It's not really okay, it's just that it happens. J: It's acceptable for you to those things? G: Not... well... hm... acceptable. I'd say yeah. J: From where did you pick up that... G: Technically speaking, i don't think society would accept you would harm somebody because they did something wrong. But personally, with my personality, i would do that, just because i'd be so angry to the point of wanting to harm the person. Going back to earlier. [00:23:00.05] J: So, how bout this one? T: (laughs) J: That one. If you were in Celyn's shoes, would that be okay for you? G: No. J: What would you feel if he did that to you? G: I'll be disgusted. Like I said, i wouldn't want to have anything to do with that person, and then that person goes up and hugs me. Don't touch me. J: Why? G: Because i'm angry, I don't want anything to... it's either you're so angry you explode causing harm to a person, or you're so angry that you don't want a person to even get near you. J: Where did that come from, where did you... G: I don't think it came from anywhere, it's just that I, myself, will be... [00:24:03.21] G: I'd say family again, but personally, i think that's just how i am, especially when i don't like contact much. J: Okay. Again, if this was done to you, you're Jake. would it be okay? G: When she walks away from him? No. Again, you don't walk away from a person who is trying to talk to you. J: Again, why is itG: Again, like I said earlier, you're trying to have a conversation with somebody, you don't walk away from her. But then, I keep on going back to her. Like, again, I don't want to have anything to do with you. Don't touch me and don't talk to me. Don't give me excuses because i'd walk away. [00:25:01.00] J: Um, although it's acce-it it's rude to walk away when somebody's trying to talk to you, G: Yeah. J: And, and in this situation, in her situation, it's very acceptable? G: Yeah, she walks away when you hurt her, in a bad way. J: This one. (Shows video) If you were Greta, what would you have felt? You just had a fight. But she loves him. G: She's trying to make amo. Like a cat, after he just scratched you, he'll go like that. J: Would you like it, if he touches you? G: After a fight? [00:26:01.04] G: Maybe, in this context, yeah, because that would mean that i like him too. But in a normal fight, I wouldn't. But in this context, i will. It will be okay. J: So, if you fought with someone, and you like him, like she likes him, would it be okay for you if he touched you? G: I think the rubbing of the shoulders is very.... It's okay. But don't hug me, because i'll do (gestures) that to you. J: So from where did you pick up that kind of thinking? G: My mom. she gets mad at me, when we used to fight a lot. Then she'd get mad at me and I'll make tampo. and she's like "Oh, don't get mad na" and she'd rub my shoulders. It's okay with me, but don't touch me. J: Ganun talaga?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

212

  [00:27:02.04] J: Last one. You remember Walang Hanggan? T: Coco-Jule. J: So, explain. T: Okay, so-in English (laughs). So Marco and Emily. Marco, is Richard Gomez. Emily is Dawn Zulueta. Jean is Eula Valdez. SI Marco and si Emily engaged. Sila yung parents ni Coco. Pero di sila kinasal. Then, si Eula, is si Jane. [00:28:38.13] T: Okay. So si Marco and si Emily, engaged. Si Jean, si Eula Valdez, si Jane dati. Si Jane is yung first and legal wife... [00:29:03.04] T: So siya yung si Jane, and Jean, isang tao lang. Si Jane, is yung unang wife ni Marco dati. Kasal sila. Ngayon nagkaroon kasi ng accident kasi si Jane, kaya nag-iba yung mukha niya. Naging si Eula na siya. G: Oh. How convenient. T: So, hindi alam ni Marco na asawa pala niya yan. G: Ah, so he thinks that she's dead. T: Tapos sinasabi niya na sister daw ni Jane yan, si Jean. Pero ang totoo si Jane yan. SO, diyan sa situation na yan. Si Jean, pumasok dun sa room ni Marco, tapos tinry niya yung clothes ni Marco, para mafeel daw niya and all. Para siyempre kasi, in the first place, wife naman siya ni Marco. But then, pumasok si Marco, pagod na pagod, tulog siya. Di niya napansin si Jean na nasa kwarto niya. Nung nagising si Jean tumabi siya kay Marco. Nung nagising si Marco nagulat na lang siya na nandun si Jean. [00:30:02.18] T: Eh di ba nga, friends lang sila, kapatid lang siya ng asawa niya dati. G: mhm. T: So alam mo yung nangyayari. Then after nun, dadating si Dawn, so magkakaroon ng misunderstanding and all. And fight. Yan, tingnan mo yung actions. (shows video) [00:31:58.25] G: Bakit siya nasa kwarto ulit? T: Ano yan... Guest room na yan. [00:32:51.13] J: Is there a particular behavior or um, action, gesture that you liked or didn't like, in this video clip? G: The one of Dawn... she was trying to hurt Eula Valdez. And then the one where, what his name? J: Marco. G: Yeah, he walked out on Eula, and she was crying. T: Why? J: Why didn't you like those scenes? You liked them or you didn't like them? G: They just stood out, well, hm. Do i have to choose? J: Why did they stand out? G: Um, I don't know. I guess, i didn't like them. J: Why? WHat is it in those gestures or behaviors that you did not like? Found uncomfortable, comfortable? [00:34:02.28] G: For the one of Eula, and Richard Gomez, she was trying to explain, and he walked out on her again? There's a common theme! (laughs) Yeah, there. She was trying to explain, and she ended up just crying. J: So, it's the same. Why you didn't like it. G: Yeah. THat one. and then the one where DawnJ: If it was done to you, and you were trying to explain something.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

213

  G: Yeah, especially if, for example, it's a misunderstanding. J: Could you relate it to a real life situation? (PART 2) [00:00:02.04] G: I can't get one off the top of my head right now, but a lot of times, if you're trying to... With me, okay, i'll say with my mom, and we're fighting and i'm trying to explain something to her, and she walks out on me, and she totally didn't understand what i was trying to tell her. And then, i just, panicked, well no, not panicked, but i get really sad and i wouldn't know what to do, and i'll get angry afterwards because i wasn't able to say what i wanted to say when that person walked away. Obviously what follows after the person's walking away is that that person is not gonna talk to you. And the one with Dawn, when she started trying to hit Eula, and then Marco is trying to stop her. J: What... what didn't you like about it? G: Aside from the acting (laughs) [00:01:00.27] J: Acting aside, G: Aside from the acting...uhh...that, it's not that I didn't like it. It just stood out just because it was so loud? J: hm. Okay. If you were in Jean's shoes, remember when they went out of the room? G: The first time, yeah. J: Would you like that to happ-would it be okay for you? G: Yeah, i forgot about that one. J: If he did that to you? No? Why? G: No. Because, again, you're trying to explain something, and suddenly he pulls you out of the room, and not just pulls you, drags you out of the room. J: What would you feel? [00:01:59.01] G: Uh.. J: How would you feel? If that was done to you? I G: 'd feel like a rag doll being dragged in that way. I would feel sad. For somebody especially, a guy to treat me like that. Like you don't treat women like that, especially someone who looks that vulnerable. She wasn't dressed. She was wearing a shirt. J: So, when or where did you... How'd you form that thought that you don't do that to a woman, especially a vulnerable woman, who isn't "dressed". You don't drag her...you don't just drag her, like that. G: Society probably. You don't... I think I learned early on that... yeah, sexism aside, you just don't treat women, i'm sorry, but you just don't treat women like that. [00:03:01.07] I don't want to be sexist. J: Which society, could you elaborate? G: Uh, i don't know... wait. I'm trying to figure out how i grew up. Ah okay, um, when i was young, my aunt was like, uh, what do you call that? Battered wife? So, i remember one incident when my mom was telling me, that she was dragged out of the room by her hair. And then, I guess it just stuck. Then later on, it was reiterated by society that you don't...what do you call that? You don't harm women. I forgot what you call that. J: Women violence? G: Yeah, something like that-violence against women. (laughs) J: Okay. So... [00:04:00.17] J: Um, would it be okay for you, for okay...If you were Marco, and then you were having that fight with Eula, with Jean. Would it be okay for you if somebody or specifically your other half, pops...parang, suddenly comes into the room without notice. Would it be okay. G: Yeah, it wouldn't be okay. It would surprise me, because the whole point of him driving her out was trying to hide it from her, and boom, she's there behind him. (laughs)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

214

  J: WHy would you say that you'd be surprised? [00:05:00.11] J: He'd be surprised. G: If i were him, i'd be surprised because i wouldn't expect him to be there. The whole time you're thinking she's not there, and "oh, i can hide this girl and yell at her" J: Would it be okay for you for him to do that, or it won't be okay? G: By surprising me by being there? No, it wouldn't because i'm trying to hide a secret from her. (laughs) J: If it would happen...Okay...Uh, may train of thought ako nawala eh. T: Happen to you in real life? J: Um... T: Where'd you get that thought from? How did you form that thought? J: How did you come about that, that it would be uncomfortable for me- for you if somebody unexpected pops out, parangG: Like when you're trying to hide a surprise from somebody and turns out they popped out from behind you and you're trying to figure out how to lie to them? (laughs) [00:06:03.06] G: Hm... rings a bell! (laughs) J: From where in particular? G: It's like when you were a kid and you were caught red-handed doing something that you're not expected to do. And my cousin had her mom's mug on the desk, and we were playing ball inside the room. We hit the mug and it broke. And we were trying to put it back together, and then suddenly, her mom walks down the stairs and we were like...So maybe, that's why. I just don't want to get caught. I don't want to get into trouble. And then boom. J: So, at that time, when somebody you didn't expect, you didn't want to be there, suddenly comes, suddenly approaches, what would you feel. [00:07:06.17] G: SUrprised. J: Surprised. JUst that? Just surprised. G: And worried. IF it's because if i did something wrong. J: Okay. Uh. If you were Jean, would it be okay for you if Dawn did that, parang wants to strangle you... G: No! It's like lettinga hyena out. J: What would you have felt? G: If i were Jean, I'd be scared. Imagine like a woman, as big as Dawn ZUlueta coming towards you, and you're as frail-looking as Jean. J: Why would you think that? G: She could...she could really harm me, and aside from that, it was like her swings were meant to harm. J: Okay. Um. [00:08:02.27] J: If you were Dawn Zulueta, do you know the situation right? And you were trying to get at her throat. You were so angry. And then Marco stops you. Parang, wraps his arms around you to stop you. Would it be okay? G: No, because my purpose would be to harm her, and i'd be pissed off because i can't harm her? Um, and i'd hate for someone to just block me off like, you know... You see your plate of food right there, then suddenly, the waiter trips. Parang ganun. (Laughs) Ibang klaseng analogy yun. J: So, why do you think that people shouldn't stop you, shouldn't block you. Why... Where did you get that kind of thinking. From where? [00:09:10.06] G: It's not that i think that people shouldn't stop you. I mean, if you were trying to hurt somebody, then someone should stop you. But then, if you were the person who was trying to hurt someone else, then... and you don't wantyou wouldn't want somebody to try and stop you... ANd i guess, it came from me and my cousin fighting a lot. Then, she'd always try to hurt me, and our yaya's would go like that, would stop us... stop her from getting to me. And, i realized that it really irked her when she couldn't scratch me. Something like that.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

215

  J: So you would feel...? G: If i were Allie? or if i were the girl or something? J: If you were the one who couldn't scratch... G: I'd get pretty irritated. J: At? G: At the person stopping me? J: Why? G: Because he's stopping me. [00:10:01.12] J: Why would you get irritated. G: Cause i don't wanna be stopped. Cause I wanna hurt that person. J: Because...because? G: Why do i wanna hurt the person? Because she just slept with my "husband" J: Okay. Back to the topic. G: I think we were pretty much on the topic. We've been on the topic for the past few turns. J: If you were Marco, and you were trying to... [00:11:03.20] J:she slapped you and walked away... G: Who's this again? Dawn? J: Dawn. Dawn slapped you and walked away, while she was explaining. He sent Jean out. And he sent Jean away, and then, he is trying to talk to Emily. And she slapped him, and she walked away. Would it be okay? G: No. J: No. Why? G: Because you were trying to talk to somebody, and aside from her walking out, she slaps you pa. Parang it's not enough that she walks away, she had to slap you pa. J: Why do you think that it's not okay? G: From whose perspective? Or in general? J: Marco...in general? G: From Marco's wouldn't be okay because I'm trying to explain, and she's like so closed up already that she doesn't want to allow me to explain by first slapping me, then walking away. [00:12:08.01] G: And then, from... in general, you don't want to be slapped when you're trying to talk to somebody. I just don't think that when you're trying to talk to somebody, they'd go turn around and slap you. T: Where did you come up with that kind of thought or kind of principle or value? G: I don't know where, exactly. Maybe family, again. But, me kasi. I prefer talking things through, and i'm not much of a harming type of person. Okay, i probably wouldn't try to hurt you. So if i'm trying to talk to you, and you suddenly slap me, i'll be shocked, i'll be pissed and i'll be really irritated. Especially because i wasn't able to explain my part as well. [00:13:05.16] J: So, you said shocked. why? G: I wouldn't expect her to slap me. Then again, if you were thinking about it, and you were the wife, i would probably slap my husband. Contradicting eh (laughs) J: So... T: May personal experience ka ba, based from the situations and incidences that you pointed out? J: Do you have experiences in light of that...in real life? G: I think i said before, when i fight with my mom. And she'd walk out on me. My cousin too, Allie. SOmeitmes, thank God, sometimes, when we would fight, she wouldn't hurt me, physically. She'd just run away. She wouldn't talk to me. Ganun. J: How'd that make you feel? G: Angry. But now that i think about it, it's okay with me because i didn't get hurt.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

216

  INTV w/ Alex Miranda Interviewed by Joelle Robles/Christelle Tolisora [00:00:00.00] C: What's your name, age, and nationality? A: I'm Carla Alexis Miranda, 19 years old, Filipino. C: So, for the past 6 months, ano yung mga dramas, ilan na yung mga dramas at ano yung mga dramas na napanood mo? A: Uh, Filipino drama? C: Filipino dramas. A: Um, "Ikaw Lamang", "Sana Wala Nang Wakas", "Hawak Kamay". C: For the past 6 month, alright? A: Right. Umm, "Ikaw Lamang"... C: Hindi, sige. Okay lang. Alright, next question. Ano na yung mga dramas na napanood mo sa buong buhay mo? Ilan na yung mga drama na napanood mo sa buhay mo? A: Marami! C: Enumerate mo, more or less. [00:01:00.00] A: More than a hundred. Kasi grade school pa lang, nanonood na ako niyan. Naabutan ko yung "Rosalinda", mga "Fernando"... C: Mag-enumerate ng mga dramas na napanood mo. A: "Rosalinda", "Bitwuing Walang Ningning", "Ikaw Lamang", "Walang Hanggan", "My Binondo Girl". Sobrang dami, di ko na siya maalala. C: Marina? [00:02:00.00] A: Dyesebel. C: Marimar? A: No. C: 100 Days? A: Yun yung bata diba? Yes, oo. Santino! May Bukas Pa! Ayun, Dahil May Isang Ikaw tyaka yung si Anne Curtis, Sam Milby, tyaka Bea Alonzo... C: Got to Believe? A: Yes, Got to Believe, Princess and I. C: So, 10 plus na? A: Oo, marami talaga. Di ko lang maalala. C: So next question is: Ano yung mga genres ng dramas na pinapanood mo? [00:03:00.01] A: Lahat naman kasi pinapanood ko, pero usuall yung mga family-something yung drama tyaka love. C: Next is, may ipapanood kaming video-- Napanood mo na ba yung Ina, Kapatid, Anak? A: Oo. C: Walang Hanggan, Tayong Dalawa? A: Yes, yes. C: So, may ipapakita kaming video mula sa 3 dramas na iyon, tapos observe mo yung behavior ng bawat characters, tapos may follow-up questions kami. A: Ok. C: First drama is, Ina, Kapatid, Anak. [VIDEO] [00:05:37.23] C: Dun sa particular na scene na iyon, may behavior ka ba na nagustuhan, di nagustuhan?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

217

  A: Nagustuhan ko yung kahit inaaway siya ni Margo, si Kim Chiu, si Celine, she still cares for Margo, kahit sinampal na siya, [00:06:00.05] A: kahit kung ano-ano na sinasabi sa kanya, meron pa rin siyang heart para tulungan, kasi alam niyang naka-inom. Ayaw kong part yung, parehong anak niya iyon, pero parang nasa-side siya agad si Celine, hindi man lang niya inalam kung okay si Margo, iyon. C: Dun sa ginawa ni Margo na pagsampal kay Celine, okay lang ba iyon sa iyo? Kung ikaw nasa lugar ni Celine, okay lang ba sayo na sampalin? A: Actually kung based dun sa drama, sa story ni Margo, and ako si Celine, siyempre magagalit ako, [00:07:00.14] A: Pero may hinanakit kay Margo, inggit siya sakin, so siguro depende kasi sa tao, pero di ko siya gusto, pero sa damdamin ng tao magagawa mo kasi yun eh, parang sa normal life, pwede siyang mangyari. C: Pero kung ikaw, gawin sayo yun? Okay lang ba sayo? A: Siyempre hindi, kasi unang-unang wala akong ginawa sa kanya. Kung inggit siya sakin, gumawa ka ng sarili mong way to have kung ano meron ako. C: Bakit mo nasabi na dapat hindi mo dapat sampalin ang isang tao, porket inggit ka sa kanya? A: Dapat ba? I mean, as ako, [00:08:00.01] A: kung inggit ako sa isang tao, halimbawa may maganda siyang phone, sasampalin ko na siya? Hindi siya normal, kung masasampal kang tao, may malalim siyang hugot kung bakit mo siya nasampal. C: So, bakit mo nasabi na hindi siya normal, bakit mo nasabi? Saan mo nakuha yung mentality na yon, yung pagiisip na iyon? A: Sa ano lang... Pano bang sasabihin kababawan lang. Para kasi, mababaw na parang inggit ka na sa isang bagay, sasampalin mo na. Na parang kaya ang tao, para sa akin, mananampal ka lang kapat sobrang nasaktan ka na nung tao. Hindi mo magagawa yun sa isang tao dahil inggit ka, mataas yung grades, or meron siyang magandang phone, bag, shoes, so siyempre masasampal ka kung sobrang nasugatan ka or sobrang nasaktan ka. C: Saan mo natutunan yung ganyang paniniwala? [00:09:00.00] A: Siguro sa pelikula. Kasi mostly naman ng mga views ko sa buhay, minsan bakit sa pelikula ganito? Nagegets niyo yung akin na nafeed ko yung mind ko sa seryosong bagay dahil sa napanood ko. Kasi kung sa family ko kasi yung issue di ko makikita. Pag family or friends, hindi siya ganoon kalalim, pero yung movie yung nagbibigay ng iba't-ibang kinds ng buhay na karanasan, so siguro dun. C: Kunwari, sinabi mo nga na yung malalim yung hugot, bugso ng damdamin, okay lang [00:10:00.12] C: na gawin sayo iyon ng tao. A: I guess yes, kung nasaktan ko siya. Dalawa yun eh, yung nasaktan ko siya ng di ko alam, nasaktan ko siya ng alam, pero wala akong pakialam. C: So, okay lang sayo? A: Yeah. Kung sampalin niya ako, so? Pain lang yan, kung siya marerelease yung pain niya, go ahead. Baka makatulong pa ako sa kanya. C: Next one is, Tayong Dalawa. Gusto mo bang i-explain ko muna? Nag-away sina Audrey pati Dave, tyaka si JR at Gretta. Nag-away sila kasi nadiscover nina Audrey tyaka JR na kinama pala ni [00:11:00.13] C: Dave si Gretta para makapasok si JR sa PMA. Nagkaroon ng discovery tapos nag-aaway sila ngayon. [VIDEO] [00:15:19.02] C: So dun sa scene na iyon, may nagustuhan ka, di nagustuhan? Gestures, behavior?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

218

  A: Siguro mababaw lang yung ayaw ko dito, yung pinipilit ni Jake Cuenca si Kim na patawarin siya pero sa ginawa niya, hindi agad mapapatawad ni Kim. C: How about sa gestures? [00:16:00.01] A: Sa gestures, dun din, yung sapilitang yakapin si Kim. C: Papano niya pinilit? A: Biglang hinahawak niya si Kim, para di siya makawala. Si Kim pumapalag na wag siyang hawakan, so kinukuha niya, nilalapit niya sa kanya and siyempre papalag, pero malakas yung guy, so niyakap niya. So parang, disrespect sa babae yun, parang foul. C: Pano mo nasabing foul? Bakit mo nasabi? A: Para kasi sa babae, yung mga ganoong pangyayari, di lang siya sa pelikula nangyayari, so meron [00:17:00.12] A: din siyang personal experience and sometimes yung mga guys, sa sobrang utak niya ng reasons, hindi na niya alam yung actions niya, parang dapat... yung feeling na sobrang crowded na yung utak ng guy na hindi niya alam na nasasaktan na niya yung girl. Pwede naman kasing mag-usap ng normal pero the fact na sobrang eager na yung guy na maayos, baliktad na yung nangyayari. Kung baga, nahaharass na niya yung girl, which is parang pangit tingnan na parang sa isang relasyon, [00:18:00.02] A: diba parang kailangan both side nag-uusap pero yung dito, si Jake yung bato nang bato. C: Diba nasabi mo na parang nahaharass na, ginagawa yung ganon, niyayakap nang hindi mo gusto. Bakit nasabi mo na hindi magandang tingnan, papano mo nasabi? A: Lets say na maraming taong nasa paligid, hindi lang sa babaeng side pangit tingnan, sa lalaki din. Ilagay natin sila sa mall, and mostly ng mga Pilipino tsismoso, kung sakin kasi parang [00:19:00.00] A: kawawa naman yung babae. Makikita mo yung babae, na eager yung kamay niya na kunin, yakapin, na parang kung ako yung nanonood, kukunin ko yung girl. Ganon yung feel, na nasasaktan na, tigilan mo na. Na parang hindi mo kailangan saktan yung babae para makausap, diba? C: Saan mo natutunan yung pananaw na hindi mo dapat saktan ang babae para makausap? A: Honestly, it's from personal experience. Before nasa relationship ako, dumating sa point na naging ganyan kami, and [00:20:00.10] A: the fact na sobrang sakit ng hawak nung guy na sabi ko na nasasaktan na ako na nasaktan ko na din siya, kasi sobrang sakit as in literal, and then, hindi man sa public place, may nakakita sa kanila na iba. So parang kahit walang tao or meron, hindi... foul talaga na kung may gusto kang sabihin sakin or may problema tayong dalawa, or sa guy, kausapin mo ako. Kung may kasalanan ka, explain. Oo sige, galit ako, hindi mo kailangang magalit, kasi may kasalanan ka din. C: Sinabi mo na pag lalabas sila sa mall, may makakita sa kanila, hindi maganda yun? Bakit sa tingin mo [00:21:00.02] C: hindi magmumukhang maganda yun sa ibang tao? A: Unang una, sa Pilipino, apply nang apply ng kung ano-ano na, ay ganito yan, ganito nangyari diyan, yung iba, ganito yan. Halimbawa ako si Kim, nandiyan yung tao, siympre iisipin ko kung ano iisipin nila na kahit hindi nila ako kilala, kahihiyan ko yun kasi kita nila yung mukha ko, kita nila actions ko na parang tayong mga tao minsan, gusto natin maganda yung tingin sa atin ng ibang tao kahit hindi nila tayo kilala, diba? Pag lumalabas tayo, bakit tayo nag-aayos? Kasi gusto nila maayos yung sarili natin sa ibang tao, lalo pa to na may actions. [00:22:00.06] A: So lalo siyang majujudge, mas lalong masasabihan siya ng kung ano-ano. Para sa akin, ayaw ko na najujudge yung isang tao, kung ikaw man makita sa ganon, automatic malalagyan ka ng kung ano-anong judgments. C: Kung ikaw yung nasa shoes si Dave, okay lang ba sayo yung ginawa ni Kim?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

219

  A: Kung ako yung lalaki, kung ako, magsosorry lang ako kasi fault ko eh. Nakipag-sleeping ako sa kaibigan namin na di ko sinabi for a long time [00:23:00.12] A: and girlfriend ko siya. Foul yun for her, kasi iba yung, crossed the line yun, so wala na akong right na to touch her or the right to... magbwelta pa more kasi nagawa ko na. Okay lang kung minor na kasalanan na late or nagsinungaling na white lie, pero the fact na merong something na nangyari, para sa babae, foul na iyon eh. C: Pero specifically, kung ikaw si Dave tapos ako si Kim, so ginawa ko yung ginawa ni Kim, pero lumayo ako bigla, kausap mo ako, lumayo ako bigla. Ikaw si Dave, [00:24:00.01] C: hinabol mo ako, bigla kitang sinampal tapos kinausap mo ako, bigla akong lumayo. Okay lang ba iyon? A: Yes. Kung may kasalanan ba naman akong ganon ka hard eh, ganong ka foul, I think yung girlfriend may right na sampalin ako. C: Anong mararamdaman mo pag ginawa sayo yun? A: Kasalanan ko. Kung ako si Dave, kasalanan ko. Kung ako si Dave, tatanggapin ko, kasi kasalanan ko siya at kung alam ko na kasalanan ko, tanggap, say sorry. Kung di niya ako mapatawad, I'll wait. I think yun yung tamang gawin. Sampal is just pain, pero yung ginawa ko sa kanya, mas matagal yun. C: Okay dun naman kay Gerald tyaka kay Gretta. [00:25:00.16] C: Kung ikaw yung nasa lugar ni Gretta, nag-away kayo ni JR tapos bigla siyang lumapit sayo at hinawakan ka niya, ok lang ba sayo o hindi? Ano mararamdaman mo? A: Ako si Gretta? I guess sakin, okay lang kasi unang una may gusto rin ako sa kanya diba, so points ko yun na hinawakan niya ako. Pero meron din na hindi ko gusto dahil alam kong meron siyang [00:26:00.02] A: sasabihin sakin na alam kong masasaktan ako. Pero the fact na hinawakan niya ako is that, siyempre may kilig eh, kasi hinawakan niya ako. Pero sa kabilang side, alam ko na may dahilan. Pero, I think okay lang sakin. C: So eto... sa Walang Hanggan, si Marco, ibang situation na ito, si Marco, si Richard Gomez, si Jean, si Eula Valdez, Dawn Zulueta, si Emily. Dun sa scene na yan, si Jean, [00:27:00.10] C: nandoon siya sa kwarto ni Marco natutulog, tapos si Marco nagulat na nandoon si Jean, kasi friends lang sila. Then mamaya, dadatin si Dawn, makikita silang dalawa tapos ganon yung suot nila, may... basta nag-away silang dalawa. [VIDEO] [00:29:48.25] C: So dun sa scene na yon, ano yung gusto mo, yung ayaw mo, specifically yung behavior? A: Behavior... Yung ayaw ko is [00:30:00.04] A: yung behavior ni Eula na pumasok siya sa room nung guy dahil... privacy. They're not related, if you know the drama, may gusto lang si Eula sa kanya. If ako si Richard, foul yun, for me, kasi that is the only space na I can do anything kasi room ko nga eh, tapos papasok ka nang di ko alam, and wearing a polo, my polo pa, akin yun, not yours. [00:31:00.05] A: Hindi mo dapat galawin yan unless nagpaalam ka sa akin. Yun yung ayaw ko, and I think dito sa scene na ito, wala akong gustong behavior. Isa pang ayaw ko is si Dawn, nag-assume siya agad, nung nakita niya yung dalawa, nag-assume siya agad and isa pang ayaw ko Eula is crying like hindi niya intention na pumasok sa room ni Richard which is alam, automatically, na intention niya, na tumabi sa kanya. Okay pala yung reaction sa akin ni Richard, as a person, normal na yun, for me it's okay. Galit siya, di ba? I think it's normal for

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

220

  [00:32:00.02] A: a person na inenter yung privacy mo nang walang permission. C: Pano niya pinakita na galit siya? A: He sent Eula out diba na parang, bakit ka pumasok sa room ko, bakit ka tumabi sa akin, ganoon. Yeah, dinrag niya si Eula diba na parang di na siya tao, pero sa sobrang galit niya, dinuduro-duro niya and I think nadala siya sa galit eh, I mean okay lang na duro-duruin niya, privacy yun eh, pagdating sa privacy, ibang usapan na iyon diba? C: Saan mo natutunan na dapat kunwari, sa akin to, room ko to, dapat walang ibang tao na walang permission ang pwedeng makapasok dito. [00:33:00.05] A: Sa akin lang, my own, kasi ako, ayaw na ayaw ko na may pumapasok ng kwarto ko nang hindi ko alam, unless na "o sige, pumasok ka na." Yun okay lang sa akin yun, pero once na hindi kita kilala or di tayo ka-close, sisigawan kita. Ugali ko yun and isa pang ugali ko ay yung ayaw kong ginagalaw yung gamit ko nang di ko alam, unless na sinabi mo na "Alex, pahiram ako ng charger mo, ah?" Yun okay lang sa akin yun, pero once na pumasok ka sa sarili kong kahon na wala akong permission, ayoko, super, super ayoko, kasi akin yun eh. Once na may nawala dun, or once na... plus, isa pa. Napaka-OC akong tao, ayoko ng [00:34:00.01] A: madumi, makalat and ayoko ng kung anu-ano na halimbawa ng isang gamit na ganyan, ayoko talaga kasi hindi ko alam... yun yung way ko para di ko mawala yung isang bagay or like parang... yun yung first reason ko na pag may nawalang bagay, alam ko kung saan nakalagay, alam ko kung sino kumuha, or yung purpose kung bakit siya nawala dun. C: Kung ikaw naman si Eula, tapos bigla kang sinugod ni Dawn, sa situation na iyon, ano mafefeel mo sa gestures, sa actions ni Dawn. A: Pumasok din ako sa room ni Dawn? C: Ikaw si Eula, tapos dun sa action Dawn, yung after nga dibang hatakin ka ni Richard si [00:35:00.06] C: Kung ikaw si Eula, okay lang ba sayo na kaladkarin, diba ginrab ka... kinaladkad ka ni Richard palabas ng kwarto. Kung ikaw si Eula, okay lang ba sayo? A: Ang interpret ko kasi diyan is I'm seeking his attention, so parang kung pinoportray ko yung role ni Eula, it's okay for me, pero kasi alam mo yung feeling na, yes nakuha ko yung attention niya, may change akong makausap siya, baka ma-change pa yung mind niya na mahal rin niya ako, so ganon. C: Kasi ang situation talaga diyan ay, si Eula, siya talaga yung asawi ni Richard. [00:36:00.00] A: Tapos mahal niya si ano diba? C: Di alam ni Richard na siya yung asawa niya dati. So si Eula, pumunta lang talaga siya doon kasi gusto niyang makasama, pero nahuli siya. A: Wait. Asawa ni Eula si Richard. C: Siya si Jane, tapos nawala siya, nag-iba siya ng mukha. Yun yung totoong anyo niya. A: Ah. Okay, mali mali, sorry. C: So kung ikaw si Eula... A: Wait, pero si Jane yung unang mahal... si Eula yung unang mahal ni Richard, right? C: Si Jane, yung napangasawa ni Richard. A: Oo, pero mahal ni Richard si Emily? Yeah. I remember. Siguro masakit, sorry mali, kala ko kasi sila ni Eula... [00:37:00.07] A: Siyempre masakit sa akin to know na yung husband ko hindi ako mahal.... C: Yung sa gesture niya, na kinaladkad siya palabas... A: Siyempre masakit, yung feeling na hatakin ako ng asawa ko is parang, bakit? Diba, may right ako sayo, diba so parang masakit... I think pwedeng gawin ng asawa yun sa galit, pero the fact na... basta mahirap i-explain pero di siya okay. Hindi si good. C: Ano pa yung mga feeling mo, galit ka ba?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

221

  [00:38:00.06] A: Si Eula? Eula side? Kung ako si Eula? Siguro mararamdaman ko pain, sakit tyaka yung question na why na parang ako yung mahainl mo, na parang dapat ako yung mahalin mo nang sobra-sobra. Siyempre asawa ka diba dapat, love love love, all the way? Parang kailangan na marinig mo sa asawa mo na mahal kita pero the fact na narinig ni Eula kay Richard is hindi kita mahal, which is not normal para sa mag-asawa. C: Hindi alam ni Richard na asawa niya si Eula. A: Oo nga. Sa Eula side [00:39:00.02] A: na parang masakit yun, na galing sa asawa mo na hindi kita mahal. C: Saan mo nakuha yung pag-iisip na gawin ko yung ganitong klaseng bagay, tapos mag-asawa tayo. A: Pelikula na yan. Hindi pa siya experience, pero kasi, ako yung tipo ng tao na mahilig mag-explore na pag ako nanood ako ng movie, naaapply ko sarili ko doon. Ganoon ako manood ng pelikula, tapos feel na feel ko yung pelikula, sasabihin ko: "Ay, ako ang gagawin ko diyan ganito." Pero kasi... C: Yung mga prinsipyo mo na ganyan, saan mo nakuha yan? A: Sa sarili ko na yun. Sarili kong pananaw. C: Paano mo nabubuo yung mga pananaw na yun, saan mo napupulot yung mga pananaw mo, mga prinsipyo? A: Siguro kasi meron akong standard [00:40:00.00] A: or parang kumbaga, para mabuild ko yung foundation na iyon is that meron akong parang check-list. C: Saan mo nakuha yung check-list na yun? A: Actually... Kasi ang gusto ko kasi... Hindi siya galing somewhere, pero ang ibig kong sabihin, gusto kong maging perfect, yung ahead, ahead of me. Halimbawa, Alex 2014 na parang gusto ko, aim ko na... wala siyang pinaghugutan, gusto ko lang, gusto ko ganito, gusto ko hindi ako masaktan, gusto ko ganito na parang gusto ko. Hindi siya... siguro may inspiration from movies, pero kasi [00:41:00.05] A: ako kasi, gusto ko perfect. Halimbawa, na-experience ko to, tapos may na-ano pa akong iba... so parang ano lang... kumbaga parang damit, mix and match, halimbawa, nabili mo to, nabili mo to, nasuot mo siya separately, eh... gusto mo na siya. Mahirap siya i-explain pero yun iyon, na parang... meron akong gusto kong sariling foundation to build a strong build. C: Kung ikaw si Richard, okay lang ba sayo na biglang susulpot si Dawn, bigla-bigla siyang dadating, biglang nasa bahay mo na siya. Diba nag-aaway sila ni Eula, tapos biglang dumating si Dawn, okay lang ba iyon? A: Yun yung weird eh, bigla na lang siyang nasa scene, wala man lang na kumatok siya sa door. Di siya okay. C: Kung ikaw si Richard? [00:42:00.00] A: Kung ako si Richard... C: Okay lang ba sayo iyon, dun sa situation na iyon? A: Siguro, medyo okay na medyo hindi, kasi I'm surprised na nandoon ka, regarding dito sa clip, bigla akong susulpot na wala ka nga ring alam eh, na parang dumating ka lang sa scene na naabutan mo kami sa ganito and then, pumasok ka nagratatat ka na dun, eh mahal ko yun eh, may feelings ako for you, parang... manner na lang na nasa iba kang bahay. Hindi mo kailangang mang-gera doon, diba? Hindi siya right. C: Saan mo nakuha yung pag-iisip na iyon, na pag sarili kong bahay na ito... A: I think family yan. [00:43:00.02] A: Family ang nag ano sakin niyan kasi lagi nila akong tinuturuan eh. Pag nasa ibang bahay ka, be proper na kailangan magbigay ka ng good impression sa pinuntahan mo, na hindi ka pwedeng mag-leave ng mark dun, kasi once nag-leave ka ng bad mark doon, halimbawa nagsleep-over ako sa college friend tapos nag-vandalize ako dun, nagsulat ako dun, uminom ako dun, diba parang tatatak yun sa parents ng blockmate ko na parang: "Ah. Ganyan yang ganito, baka ulitin, hindi na siya pwede matulog dito." So galing sa parents ko yun na always have a good impression kapag pupunta ka sa ibang lugar. Good manners and right conduct.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

222

  INTV W/ April Duran Interviewed by: Joelle Robles/Christelle Tolisora [00:00:00.00] C: Please state your name, age, and nationality. A: Christian April Duran, 21, Filipino. C: How long have you been living in the Philippines? A: Since I was born. C: Do you watch Filipino dramas? A: Yes. C: How many dramas have you watched for the past 6 months. So kahit yung mga latest na dramas na pinapanood mo, kasi 6 months naman. A: Mga 3. C: Ano yung mga dramas na yun? A: Usually, yung Pure Love. Yung recently, yung Coco and Jake. C: Yung Ikaw Lamang? A: Ikaw Lamang. And yung Legal Wife. C: Yes! A: Yes! C: So, um, sa lifetime mo, how many dramas have you watched? Estimate lang. A: Estimate... Siguro mga more than 10 din. Marami-rami rin since parang part na rin siya nung daily life natin, since parang everyday, meron sa TV, lalo na pag gabi na, pag umuwi na. [00:01:11.20] C: So, ano yung mga dramas na yun? Kahit mag-mention ka lang ng mga titles ng dramas na napanood mo in your lifetime, kahit yung current or yung luma... A: Siguro yung pinakaluma yung Sa Dulo Ng Walang Hanggan. Yun yung kay Jericho tyaka kay Kristine Hermosa. Yun yung pinaka-sikat before tapos parang sa sobrang sikat niya, yung mom ko kinuha yung name ni Jericho to name my... yung youngest namin, Angelo. C: Talaga... sige, ano pang mga dramas na narerecall mo? A: Yung ano kasi... hindi ko napanood yung[00:02:00.04] A: Sa GMA, yung kay Dennis Trillo tyaka yung kay Tom. C: Ah, My Husband's Lover. A: My Husband's Lover, yun. Pero hindi ko siya nasubaybayan, pero napapanood ko yung ibang eps. Tapos yun, yung mga recent na, yung Legal Wife, ganon... C: Okay, so... anong mga genres ng mga dramas na yun, yung pinapanood mo usually? A: More on sa romance, tapos sa family, tapos... parang friends din. C: So, were you able to watch the following dramas? Tayong Dalawa, napanood mo? A: Oo. Napanood ko. C: Yung Walang Hanggan? A: Yes. C: And Ina, Kapatid, Anak? A: Yes. C: So, dun sa mga following na dramas na yun, may ipapakita kaming mga clips tapos observe mo yung behaviors, actions, gestures[00:03:00.06] C: Nung characters sa isa't isa. So, gusto mong i-explain ko sayo yung first clip? First clip natin is, Ina, Kapatid, Anak. So, hindi mo napanood to, so explain ko yung situation: So, ang bida diyan si Kim Chiu, si Maja Salvador. Si Kim Chiu si Celyne, um si Maja si Margaux. So, si Celyne tyaka si Margaux, si Kim Chiu na lang para di magulo. Si Kim Chiu pati si Maja, magkapatid, pero dito sa situation na yan, birthday nilang dalawa, tapos niregaluhan si Kim Chiu ng lolo nila ng sasakyan. So alam mo na, kapag magkapatid, nagkaroon ng inggit. So diyan, si Margaux,

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

223

  siya kasi hindi niya alam na totoong anak siya, kasi nabuhay sila from surrogacy, so parang surrogate mother, meron silang mother[00:04:00.00] C: Na nandoon yung sperm cell and egg cell, so ganon. Ang akala ni Margaux, hindi niya alam, ni Maja, na hindi siya totoong anak, parang alam niya, ampon siya, dun sa sitaution na yan. Si Celyne yung tunay na anak, yun yung alam niya. So magkagalit sila kasi sa selos, kasi kung sa tunay kang anak, si Celyne, si Kim Chiu, parang yung ampon, si Maja, magseselos dun sa... nagseselos dun kay Kim Chiu. So dito, makikita mo yung selos moment nilang dalawang magkapatid. Yung si Beatrice, kilala mo si Janice de Belen? A: Oo. C: Yun yung nanay nila. Siya yung kinuhanan ng cells. Si Teresa, si Cherry Pie, yun yung surrogate mother nila, so tingan mo yung actions na mangyayari. Mangyayari kasi diyan, debut nila pareho. [VIDEO] [00:06:59.12] C: Okay, dun sa scene na yun, ano yung nagustuhan mong gesture, action or behavior at ano meron ka bang nagustuhan o ayaw? Or both? A: Meron naman. [00:07:11.23] C: So, saan tao magsisimula, sa di nagustuhan or sa nagustuhan? A: Kasi parang... Wait, sige meron akong nagustuhan. C: Meron kang nagustuhan. Ano yung action na yun? A: Yung action siguro na, before kasi, yung kontrabida, pag lumaban siya, yung bida okay lang sa kanya na masaktan-saktan, pero dito, parang si Kim Chiu, as bida, hindi siya yung nagpatalo, parang lumaban siya kasi parang alam niya na tama siya. C: Anong specific action yung nagustuhan mo? A: Yung sinampal si Kim Chiu ni Maja, tapos ginawa rin niya kay Maja. [00:08:02.16] C: So, yung di nagustuhan, meron ba? A: Siguro yung Janice, yung nag-away silang dalawa, si Kim Chiu lang yung inappoach niya, eh knowing na anak rin niya si Maja. C: So, dun sa nagustuhan mo, yung action ni Kim Chiu. Kung ikaw si Kim Chiu, sinampal ka ni Maja, tapos sa situation na yan, anong mafefeel mo? A: Siyempre masakit kasi parang magkapatid tayo, bakit kailangan mo akong saktan ng ganyan? Parang ganoon, pwede namang pag-usuapan ng maayos, mga ganyan. C: Saan mo nakuha yung pag-iisip na pag magkapatid tayo, dapat hindi tayo magsakitan, dapat pag-usupan natin kung meron mang problema? [00:09:03.07] A: Sa, ano... sa akin din, based sa akin, kasi may mga kapatid din ako, may ate rin ako, may brothers ako na youngest sa akin, so yun, hindi naman appropriate na... may times na maiingit ka talaga kasi meron hindi nabibigay sayo na hindi nabibigay sa iba or sa akin na wala sa kanila, so hindi talaga siya mawawala, pero hindi necessary na magsasampalan, ganon. C: Dun naman sa situation kay... sige. Kung ikaw naman si Maja, tapos sinampal na ni Celyne, ni Kim Chiu, ano mararamdaman mo? Or kung ginawa sayo yung act, kung ikaw si Maja, tapos yung ginawa na action sayo towards ni Celyne, ano mararamdaman mo sa action na yun? A: Kasi ano eh, parang ako yung nagstart ng pananmpal, parang siguro, kung ako yung nagsimula, [00:10:00.27] A: Tapos ginawa rin sa akin, parang sa part ni Maja, mas lalong magalit, kasi parang... parang magagalit rin na masasaktan kasi parang gusto mong ipagtanggol yung sarili mo, pero di siya enough, kasi alam mong yung parang si

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

224

  Kim Chiu, may point din siya, and at the end, marerealize mo na mali rin pala ako kaya parang may guilt sa loob mo. C: Saan mo nakuha yung ganyang pag-iisip na kunwari, kung ako yung... kung ikaw yung nanakit, so... kung ikaw yung nagsimula ng away, gulo... Kunwari, out of nowhere, nasampal mo si Kim Chiu, tapos si Kim Chiu sinampal ka, [00:11:02.01] C: Um... so parang, sabi mo magagalit ka, pero kasi alam mong ikaw may kasalanan, alam mo ikaw, di ka pwedeng gumanti ulit. Yun ba yung ibig mong sabihin? Saan mo nakuha yung ganyang pag-iisip? A: Siguro, sa akin din. Kasi kunwari meron akong nagawa, tapos usually, isisisi mo sa iba tapos parang babalik sayo, tapos ikaw rin yung masasaktan kasi meron ka namang choice na hindi gawin yun, pero since ginawa mo, bumalik na rin sayo. Parang ganon. C: So... ngayon, kung ikaw naman si Beatrice, at si Kim Chiu, hindi sige, unahin muna natin si Beatrice. [00:12:00.21] C: Diba si Beatrice yung nanay ni Maja, tapos biglang umalis si Maja, or yung action na yun, anong mararamdaman mo bilang si Beatrice, bilang mother ni Maja, sa bigla mong pag-alis? The fact na kakatapos lang ng away. A: Masasaktan din. C: Bakit ka masasaktan? A: Kasi anak mo sila parehas, pero parang isa lang yung kinonfront mo, tapos nagselos na yung isa, so parang nagrant na siya na bakit yung isang anak ginaganon, pero siya hindi, anak din naman siya. So, parang masasakan. C: Ikaw si Beatrice. A: Oo nga, kasi parang hindi ko rin[00:13:00.02] A: Parang hindi ko dinidivide, parang masyado akong lumulugar sa isang anak lang talaga. Parang favorite, ganon. C: Alam mo ba yung scene na kinuha ni Maja yung susi? Ayan. [VIDEO] C: So kung ikaw yung nanay, okay lang ba sayo na gawin yung ginawa ng anak mo? Kunwari yung anak mo gagawin yun sayo, parang nag-uusap kayo tapos bigla siyang lalarga, okay lang ba sayo iyon? A: Hindi. C: Bakit? Ano mararamdaman mo? A: Kasi parang dun nga papasok yung selos, yung inggit ng isang anak mo, so[00:14:00.21] A: Masasaktan ka kasi parang nararamdaman pala ng anak mo na naleleft-out siya. Siguro, parang naman kay Janice, hindi naman niya intention na kay Kim Chiu lang nakafocus, pero iba yung nafefeel para ni Maja, so masakit. C: So kunwari, kay Kim Chiu naman, diba magkapatid sila, nag-aaway, nag-usap sila tapos nag-away sila, tapos biglang parang umalis yung kausap niya, si Maja. Kung ikaw yung kapatid, ikaw si Kim Chiu, tapos yung kausap mo iniwan ka nang bigla, parang ginawa ni Maja. Anong mararamdaman mo? Okay lang ba sayo yun, na biglang umalis yung kinakausap mo? A: Hindi, kasi parang kung magka-usap kayo, kunwari may inaayos kayong away, tapos biglang aalis yung isa, so parang[00:15:00.22] A: Maiiwan dun yung away na imbis na pag-usapan niyo yung bagay, lalong siyang tatagal or lalaki. C: Saan mo nakuha yung ganoong pag-iisip na kunwari na pag hindi niyo sinettle yung case, pag ginawa mo yung ginawa ni Maja, yung pagtakbo, lalong lalaki yung problema? Walang maayos, saan mo yung ganoong pag-iisip? A: Based talaga sa experience na kapag may problems ka tapos hindi mo siya icoconfront or i-open, parang nandoon lang siya. Minsan makakalimutan mo, pero, nandun lang siya, unlike pag yung pag-uusapan niyo talaga, yung pagsosolve niyo, at least parang wala na talaga yung burden sayo. C: Tapos ngayon, so next ano naman. Tatlong scenes to.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

225

  [00:16:02.19] C: So, next clip is Tayong Dalawa. Yung crush mo. Oo nandiyan siya, ayun na siya. Okay, so wag muna i-play. Okay, so diyan, naaalala mo ba yung scene na yan? A: Hindi na masyado. C: Basta diyan, si Jake Cuenca pati si Kim Chiu, si Dave tyaka si Audrey, mag-BF, GF, tapos si Gerald Anderson tyaka si Alessandra de Rossi, si Gretta tyaka si JR. So sila, childhood friends, pero si Gretta, may one-sided love kay JR, kay Gerald. So dito sa scene to, nagkaroon ng... may na-discover sila, [00:17:00.26] C: Sina Audrey, si Kim Chiu, tyaka si JR, si Gerald. Nalaman nila na si Jake Cuenca kinama pala si Gretta. So parang yung purpose ng pagkama niya, yung purpose ni Gretta doon ay para makukuha ng pera pampiyansa kay JR kasi nakulong siya, para makapunta siya ng PMA. A: Okay, so... ang nagbayad si Jake. C: Si Jake, kay Jake Cuenca nanggaling yung pera, kasi nga kinama siya, kasi call girl dati si Gretta. So dito, nagkaroon ng fight, ng love quarrel, between them. So tingnan mo yung actions ng bawat characters. [VIDEO] [00:21:54.01] C: So, same question. May actions, gestures, behavior na nakita na ginawa ng characters na nagustuhan mo or di mo nagustuhan? [00:22:08.28] A: May hindi nagustuhan. C: Anong actions na hindi mo nagustuhan? A: Yung kay Jake, kay Dave, na parang sinabi niya na tinulungan niya yung call girl, si Alessandra na parang yun... C: Specific action? A: Nung sinabi niya na hindi naman niya alam na kaibigan siya ni JR, si Alessandra, so pumayag siya na dalin siya sa kama, parang ganoon. C: Aside dun sa mismong dialogue na yun, focus tayo sa action or gestures. A: Si Dave, parang ayaw na ni Kim Chiu[00:23:00.04] A: Tapos yung finoforce niya na niyayakap niya na sasabihin niya na parang nagsosorry siya tapos parang di naman niya alam na ganyan-ganyan, na mahal niya si Kim Chiu, so parang ayaw ni Kim Chiu na finoforce siya. C: Bakit ayaw mo? Bakit hindi mo nagustuhan yung scene na yan? A: Parang medyo nagiging pagka-possessive na yung parang actions na ginagawa ni Dave, so parang di siya maganda na gawin. C: Bakit mo nasabi na actions na yun, may pagka-possessive, hindi maganda? A: Kasi, parang ayaw ni Kim Chiu, parang sabi nga niya na nasasaktan na daw siya tapos biglang pupwersa si Jake na parang yun nga, yayakapin niya, ifoforce niya, parang ifoforce niya yung gusto niya nang hindi niya iniisip yung nararamdaman ni Kim Chiu, so parang possessive na pwede namang pag-usapan ng maayos, pero dinadaan niya sa ganon. [00:24:09.16] C: Saan mo nakuha yung ganoong pag-iisip na kapag, kunwari dun nga sa situation na yun na si Kim Chiu, ayaw niya diba, yung actions na sinasabi mo, tapos pinupush parin ni Dave yung sarili niya kay Kim Chiu, ginagawa pa rin niya yung actions. San mo nakuha yung pag-iisip na hindi maganda yun? A: Parang sa ibang movies din, local, internation, meron naman na pag possessive, nagpapakitang possessive yung tao, isa yun sa actions na pwede niyang gawin, so yun. C: Kung ikaw yung nasa lugar ni Kim Chiu, okay lang ba? A: Hindi. C: Anong mararamdaman mo? A: Ako siguro, maiinis ako, kasi parang diba nga, kaya ayaw ni Kim Chiu kasi na-hurt siya-

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

226

  [00:25:00.09] A: Parang nasaktan siya, so sa parang, if bigyan na lang siya ng, kunwari ng time para mag-isip-isip or chance na mapag-isa, imbis na pilitin siya, kasi parang mas lalong nakakasakal yung datin pag ganon. C: So bakit tingin mo, pag pinipilit ka, nakakasakal na? INTV w/ Jeon Eun Jung Interviewed by Joelle Robles/Christelle Tolisora [00:00:03.17] J: Please state your name, age and nationality. E: Okay, i'm Jessica Jeon, my Korean name is Eun Jung Jeon. I'm 21 years old, from Korea. J: Uh, how long have you been living here in the Philippines? E: Uh, this... I've been here for 8 years. This is my 9th year. J: So, how long have you been living in Korea? E: I came here when i was not yet 13, I lived in Korea for 12 years. J: So, do you watch Korean dramas? E: Yes, a lot. J: How many do you think have you watched...in your entire life? E: Yeah, it's countless... over a hundred I guess? J: Alright. E: Hundreds.. J: So, what genres of Korean dramas do you like to watch? E: I watch historical dramas. Everytime it comes out. I really watch them, i watch all of them. [00:01:02.01] E: I don't enjoy watching the teen drama, like the drama of Lee Min Ho, Heirs? I don't like those kinds of drama. It's like high school life, which is not really high school. J: Okay. E: Yeah, i don't like that. I love the love stories, with like, revenge, tragedy. J: Okay, so the first scene would be showing you... Alright, we'd like to remind you that we're focusing on the behavior... E: Mhm... J: The characters portrayed in the scene. Not the production value, not the um... Help me, Telle. Um, the tv... For example, the production elements? The quality of the shot, the acting, the pronunciation, just the behavior of the characters. E: Oh, okay. J: So, do you remember this scene? [00:02:01.00] E: Mhm... I guess? J: It's in the later part... so (shows video) [00:04:18.13] J: So, in that scene, is there a particular gesture, behavior that the characters portrayed that you liked, or didn't like? or you were comfortable or uncomfortable with? E: Mhm... Gestures? i don't... The first part that I like when JoongKi entered the place, he gave him the beer, right? It's like a show of friendship. But he ended up saying that he's leaving. [00:05:01.09] So, the beer that he got, it's like the sign of friendship became like the last...gift. J: Alright. Um, if you were Jae Gil, you do know the relationship between them, right? THey're like brothers... E: Yeah, they're the best of friends.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

227

  J: Consider the context... Would it be okay if he grabbed you, if Maru grabbed you by the collar. If you were Jae Gil, would it be okay for Maru... for your friend, for example, you have a friend-friend, and then you were a fight and he or she grabs you. E: Grab me. Hm...I don't know like... [00:06:01.00] E: Grabbing, would be fine. Because you know like. Mhm. I know what... i know where you're talking about. Grabbing the neck like this far right? I think it is fine, because from his point of view, i was kind of expecting that, what happened. Because you know by telling the story of Choco, his sister, he's kind of expecting that Joong Ki will get mad at him. So, grabbing would be fine, but punching is a different thing. Because he just punched him, and i think that's very disappointing. J: I'll go back to Jae Gil. if you...if it were to happen to you, if you have a fight with your friend, not considering the... If you have a fight with your friend, and you, um... the person you were fighting with suddenly grabs you by the collar. [00:07:05.15] J: On your part, would it be okay? E: I think it matters about how serious topic you're talking about or for example, if i said "I ate your candy" and she grabs me by the collar. It's like "Wow. What's that?" it's very rude and mean. SHe doens't like me anymore? But if it's about that serious, like "your sister left home" something like that... That's... I would probably understand becase that's very natural reaction of a person. J: How were you able to come up with that thought that if it's a serious... Well, first, if it's just a petty thing, and the person suddenly grabs you, how did you come to say that it's not a good... a natural thing... [00:08:05.20] J: where did you get that from? E: Hm... I don't know like... I think everyone has a certain line of acceptance? Like, depends really... everything depends on the situation and on how one can accept the action of the others? And in the mood, depends. Depends on the situation. J: SO, where do you think it came from, that thought? E: Like... experience? Like by observing others, like that. J: Okay. E: Mhm.. Really some people readlly deserve that action, even if he... it's not his fault it's kind of acceptable, depends on the situation. And i've seen some people overreacting too, and it's very irritating, in a way, and very disappointing. J: Alright. So, the second one... [00:09:00.06] J: You said that, for example, if your sister left- uh, if it's a very serious situation, and your sister... is that okay, was that "your sister left, leaves home?" E: Yeah. It's hisJ: Okay, it's a serious ano...and you said that it would be fine for you, if that person does that? E: Mhm.. J: Where did you get that again? E: Cause, well, in my case, i can't properly think when those kinds of situations happen, if i hear that my sister has what, left home and she just went back to Korea without telling me, I won't be able to properly think or function. My mind wouldn't be able to function well, so any actions i do, I think they'll be accepted by my friends. [00:10:04.24] E: And, in the opposite situation, if my friend would do that to me, i'll be understanding becasue i know that i know she's not properly thinking. SHe didn't mean it. She's just acting in a way of expressing his/her anger. J: If, again, if... if... where did you get that kind of... T: thinking or that kind of mindset. J: " It's okay if it's a serious situation, i would understand". Where did you get that?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

228

  E: WEll, it's not based on my experience, because i have never experienced that kind of situation, I think it's mostly observation. When i see people fighting, my friends, family or even in the drama. If I see that one, I would kind of relate me, there. Like think what I would do in that situation. [00:11:06.06] E: Yeah, I kind of draw the line, if that's acceptable, that's not. J: Okay, okay. Um, if it would happen to you, di ba in a situation like this, um, first, in a light...um, very petty reason like that, what would you feel your friend would do that to you? E: I...I don't think I would see that person again. J: What are the emotions you're feeling? E: Disappointing first, because I would compare myself, like our friendship and that event. And say, "Is that event so valuable to you even more than our...the friendship we have?" Then, I'll be so disappointed. Get anger. (laughs) And, I'll not see the person again. J: So, if it's a serous situation, what would you feel? [00:12:01.13] J: If that was done to you? E: Understand. I would really, totally understand. I'll...I can pretend that nothing had happened? J: So, you said that, um, you said that's it's okay if he grabbed him? But it's a different thing altogether, if he punE: Punched him. J: Would it be okay for you, if you were Jae GIl, if your friend punches you? E: It's very not acceptable for me, because it hurts! He's...the person is hurting me. J: Physically or emotionally? E: Both. Like I get emotionally hurt because I got physically hurt. J: Ah. Good point. Where did you get that mindset, that thinking that... [00:13:00.21] T: What would you feel if Maru, your friend punches you? What are your emotions? E: Surprise, at first. J: Why? E: Because, it's your very best friend. I mean, you lived [with each other] for years, and we, I was feeling that we knew everything of each other. And then, the person suddenly punched me? I'll be so surprised at first, and then I'll try to think first, I think. Like, what's going on with the person? J: Mhm... E: But I'll... I think I will end up getting mad. (laughs) J: Okay, you said that you'll be surprised. Because um, your friends, um you said that... Where did you get the mindset or the thinking that if you're friends, you're not supposed to do that to each other. Like what um, like he punched him. [00:14:00.17] J: You're not supposed to do that to your friend. Where did you get that thinking? Where did you pick it up from? E: I think, from the education here? Because actually in Korea, like physical punishment or physical...you know what...gently hitting each other is quite acceptable in Korea. So, I was used to those kinds of things when I was living in Korea as a kid. I used to like punch each other with my friends. But when I came here, physical interaction was definitely not allowed, and I learned thatJ: So interaction in the violent sense then? E: Yeah. No matter what happens, the physical violence was never allowed. J: In that culture, in your culture, is this okay? [00:15:04.26] E: I think... well, actually in Korea, when two... when friends fight with each other, no matter they hit each other or not. Like reaction of teacher would be the same. They would just ask them, "Why did you fight?" But here, if we hit each other, it becomes a totally different problem. It's like it's a very serious big problems. Yeah, like even for me... Since I was educated here, even more than i was in Korea, so I'm more used to non-violence. Yeah. J: Okay.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

229

  E: For me, it's more not acceptable. J: So this one. Ah this is last. [00:16:01.28] J: You rememberE: Yeah. J: So, this is the scene... you remember when Nana saw Lee Min Ho and the Prosecutor's ex-wife at the hotel room? E: Ex-wife? J: Ex-wife. You remember that? Sung-Hee? The doE: Ah yeah yeah. J: This is the aftermath. Right? Like she ignores him and all. This is what happens... (shows video) `` [00:18:08.18] E: Ah, now I remember. They came out from the same room, right? J: What? E: They were in the same room. J: Yeah, they came out and sheE: She saw that, yeah with the ex-husband of the girl. [00:19:22.26] J: Is there a particular scene or behavior that you like or didn't like, or were comfortable with or uncomfortable with in this scene or clip? E: Well, uh, I really don't like that scene, because I don't like the reactions of both of them. J: Okay. E: You know, it's like, for the guy, it's so rude to ask a girl you're jealousy. (laughs) J: Okay (laughs) E: I don't like that question. I mean, she was. She was right? Actually she was jealousy. And if I ask that person, "you're jealousy?" that's cause that's so... irritating and rude and very mean. [00:20:08.10] J: Yeah? What else? E: Well, I don't really like the personality of Kim Nana in there, because she's not really...I mean, there's so sudden mood shift. Like you're depressed, I thought she was just gonna sleep. "I shouldn't care about it", and now she's... J: Alright. Okay. If...I'm gonna ask you. This one. T: Um, let's focus on the behavior and the actions... E: Mhm.. T: So, what are the actions and behavior that you didn't like or liked during that scene? Is there any behavior? E: Yeah...that whole thing. BEcause, they kinda know that they liked each other? And they kind of have a sense that...yeah. [00:21:04.16] E: Like she likes him and... and then, they're not really asking each other for any confirmation. Yeah, they're just kind of... They're conversation is really like the conversation of a couple, but they're not a couple. And that really irritates me. T: Then how about the gestures or specifically, their movements, their body movements. Is there anything that you're not comfortable with, or not comfortable with? Body movement? E: Like...I don't know... Holding shoulder? Like that? T: Yeah. E: It's like hey. Arm, that's fine. You can just grab the arm of a strange person. But like shoulder is so close to my body. If someone holds my shoulder. [00:22:01.12] E: Or if someone touches my back, it becomes very offensive to the person. Protective. T: Why? Why do you have that-

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

230

  E: Because i find it very private, it's like it's so close to my face- close to like my main body. And if someone touched that, someone... the person who I don't...like allow, touches it, it's very, like, I find it very rude. Not respecting. J: Why do you think that? T: Why do you think that way? When a person who didn't want you....want you to touch your body, touched you? (laughs) Did you get it? E: (laughs) J: Okay. You said that's very rude if you don't allow... a person you don't allow touches you. [00:23:04.16] J: For...Who do you think would you allow to touch your shoulder? E: Like, my friends of course, girls. We girls are kind of like... each other during the class.That's acceptable but of course, for people who i met for the first time. And then, people who are pretending to be close to me, but I feel that close. J: So, those kind of people are okay? E: Mhm.. J: Okay. What else? E: I don't know, like... Actually some people use touching as a method to get close to each other. But, I don't like that? Because I don't like touching until we get close enough to touch each other. J: Why don't you likeE: Because I feel so uncomfortable. Like, I become oversensitive to the per...to the area that the person is touching, but I can't say, "Please do not touch me!" (laughs) [00:24:00.02] J: Where did you get that kind of thinking that you're uncomfortable when people touch that forbidden part of your body? Where did you get that? E: It's really based on my experience. Because a lot of times someone like talk to me like this, and I can't focus on the conversation because all my senses (laughs) in those area. J: Okay, Where did you get that...is that from experience or is it also from something else? E: Uh... I don't know. I feel like...Especially like head or like shoulder, this part, means...the other person is kind of thinking that he is in the like, the...what's that? The higher position? [00:25:02.26] J: Ahh... Where did you get, um, symbolic attribution to that...for example, a person touches you, um, is violating... he's... he or she...um... what with the head and the shoulder, you said that he or she is higher position...parang higher level than you? Where did you get that thinking? thought? E: I don't know. Because, actually in Korea, the elders touch the younger on their head and their shoulders. And it's not really like tapping of grandmother like really elder guys, you know kind of push the younger ones? Like as an expression of their...their position? [00:26:02.21] E: I don't know, their power of... J: Authority? E: Yeah, their authority. And then like, I don't like it. I don't like them saying that they have a right to touch the other people just because they are older. And then specially the guys, when the guys touch girls. Like they're thinking that they can...that they have right to get close to the girls. Like girls don't have any right to reject the skinship. And then, there's just like...you know it's really rude to say, "Don't touch me/" So when you're not so close enough to say, "Don't touch me". J: (laughs) E: It's like it's so... If it's totally a stranger, I could just say, "Why are you doing, what the hell are you doing? Why are you touching me?" But you know, like, we know each other, we know each other's name, but we're not close enough to have a conversation but the guy is touching me? But I can't say, "Don't touch me." Like, I feel like he has a right to do that, and I... so...yeah. [00:27:07.16]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

231

  E: Yeah, it feels like they have... they can do anything with me when they want to? J: So, if a person touches you on the shoulder, what would you feel? How will you feel? What are the emotions you're feeling? E: Mostly awkward? Because like he's not really hugging me, or trying to do something more...Actually, the person is not... He's not crossing the line, but he's stepping on thel ine (laughs) Very awkward! It's like I don't feel that bad yet, but I'm like kind of scared, that he might do something more. J: So you're uncomfortable with it. E: Yeah. J: Okay. If so... [00:28:00.23] J: In here, she suddenly walks away from him right? Um, if you were the guy, trying to explain...In this situation, he's explaining that there's nothing going on between him and the vet. And she goes. She wallk...she's about to walk out on him. That's why. E: He grabbed her around the hand. J: Yeah, if you were the guy, would that be okay for you if you were explaining something and the girl walks away? Is trying to walk away? E: Well, of course it's not okay. But if I were him, I would have used another way to explain it. Like, he's... He really went up to the girl, and saying, "Why aren't you answering your phone?" [00:29:02.16] E: I don't think that made a good start. Because that made her leave. If he was really trying to explain what really happened, he could just you know, naturally sit in front of her, and pretending like what "what are you doing?" "May I help you?" And say, "You know, like oh my god, I had a dinner with a girl and she was drunk, and she poured a wine on my clothes, and I had to run her to the room, so she could change it"...while the girl...You know? YOu can just say it in that way. J: What is...when you said that he approaches her...like that? What is "like that"? Could you describe how he approached her? E: What do you mean? J: Um, he approached her like this. Can you describe... You said you didn't like the way he approach her. E: Mhm.. J: How did he approach her? What was the way? E: He kind of like say, "You didn't like my actions, so that's why now I'm gonna explain why I did that." [00:30:04.14] E: He's kind of forceful? He was, yeah. He would ask her, he actually... He knew that she was kind of rejecting him, but she rejected him, by asking her directly "You're not answering your phone, why is that?" So...And she goes like, "Listen, now I'm going to explain what happened." That's veryT: If you were in the shoes of Nana, what would you feel? E: I'll feel like, I would raise a question of "Why is he overreacting?" (laughs) It becomes more suspicious. Mhm... J: Okay. So, if you were, for example, in a normal situation, you and your...other half, your boyfriend for example. For example, you were the guy, your boyfriend's your girlfriend. [00:31:00.14] E: Mhm.. J: And you were trying to explain that nothing happened, like that and that. And he... she leavesE: Am I the boyfriend? J: Yeah, you're the boyfriend. And she leaves, the girlfriend leaves. Tries and wants to leave. What would you feel? Would it be okay for you? E: Well, I'm not really sure, but if I'm a boyfriend and we're really in a relationship, and my girlfriend left without listening to my explanation, I would be so so sad. I can't say that I'm disappointed, because it is me that made her think in that way, it was me who did something wrong. We can't say that he did nothing wrong. So... sad, that she is not believing me, trusting me anymore? That's... yeah. The fact that there's no trust between us, I mean? [00:32:01.27]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

232

  J: How did you come... tsk...How can you say that if the person walks out on you, while you're trying to converse is a sad thing, would make you sad, would make any person sad? E: It's a very obvious sign of rejection? J: How? How will you...how did you come up with the thought that when a person walks out on you, it's a sign of rejection? E: Cause... J: Where did you pick it up from? E: Well, I don't know... with me... because, when two people are in the same place, and one of them has to go to the restroom, and has something to do outside, we make an excuse, am I right? [00:33:00.16] E: "Can you please wait for a while?" Even in that situation, it doesn't feel too good to be left alone. But like, going out and leave them be... actually...I don't know like...Leaving the person is really a strong rejection? I don't know the reason why? J: No, no we're not asking you the reason why. We're asking you, you said that when...we have to ask, we have to tell the person we are leaving. E: Mhm.. J: And that's the right thing. And you said that it's a strong form of rejection if you justE: Abruptly leave. J: Right? Just leave. Where did you get that thinking? Where did you learn it? Where did you pick it up from? That you're supposed to...you're supposed to...You're supposed to ask permission when you're about to leave a person? And when you don't ask permission, when you just leave, it's a sign of...it's a form of rejection. [00:34:02.12] J: Where did you get that? E: It's... I think it's very based on my experience. It's like I never really learned to do that? J: Okay. E: Hm... Yeah, I don't think I learned to give an excuse when you have to leave. I wasn't taught that in school, however, I knew it. Because I have experienced it. Nowadays, specially nowadays, we have, like, cellphones, and everyone's just looking at their smartphone like this, and they're in a group. And I was with someone, and the person is just using her smartphone, I feel so rejected, feels like left alone. And that's the same case, even if... which is even worse than when using a smartphone. J: Yeah, okay okay. So, for you it's not okay? Or is it okay? E: For him, it is not okay. Actually, even for her, that's not okay. J: So... [00:35:04.29] J: So, for example, would this... the handholding, would it be okay for you, if a person did that to you? E: Well, uh... In her situation, if I were her, I would be kind of irritated, because I was trying to leave and he stopped me. It means like the person stopped what I was about to do. I'll be kind of irritated. But as an outside view, i think it's okay to grab the arm, because he was trying to have a conversation, and she rejected. And grabbing arm is kind of an accepted way of you know, effort to continuing the conversation. [00:36:01.19] J: Okay. I have two questions. What was it? I forgot the first part (laughs) Um, you said something about, "It's going to be irritating" if the person... because it's a way for the person to stop what you want to do, which is leave. Why do you say that it's not a good thing? You said that it's irritating? Why do you say that?...Okay, I'll rephrase it. I'll rephrase it. I'll rephrase it. Um, where did you get the thinking that you're not supposed to stop a person from doing what you want to do. For example, we were talking, and we have a fight. You want to leave, you don't want to see me. But I grab your arm. [00:37:00.26] J: And my gesture would irritate you. Where did you get that thinking that I'm not supposed to stop you from doing what you want?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

233

  E: Cause, actually, it's a very strong personal deal with me. When I was...like yeah. There were some cases that about me, mentioning why are you caring about that person's actions. You should respect that. And since, it's a part of the person. And then my mom including her friends were so surprised to hear that. ANd actually most of the people in Korea, they were surprised to hear me say, "Respect that action". Because for me, it's like...It's the person's right to do whatever he wants to do, and he...like, especially if it doesn't directly affect me. It should be...I have no right to tell the person to stop doing it. [00:38:03.04] J: So, in Korea, is it like a custom? It's not a custom to like to... Why do you say they were surprised when you said that? E: Because they love, they love to know everything about each other. They love...It's like bondage with each other, in the name of yeah, friendship, or like bondages or like neighborhood? They have to know everything with each other and they tend to judge about it. Like there was one case, and my friend's parents got divorced, and my friend was living with the mother. And there was a bad rumor about the mother. Then my mom told me about the rumor. Did you know that... did you know that woman... And i said, "It's their business. Leave it. [00:39:01.06] E: Like, leave it on them. I don't care if the rumor's true or not. It's like, they're still my friends. I'm not affected by that actions of them, like you should just leave them like that. But in Korea, it's not like that, actually. Like, you really have to know everything about each other. Like one of the problem in Korea is, you know, like, you even know how many spoons your neighbors have. J: What... spoons? E: Spoons. J: Spoons. Okay...Wow. E: Yeah, you know how many spoons they have in their house, and neighbors...and they care about it much if...If for example a girl has a boyfriend, and all the people around them will try to involve (laughs) try to join and the like, try to even give the guy advice on how to be together. [00:40:05.26] J: Let's go back to your second comment. You said that it's kind of acceptable because it's a way, it's an effort, it's a gesture that speaks of an effort to continue the conversation. E: Yeah. J: So, in that scenario, it's okay, that heE: Yeah. J: Where did you get that mindset that it's okay. That it's acceptable that a handgrabbing is acceptable because it's a way for a person to try to continue conversation with another. Where did you... E: Well, I think... Hm... I don't know, like... It's not...because I didn't found that offensive. [00:41:05.13] E: Because he didn't do something even more like really force... try to force her back or made her sit on the chair. But like just grabbing and trying to make her stop. And he even released her arm when she asked him to, so I didn't find that offensive. Hm... J: Why didn't you find it offensive? Where did you get the idea that that is not offensive? E: Because, she, um didn't get hurt? J: Where, um...where...'Di ba you have that thinking that what he did wasn't offensive, because he was just...trying to catch up to her, trying to make her listen to him. Where did you get that thought? [00:42:01.26] J: Where did you learn it? OrE: I don't know. It's not really learned. But I found that most of the people do that. J: WHere? E: Um..in...the...like...everywhere? J: In our country, or in...

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

234

  E: I think mostly in Korea. Yeah, I see most cases in the Philippines too, but mostly in Korea. When someone trying to leave they grab the arm first, that's actually the very first thing to stop the person who's leaving. And yeah, since majority is like that, yeah. Yeah because sometimes I think that's acceptable. J: So if it happens to you, when somebody tries to grab you, parang... what do you feel? E: Am I the person who's leaving? Or amJ: Yeah, your'e the person who's leaving. E: If I'm leaving, I'll be irritated because there must be reason that I want to leave that situation. [00:43:07.04] E: Mostly becauase I don't liket that person. But if he grabs my arm, I'll be irritating, by stopping me. But I won't really be of a...like, "Why are you grabbing my arm?" I won't be doing that. J: Just irritation. E: Irritation by being stopped. But not by being grabbed, by my arm. J: Okay, this is the scene. E: Which part is that? When they first met? J: This is the...they met... they didn't meet at the airport, but the girl contacted him, and they agreed to meet at a hotel lobby. SHe was late for a bit, 5 minutes, and then he saw her, but she didn't see... [00:44:01.27] J: "Since you're late, I already left. Meet me somewhere, at this time." So that was the first meeting. Second meeting, was she trying to get... to talk to him. He said he wasn't there. So, he stil saw her. But then, she didn't see him. E: Ah, okay. J: And then... E: Is that after she saved the grandmother, and she's entering the house? J: Yes. and third, the last time they met, it would be shown here though. It would be shown here. The last time they met was in a bar where she worked as a waitress and they had a fight there. Because he identified, he introduced himself to her. So, this is the fourth time they're meeting. (shows video) [00:45:42.05] E: Is that the grandmother? J: That's the mother. E: SHe's the mother? J: His sister. E: Ah. J: The grandmother's not yet around. [00:46:31.07] E: Wait, the sister and the mother doesn't like her? J: They're uncomfortable because suddenly, the grandmother wants her to...wants the girl to live with them. Like she...like they brought her home, but he wasn't there. [00:47:18.28] J: Okay. Okay. So, I'm asking you the same question: Did you findE: Very, very, very rude. (laughs) J: Which part? E: Everything. Because there was both physical and verbal abuse to the girl. (laughs) J: Could you enumerate the things you found rude? E: The first, he grabbed her arm. It wasn't really grabbing, it was almost kind of squeezing, dragging of the girl...almost dragging. And, she got hurt and she was asking him to release her, but he didn't. [00:48:01.11] E: There...Mhm... J: Alright. Why do you think that, you said arm-grabbing first, right? WHy do you think that was rude? E: Yeah.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

235

  J: Why? E: Because they don't know each other. It was, you said their fourth time meeting each other. It's kind of like their second time of having a proper conversation face to face. And then, they basically don't know each other, and in that case grabbing is without information is very rude. It's not... shouldn't be accepted. J: Where did you get the thinking that doing that is not accepted? Where did you pick it up from? E: Actually I'm thinking that as even more aggresive because it's a guy grabbing a girl's arm? [00:49:02.05] E: Girls should be more protected, the guys should never ever touch the girl? J: Where did you get that idea, that guys and girls are supposed to be... E: It's... J: And the guys shouldn't hurt girls. E: It's kind of both Korea and Assumption. (laughs) Because in Korea, basically if it's a guy or a girl, guys shouldn't touch a girl no matter ever what happens. J: Touch meaning? E: Like physically attacking a girl. Some... girl shouldn't always be protected blah blah blah. But it...it's...if guy abuse a girl, it's a very serious problem among Koreans. You can never ever...Even nowadays, the idea got even more stronger. [00:50:02.01] E: So, can try and call a police by a man grabbing her arm without any permission. J: Alright. If you were the girl, how would you feel, how would you feel if you were grabbed by the arm in that manner? E: By manner, by someone who I really don't like? I think I'll be scared first, because I'm in a strange place. That I was like about to do something not usual. I'm like about to kind of change my life. Then, I guy just grabbed me and he was kind of scaring her. He was actually scaring her. Eh, I would be...I don't think I would be able to think properly, probably just really scared for my situation. J: We're making good time! [00:51:08.14] J: Um, first part is this one. I want to ask you if in this situation, she didn't know that this place was the guy's place. So she went...she was familiar to this place. E: Mhm... J: She didn't know that the guy's... the grandson...the grandson that the grandmother was talking about, was him. Because when she went here, the first time, he wasn't there. He wasn't there. He was in a hotel, being rebellious. Yes. So... and then...If you were the girl, the guy suddenly appearing... E: Mhm... J: Would it be okay for you? E: Of course not. J: WHy? E: Because if the person I know, or who I...Who...or like...they... [00:52:05.09] E: If the person is the other guy you know, the other character of the drama? J: The good guy? E: The good guy who helps her, obviously I'll be so super glad to see him there. Really, I'm in a strange situation. J: Yeah. E: Yeah, and the person is helpful and kind to me...I will be the person who grabs his arm (laughs) Really, really opposite situation, I think I would like to stay in that place anymore. J: Why? E: It's just that I would want to leave. T: WHere did you get that kind of thinking that if, what you said, the other guy, the good guy, appears right in front of you, it's okay for you. [00:53:04.07]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

236

  T: But then, that kind of guy is in front of you is in front of you, it's not okay. E: Yeah. T: How did you come up with that kind of thinking? E: It's really, totally based on my experience. I first came to Assumption, it was so strange for me. It was like that, because I knew no one. Most... I found most of the students who were in my block, knew each other. They were from same highschool, or they were living so close to each other, and kind of knew each other. And I was the only one who knew no one and I was the only Korean in the block. And everyone was speaking Filipino and I was like...back alone. There's no...nothing. Then one girl from Thailand appeared. J: From? E: Thai...Thailand appeared and then she was in the same situation as...with me! [00:54:02.14] E: And like, I was like...I ran to her...Yeah, really... She became my first best friend. We were like talking to each other and we only had each other in the block. J: Are you still going strong? E: Hm? J: Are you still going strong? E: No, no. J: She left? E: Oh, no no. No, she's still here. But, she is majoring in...she's an English major and I'm a preschool major. J: Okay, so...How can you say that you won't like it if a person you don't like suddenly appears? E: Because that only makes a situation worse? J: How could you say that? How were you able to say that? E: Uh...If I entered the place and someone there who doesn't like me... [00:55:02.15] J: Have you been in that situation before? E: Um, no... J: Not that situation, but in a similar situation, where the person you know doesn't like you and the person you don't like suddenly appears in front of you, or you suddenly realize that you're in the same room together. E: Hm...Well, it wasn't really like just two of us. I was supposed to meet all of my friends... J: Where was this? E: It was actually here in the Philippines but all with Korean friends, then I didn't know that person was coming. That's why I went out there with my friends, and we were hanging out. And then, the person just appeared. J: Who is this person? E: Oh, she's just my schoolmate from Brent. [00:56:00.10] J: Ah... E: Yeah, and then...Actually, I don't know what to do? J: DId you feel ano... Who came... who approached you? E: What do you mean? J: Like who...Was she...was she just there, or did she come from somewhere, and then you saw her? E: She was joining usJ: Okay, so she approached you. E: SHe was approaching us. J: So, what were you feeling? E: Uh... I don't know. I...the first thought I have was I don't want to stay in the same area or place with her? I wanted to leave? J: Okay. E: I wanted to leave, and if there were no one else I would have left already. But I can't because my other friends are there. Yeah, the only though I had at that moment that i saw the person was I just want to leave this place. [00:57:04.27] J: So, Okay. This one. So... This is a different thing. Him...approaching her like that. Is it okay for you?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

237

  E: No. CauseJ: THat girl did not think youE: I found that pointing very... J: Oh, okay. Why? Very what? E: Rude? J: Where dd you get that notion that that gesture is rude? E: Because... I don't... When I was a kid, I learned that you shouldn't really point the person like this. You have to... To point the person, you should use your whole hand like that. This is the person, you shouldn't go like that to her. [00:58:03.17] J: Ouch. Okay. Who taught you that? E: My mother, as one of the right attitudes. I'm not sure if that's allowed here. Is it? It's not right? J: I just tend to to do it to my friends. You know... E: But...as it...yeah... It's not...among the friends, you could do it for fun..."It's you...You there... You..." You can do that. But to the stangers, to everybody, not allowed. J: What would you feel if that was done to you? For example, you don't know me well, right? But what if I did that to you? You..You...You... If I'm a stranger, and I did that to you? E: I think I would ask him to stop doing that. I would've asked the person to stop doing that. J: Because? E: Because, I'll feel so so like... so violated. [00:59:04.27] E: Like, it's a very strong abuse to me. So even if it's a stranger, it's a definitely very abusing gesture...of course, gently, but i'll ask the person to stop doing it. J: Okay, okay. So this one. Disregarding that gesture, his sudden approach of her from this...she was here... he was here, and he did that. E: Yeah. J: He approached her in that brusque manner. Is it okay for you? (shows video) If that girl you're talking about... That girl, let's call her person X. E: Okay. (laughs) J: SHe, X, now goes... I assume that She just walked normally towards your group, but what if she... [01:00:02.05] J: She walks brusquely towards you? Would you...would that be okay for you? E: I don't know. Like, actually if, if I didn't see that person, and that peson just suddenly appeared or came...move to me fast... I'd be just surprised, and I wouldn't feel any offense from that action. Like likeJ: But in this caseE: Like...I'm sorry, cause that in that case, the girl saw the guy and she even saw backward, because he really pushed her. J: So, if that was done to you, okay... Like, you... E: No, definitely not. Because I saw the sign of rejection of the action by stepping backwards, so... [01:01:01.00] J: No, you were the girl. E: MHm... J: Person X is this guy. E: Oh. If I were the girl, right? J: Yes, you were the girl. And that person, person X, instead walking normally towards your group, she... She a girl? E: She. J: She like, dun dun dun dun. To you. Um, would it be okay for you? E: Definitely not. J: Why? E: Because...Uh...I would think, what the hell is that person going? J: Why do you think that? It's not okay for a person to suddenly approach you. E: I don't know. I will be tempted to hit the person (laughs)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

238

  J: So, where did you get that thinking that, "Uh...Ew... [01:02:02.00] J: You're not supposed to suddenly approach me?" Especially, if I'm not in good terms with you. Where did you get that thinking? E: I'm like...It's a matter of personal thing? As I keep saying, I believe that each individual has our own boundary. And she just jumping into my boundary, before I'm actually prepared to stop that. J: So, in that situation, you don't like... you hated the girl's guts. Mhm... E: Mhm... J: In this situation for example, the guy you're meeting...If he was the one who did that, suddenly approached you, and you're in really good terms with him. Woluld that be okay if he approached you in the same manner? E: Yes, because... [01:03:01.07] E: You know, there are person that I can upset anytime, like my family and my good friends. I would be surprised if I were in that situation. But I won't be so offended because they are the people whom I love or automatically love. But, like if a person I'm not really close to jumped into me like that, i'll be surprised and feel offended. J: Okay, why? E: Because she is really crossing the line...of my acceptance zone. J: Yeah, is...so where did you get it from again? That thinking? [01:04:00.12] E: Really, my personal... J: Personal. E: Mhm... J: So, in your...countries, it varies? E: Okay, well...In my country, really varies. Because there is a very big gap between stranger and familiar people. Because especially in America, when you first meet each other, you become friends. We go...You ask each other's names like, "Hey, what's your name? Where're you from" Like, we're friend now." That's it. If in Korea...If It's a stranger, I don't go close to the person. J: Okay. So, why do not go close to the person, in Korea? E: Because the word "different" or "strange" or "familiar" means very big to the Koreans. If it's different, it's wrong. [01:05:01.02] E: If it's not part...If the person is not part of our group, there's no reason that I should go close to the person. Mhm... J: So, where did you get that kind of... that type of mindset? E: It's like by practice of Koreans? J: So it's a culture thing? E: Yeah...It's... J: Disregard that...I'm not allowed to say that. Okay, so it's natural in your country, this practice. E: Yeah. They love grouping each other and they really doesn't allow to go like... J: You just don't do that. E: Mhm.. J: Approach a person. E: Involving into those group. J: That are tightly-knit. Okay. So, next question is this one. [01:06:03.00] E: The verbal abuse part. (laughs) J: No. E: Is it? J: No, it's not the verbal abuse part. Here. (shows video) You see? E: PUshing? J: Pushing.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

239

  E: Um, who's the girl who's pushing. J: Han Hyo Joo. E: Really? J: Yeah, she was wearing that wig. And so, if you were the guy. This is...The context of that um...Somebody was calling her in the phone, because he approached...He thought that he was a thief and all, he approached her quite aggressively. So, i think that he did something that caused her to drop the phone, and he accidentally stepped on it. And after that... E: Oh, an accident. J: It was an accident, he didn't really do that on purpose. So, in response, she pushed him. She did that. [01:07:00.01] J: Um, if you were the guy, would it be okay for you? If you were pushedE: That way? J: Yes. E: Of course, if you will ask me, if it's okay, it's not. Because it was just an accident, I didn't mean it? But she still pushed me? J: Okay. E: I will feel bad. But, it is true that I can't say anything about it, because even if it was an accident I did something wrong to the person. I broke her cellphone. J: Okay. So, if it were you, Um, you did something by accident, and that person's natural reaction is to push you. What would you feel. E: So you ask me if I were that guy? J: Yeah, if you were Lee Seung Gi, and Han Hyo Joo did that to you, after you accidentally stepped on her phone... [01:08:03.20] J: For example, let's take it to the...In a natural...no, different context. Um, we were fighting? No. Talking. E: Mhm... J: You're talking and then I...You suddenly dropped your phone, and because I'm heavy, I stepped on it by accident and it cracked the screen. And, you...No, it's the other way around. E: Yeah, for example, we're talking, and I accidentally push this off, and you pushed me. J: Exactly that. Okay. E: Oh, well in that case, I would be just...No, I don't think I would really mind the action of push. [01:09:02.00] E: Because the only thing I would mind is, "Oh my God, I dropped that laptop. I broke that laptop. That's not mine." J: In this case, he didn't really mind. He was like, "Oh? You broke the laptop?" Let's take the laptop out of this thing. What would you feel? If the thing broken was inconsequential to you... Parang, it's not really significant to you. What would you feel if I reacted in that way? E: Oh. Like if I broke this pen. And you were to push me. J: Yeah! E: And for me like, "What?" You're just pushing me because of that pen? And. That. Yeah. In that case, I'll be so... I will try to justify that aciton first, because that thing might be very valuable to you. [01:10:01.25] E: Or, maybeJ: What would your initial reaction be? E Hm? J: What would your initial reaction be. E: Initial reaction? J: If I pushed you, because my pen broke. If you dropped the pen and I'm like... E: I think I will ask a question, "Is it that valuable to you?" Like, maybe not...Ask questions about, source of the pen. Maybe that's like a gift from a dead grandmother (laughs). I'll try to find a valid reason and if I can't find any reason why she did that to me, I will feel bad. J: You'll feel bad? E: Feel bad.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

240

  J: What else would you feel? E: Maybe, I don't know...Something... T: Ruder? Even more rude? [01:11:01.02] E: No, like...I can't... J: Okay. Why are you...You said ruder...me doing that, you'd think that gesture was rude. Um, where...why do you say that gesture, pushing you... E: Because for me, the reaction, was a bit too over, than what I... J: Where did you get that notion that it's just a small thing you're not supposed to act like that? Like me pushing you over a pen. I pushed you over. It's not the right thing to do. Where did you get that thinking? E: I think it's really a globalized matter. To not really do that. Mhm... INTV w/ Austin Lee (Lee Hwan Ook) Interviewed by: Joelle Robles/Christelle Tolisora [00:00:00.00] J: Please state your name, age and nationality. A: My name is Austin Lee. I'm from South Korea. J: How old are you? A: I'm 19 years old. J: Okay, do you watch Korean Dramas. A: Yeah, of course, I love them. J: Um, How many dramas do you think you've watched in your entire life? A: More than 20? 30? J: What gen...what genres do you usually watch when you watch Korean dramas? A: Uh...Action. J: Action. Okay. Um, have you watched Nice Guy? A: Nice Guy? Yeah, when I was young, because that's kind of old. J: No, this. Chakhan Namja. A: Who's the main actor? J: Song Joong-ki? A: Ah, yeah. [00:01:00.20] J: You've watched it? A: Yeah, yeah. J: Okay. City Hunter. A: Yeah. J: Ah, Shining Inhertiance? A: Chanranhan Yusan? J: Yeah. A: Yeah, I watched that. J: Okay. So, first we'll be showing you this. (shows video) [00:03:50.03] J: Okay. In that vid...In that scene, um, is there a particular gesture or behavior that you liked or didn't like, or you were uncomfortableA: Yeah. J: What? A: Well, based on the things they talked about, I hoped that Song Joong Ki hit the Kwang SooJ: Oh, okay. A: Like he hit... J: So, what behavior did you... what behavior were you saying?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

241

  A: The main actor hit... what's the name of him? J: Jae-Gil? A: Yeah. J: His friend. A: Yeah. J: So, you do know the context of the situation? A: Contact? J: The scene... the story behind the scene? A: Yeah, yeah, yeah. J: Did you like it or did you not like it? A: Yeah, I liked that. J: You like it. Why? A: Because...Since I know the situation, I hoped that he hit him. But in the drama, he really hit him right? So, that satisfied me that I want to watch. [00:05:00.13] J: Oh...Okay. So, Imma ask you this. You...put yourself in the shoes of Jae-gil. You're best friends right? A: Yeah. J: You're Jae-gil and this is Maru. And you having... You're having a fight. A: Yeah. J: And then he punches you. No. First, he grabs you by the collar. He does that. A: Yeah. J: Is that okay? A: Yeah. Yeah. J: For you? A: That will be better to express their emotional conflict by their gesture. J: How...how did you...how did you say that it's okay, because it's a way for them to express themselves? How do you come up with that-A: Because if they...when you're saying things and it's hard for them to express their emotion. Their fight right? [00:06:01.11] A: Since they grab their clothes and punch the friends something that they can't express. They are emotional conflict or something. J: Where did that thought come from? That it's okay that it's um...It's a way of expressing oneself, um, doing those gestures, hitting and grabbing the collar. Where did you get that? Where did you learn that from? How did you um, come upT: Come up with that kind of thought or mindset that it's okay for you, if that situation happens to you, it's okay to punch or hit a guy. Where did you learn that kind of thought? A: The kind of thought? While I study in Korea. In the school, we have a conflict, and since I'm guy...Yeah, we can have that kind of situation, when I have conflict with my friends or something. [00:07:04.10] A: Of course we can hit each other or something. J: Okay. So, if you were Jae GIl... A: Yeah. J: For example, let's put it into real...Uh, let's um, adapt it into a real life situation. You have a fight with your friend, a verbal fight. A: Yeah. J: And then, he suddenly grabs you by the collar. A: Yeah. J: What would you feel? A: I will grab at his collar too! (laughs) J: What would you feel if he does that? What emotions are you feeling? A: Angry of course. Like it feels like my best friend betray me or something. J: Why?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

242

  A: Because I...Bestfriend is the person who I always trust and be with right? But, he tried to punch me. So, of course I would feel bad or something. J: Where did you get the idea that if you are a ... [00:08:02.06] J: that a best friend is somebody you should trust, that he or she should not do that to you, like grab you by the collar. A: Because I have experienced that in Korea. I have experienced that. I fought with my best friend. Yeah, at that time, I feel the same way with what I said a while ago. J: You felt angry, you felt betrayed. A: Yeah. J: So, it's not okay. If you were Jae-gil? A: Yeah. But in drama, it's okay, of course. J: Okay. Hm...Where did you get that idea that the best friend is somebody you should trust and shouldn't do that to you? A: Hm...Based on my experience, when I have a hard time or something. My best friend is the only person who can share and be with me. J: Okay. Next scene is the one where he...(shows video) [00:09:04.07] J: What did he do there? A: He punched his face. (laughs) J: Yeah. So, is that okay for you? A: Yeah. It's drama. So, it's okay. J: If in... If it was in a real...if it was put into real life? A: In real? Of course, they better solve their problem by verbal things yeah. J: Okay. If you were Jae-gil, would it be okay for you if your best friend punched you, like really punched you. A: Me? J: Yeah. A: If I punched my friend, that's okay. But when my friend punched me, it's not okay. J: Okay. I've two questions. Okay. First, why is it not okay for your best friend to punch you? A: Punch me? Like what I've said, I don't want to feel like my friend betrayed me or something. I wanna maintain a good relationship with my friends. [00:10:02.19] J: How do you say that when a...somebody hits you, somebody punches you, it's a form of betrayal? A: I mean, not...that's not form of betrayal, but when I have a fight with my best friend, and when he really punched me before, I feel that way, that's the reason why I say that. T: So, what if that guy, like um, Maru, is a stranger, and he punches you. What would you feel? A: That...I would feel...that would be different with the betray- or something. I will just angry, and will want to fight back because that's stranger right? J: Yeah. You said earlier that it's okay if you hit the person, and he hits you back. A: Yeah. J: It's okay if he punches you back. Where did you-why? [00:11:01.02] A: Why? Because, like when other people hit me. Like change the situation, when I hit the other people, of course there would be reason, if I hit the people, because I'm not kind of person who will hit people without a reason. So, when it's me. I can say it's okay. But I can say that it's better than if other people hit me. J: Again? A: I mean, when I hit other people I guess that it's better, compared with the situation that other people hit me. J: Oh. Okay. Um, where did you learn that you don't hit people without a reason? A: That's basic moral, right? J: Yes.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

243

  A: You never hit the people without a reason. And before I commit a mistake, like hit people without reason or something. [00:12:06.07] A: That's the reason why I study in the Philippines, because I kicked out from Korean high school. (laughs) J: Okay. T: Where did you learn that basic moral? A: Experience. J: Experience. A: Yeah. J: Could you...elaborate? A: Because whenever I hit people without reason, there's always bad result. I mean, bad result, like, get kicked out from school or study in the Phlilippines or something. So, we should not people without valid reason. J: Okay. Next scene. So, the next scene is... City Hunter. (shows video) [00:15:45.24] J: In that scene, did you find...did you find any body gestures or behaviors that you liked or did not like? A: The like? Like...When he grabbed her wrist? [00:16:00.22] A: Yeah. That was my favorite thing in the short video. J: Why? A: Because. Why? (laughs) J: Why? A: Uh. Because that's the main idea of this video. J: Mhm... A: Like, in direct way, Lee Min Ho expressed his feelings by grabbing her wrist or something. J: So, it's okay. A: It was okay for me. J: Where did you learn that grabbing that arm...I mean, grabbing the hand...the wrist? A: Yeah. J: Is a way for him to show his emotionsA: By their conversation. I kind of noticed that they liked each other and they're uh...skinship by grabbing the wrist or something, right? J: Yeah, okay. So, skinship? [00:17:00.14] J: Do I...Why skinship? What do you...What does it mean? A: In there? J: No, what does skinship mean? A: In there? No, in real world? J: What do you think does it mean? A: The way to express things by action. One example of skinship is when you like someone or love someone, you can express that feeling by skinship right? J: For example? A: Like holding hands, and hug? J: Where did you learn that? A: Um... J: Where did you learnA: Like in our...of course this is experience too. Like when you comfort someone, instead of saying things, just one hug is better sometimes, right? [00:18:00.16] A: That's how it means, like skinship. We can express more things than just talking.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

244

  J: Okay, I'll ask you several questions, but first, um you know that she's pissed at him. This is the scene that comes afterA: Hotel room? J: Yeah, she sees them in a hotel and all that. So, you...she's a bit pissed at him. They're not exactly together, but they like each other, but they're not just saying it out loud. SO, she wants to walk away. A: Yeah. J: And he stops her, by grabbing her wrist. If you were...If you put yourself in the shoes of Kim NanaA: Yeah. J: Okay, would that be okay for you? If a person you want to walk away from[00:19:01.04] A: Yeah, of course. Maybe, since she like him... J: Okay. A: Maybe while she's walking, maybe secretly she hopes that he grabs her. J: Okay. Why do you think that? A: Because... Like when you like someone, and the person whom you like grabs your wrist. Isn't it okay? It's okay right? J: Okay. How...Where did youA: (laughs) Learn...learn that? By experience. Like, of course, we have boyfriend and girlfriend, right. And when boyfriend or girlfriend grab your wrist, it's feel okay, right? And in that drama, she likes him. So, he grabs her wristJ: Is it in your country, or is it here in the Phlippines, the wrist-grabbing? A: KoJ: Korea? A: That...Is that part of the interview? J: Yeah. We're trying to... Yes, it is. A: Both. J: Both? A: Korea and Philippines. I guess that's international feeling. [00:20:01.04] J: Hm. Okay. So, what if you don't like the person. And you were trying toA: Of course, I would hate that. If that is not writst, whatever is that part of my body. If the person who I hate , if that person touch me. Not even touch. If he even touch my clothes. I would feel bad. Because I hate that person. J: What. Why do you...What is your initial reaction, emotion... what emotions would you be feeling if, example, you hate me. For someone you don't know, A: If the person who I hate would grab my writst. I would do the same thing with the first video. J: You will hit the person. So why is it that, when he...where did you, why is it that when you don't like the person, you don't want that person to touch you. [00:21:07.00] J: Why...Why is it like that? A: Why is it like that? I don't know. I feel bad whenever...But usually the people I hate, they don't touch me and even they don't talk with me, right? J: What if they don't know that you hate them and they not, let's not say hate, dislike. They touch you. what would you feel? A: Yeah, since I'm straightforward person, I will just say, don't touch me, I don't really like you or that... J: Oh, okay. What would you feel if they touched you. A: Extremely bad, of course. J: How bad, like whatA: How bad? J: What feelings are youA: It feels like, if I say it, I'm guess almost like a bad person... J: What... A: Like, it feels like something like a bothering insect is on my fist or something.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

245

  [00:22:07.21] J: Oh, okay. A: That feeling. J: So, what if it was a stranger? A: Stranger? J: If it's a stranger, and that person...For example you're walking, in the streets, and somebody you don't know touches you. A: That's... J: Grabs your hand, or touches your shoulder... A: Okay. Since I'm performer, I have many experience about those kinds of things. When I walk in mall, somebody grab my clothes. "Hi, can I...can we take picture?" But since...It's okay. JustJ: When somebody did that, what did you feel? When you did... T: At first. J: At first. A: Startled. Like, "Did I doing something wrong?" Or something like this. J: Why? Why were you startled? A: Because, if feels like I did something wrong, and she tried to say something for me. [00:23:06.10] J: Why did you...how did you...how do you say... where did you get that thinking thatT: If someone grabs you, or touches you, and you don't know that person, why do you think that you did something wrong? A: Maybe, I commit many things that...I mean, wrong things that's the reason why I feel that way. J: Oh, okay. So, where did you get that thinking that when a person you don't like...sorry. Okay. A: It's okay. J: Where did you get that thinking that when a person you don't like touches you, it's not okay? A: Where? J: Where. A: Did I learn? J: Yes. A: It's...I guess every people feel the same way. [00:24:05.13] A: If the person who I hate touched me. It's feel bad. It's not where I learn or something, I guess every people feel the same way. J: So, it's a... A: If you're woman, you will feel bad if stranger and hater touch you. J: Okay, this part. Um, you were trying to... She was trying to walk away from him. If you were Kim Nana, would that be okay? A: Yeah. J: Yes, why? A: Since, she liked him, it's okay. It's okay. Everything's okay. J: So, it's just...So if that...if you didn't like the person, or if you were natural. A: Yeah. J: It's not that you like the person, or you don't like the person, you're just neutral. A: Yeah. [00:25:00.14] J: Would it be okay? A: Of course, I will...what's that? What do you call that in English? J: Brush it off? A: Yeah. J: Why? A: His hand and I will just walk on my way, and go away. Because, there is no reason to allow him to grab my shoulder, if I don't like her, if I don't like him.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

246

  J: So, what would you feel if somebody...If a person does that to you. You're walking and then, that person grabs your shoulder, tries to stop you from walking? A: I will...If that's stranger, okay... I will not really feel bad. I can just ask the reason, "Why do you grab my shoulder?" or something. But if that person is a person that I really hate, of course there is a possibility that I can fight back. [00:26:02.10] A: If it's a person you like, he can grab another shoulder or whateverJ: Who can do that to you? Who do you think...Which kinds of persons would it be okay for you to grab... T: Grab you by the shoulder. A: Any, any people. For me, that's okay, since I don't easily hate people. Of course, there are several people that I really hate. Except them, it's okay for me. J: What would you feel if a stranger does that to you. A: It's okay. I have many experience. It's okay. J: Okay. So if you were having a bit of a fight. Would it be okay for you? [00:27:04.06] J: What did Nana do? What did you see that she did? A: That's okay. In Korea, if he's older than her, that's really rude action. Like, walk away while older people is saying something. But since they are kind of friends, or something, it's okay. T: You said something about, if an older person is talking with you or is having a conversation with you, and you just walked out, and you're the younger person..How did you come up withJ: That thought that it's rude. A: Because most...Yeah, yeah, yeah. When I was young. I mean, when I don't know about those kind of courtesy, something like that. When my father was talking, I just walked in my room and closed the door. [00:28:02.21] A: Yeah, so at that time, my father get really mad at me. And he gave me some physical discipline. So, now I know that it will happen if I do it. J: So, for you it's okay that if you're the same age, it's okay for somebody to walk out on you? While you're talking to them? A: Yeah. That's how they express their feelings, like "I'm get mad now, don't talk to me" or something. J: So, if you were Lee Yoon Sung, it would be okay for you to... for her while you were talking...Let's put it into a real life context. You were talking with your friend, and you have a verbal fight. A: Yeah. J: Would it be okay for you, if he suddenly walks out on you. A: Of course I will feel bad, because somebody go away while I'm talking, right. J: Why would you feel bad? A: Why would I feel bad? Like...I'm trying to express something, but the person doesn't listen to the things that I say. [00:29:07.13] A: Of course I will feel bad. It feels like she or he ignored me. J: Where did you get the thought that when you're trying to say something, or trying to express yourself, the person you're talking to should listen to you or not walk away. A: Should not? J: Yeah. You said that you feel bad when a person you're trying to express yourself to walks away, you feel like you're ignored. A: Yeah. J: Why do you think that a person you're talking to shouldn't ignore you or walk away? A: No, it can. It's just that they're free. If they want to walk away it depends on them. They can do the things that they want, but if they do that, I will feel bad. J: Mmkay. A: They don't need to listen to the things that I said.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

247

  [00:30:04.00] A: They can go if they want. But, if they go, I will feel bad. J: Um, where did you get that idea that you'll feel bad when they ignore you, when they walk away. A: Like, in Korea, when I fight with my brother, or sister, when I'm trying to saying something, they just go to their room and lock the door. At this time I will feel bad. J: What did you feel when they did that? What emotions did you feel when they did that? A: I wanted to hit my brother. J: So, it was...what emotions? [00:31:00.23] A: Yeah, get mad. It's like he's younger than me. But he tried to ignore me. What's wrong with the world? J: Okay. So, you're angry. A: Yeah. J: Okay. Next scene. Okay. Where did you get that? WHere did you get that again? A: Learn that? Get that? J: Yeah, where? A: Wh-what? J: That ignoring... A: Ignoring. J: Did he answer that already? (shows video) [00:32:20.04] J: What did Nana do? A: Suddenly opening the door, I mean a guy's room. J: Is that okay? A: Yeah, like. Like, I said a while ago, I live with other Koreans. Of course, some Koreans are girls in my house. And we are not friends and family before. Like we meet in the Philippines, and we just live in the same house. So, that's really happened. So, we can't...Like int the morning, suddenly...I live in second floor, there is three rooms. One room is mine, and other two rooms are other girls', I mean Koreans. [00:33:04.26] A: They open the door of my room whenever they feel bored or something. Like while I sleep, they open my room's door, and they wake up and they say, "I'm bored." something like that. So, it's okay for me, I already experienced those kinds of situations. J: So, when... Inititally, what did you feel when they did that? A: When I...It depends on situation. Like, when I sleep, I really hate people who disturb my sleep. So, whenever they wake me up, like disturb my sleep, I wanna throw them out of the window. Like, when I'm just chilling by myself, like listening to music in my room. It's okay. J: So, that happens in your boarding house. A: Yeah. [00:34:01.15] J: If it happens...if it was in your house. A: Other? J: In your house. T: In Korea. J: Anywhere. It was your family house. A: Family house? J: And you were in your room, and somebody barges in, would that be okay for you? A: Yeah, it's okay. I'm not the person who likes to be in the room all along or something. I always want to be with other people or something. So feel free to visit my room whenever they want. It's okay. J: So, if you were in the shoes of Lee Yoon Sung... A: In this situation? J: Yeah.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

248

  A: I guess, it's not okay for him. Because he liked her, right. So, he lied down, just chilling by himself. So, before she entered, he should arrange his hair or something. [00:35:00.25] A: Because she will enter, right? But she just opened the door. It's not right thing to do for me. J: So, if you were Lee Yoon Sung, what would you feel? A: Shy. Ashamed. Shame. J: Ashamed. Okay. So, it depends on the person who is entering the room? A: Yeah. Of course. If they are just stranger or friend, they can enter whenever they want. But if the person who want to enter is my crush or something, they should give me at least 5 minutes for arange myself. (laughs) J: Where did you get that? That kind of thought... A: Thought? J: Idea that... A: Because, in real life, like before a date with a girlfriend, like when you hang out with your friends... I prepare myself with just for ten minutes. Wash my face, wear snapback and t-shirt, that's all. [00:36:02.02] A: But when it's date with girlfriend, I spend almost one hour for preparing myself. So, when they enter, of course I should prepare myself too. So, yeah. I should give at least 5 minutes. J: Okay. So this one, do you still remember this? This... A: Oh. [00:39:15.28] J: Okay. So, in that scene, did you find particular any particular body gesture or behavior that you liked or didn't like or were comfortable with or not comfortable with? A: Uncomfortable. J: What? A: Like...I felt...Like, when he grabbed her too hard. I feel uncomfortable. J: Why? A: Because she's girl right? J: Okay. A: It feels awkward when I see the guy grab her so hard or something. Even when she says "it's painful" in Korean. J: Why? Why do you feel awkward, why do you feel uncomfortable watching that scene? A: Like, in my thought, I always think that guys should protect girls no matter what or something. [00:40:05.06] A: So, I feel uncomfortable when he's showing that attitude to girls or female. J: WHere did you get that thinking that guys should protect girls, not do that, not bring them pain or something? A: Like, basically, guys are stronger than girls. Of course, we should do that. That's the reason why, in Korea, we have military service, right. Only guys do that. We don't have those kind of thought in our lives. Of course girls should do military service too, if they're Korean. J: So, where did you get that idea that guys shouldn't do that to girls? [00:41:00.07] A: That..That..That's...Everybody knows that right? How can I say that? J: Where did you learn that? Who taught you that? Where did you pick it up? A: In the school. In the school. J: School? A: They taught...Like...When we were really young, we don't really care about girl or boy or something. We are all friends right? So sometimes if I am boy, I can have fight with the girl, right. Like when we were elementary student, and teacher will always say, "You should not fight with her." So i said, "Why?" Because she always said, "Because you're a boy." Something like that. So, I learned that from there since I was really young. J: So, is it just in Korea, or do you also teach you that in the Philippines? A: I guess, that's also in the Philippines. Because I don't really notice since I stay here since 2011, but I guess here too.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

249

  [00:42:04.08] J: How were you able to say that it's also the same in the Philippines? A: Like, in the college. The college. Guys...I mean, guys treat girls not like...when guys treat guys. The way the guy treat the girl is totally different, and I see that. J: Like...Give an example. A: Like...Um...Like, when there's only guys. We can say bad words, and anything like freely...But when there is a girl, even if that is only one person, the sitting position is already different. J: Okay. Do you find anything else? A: In this video? J: Yes. [00:43:01.08] A: Not really. I guess ... J: That one just stood out? A: Yeah, I guess this video is more on talking? J: Alright, so okay. You do know this story right? A: Yeah. Yeah. J: At this, they're enemies and like that.. (shows video) What did the guy do? What did Hwan do? A: He called her. J: Yes, so...If you were the girl, would it be okay for you for somebody like...somebody you didn't really like or...Okay. Would it be okay for you if somebody you didn't really like suddenly came out from nowhere? A: Yeah, it's okay because I like him. But in this video, he's not the person she really liked at this moment, right? [00:44:03.18] J: Yeah. A: They have a fight because they have a misunderstanding. J: Would it be okay for you? A: Of course not. We...like when...If I were that person. J: Yeah, if you were her. A: He's the person who you have a conflict with, right? J: Yeah. A: Of course I would want to avoid him. But if he appear in front of me, of course I would feel embarassed or avoid him. J: Why? A: Because, I don't want to fight with him again. J: Where did youA: Learn that? J: Yeah. A: Where did I learn that? To fight is bad, right. If you have a person you have a conflict with, you better avoid him or she, instead of like encounter those people. J: Why? [00:45:00.22] A: Because if you encounter the people you have the conflict with, you fight right? And that's not good for peaceful life. J: How...where did you get the idea that it's not good. Fights are not good. That, you should live a peaceful life. A: When I kicked out from my Korean high school, I learned that. J: Okay. So. Okay. A: So. J: There is another one. A: Oh, really? J: No, no, no. In this scene. So, he suddenly comes out of nowhere. But then he does this. (shows video) What did he do?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

250

  A: Like pointing. J: Oh okay. [00:46:01.22] A: I am not sure if that's theJ: No, we could talk about that too. A: What do weJ: You mentioned that. A: Yeah, he did that right? J: Yeah, so is it okay? A: I don't know about the Philippines' culture, but in Korea, when you point at the person with your finger, if it's older or younger, that's really bad things, bad meaning, I mean. J: Why? A: I don't know. That's Korean culture. Like, you don't need to point the person with your finger, that'ls Korean cultural things. J: Where did you learn that? How did you learn that? A: Like when I was young, like when I'm with my parents. Like whenever I'm saying something, I always point with my fingers. But my parents scold me. That's not good habit. So, I learned that. So, that's Korean cultural thing. If you're parents, you should teach that to your children. J: Okay. [00:47:04.28] J: What I wanted you to...okay. If you were the girl, like I said earlier, the same situation earlier. Like suddenly coming out of nowhere. But what if the person you dislike suddenly comes towards you like that? Would it be okay? A: Of course, I'll feel afraid. J: Why? A: We had a conflict before, but that person come to me. It feels like, "Will he hit me for doing something?" Like, of course, I will afraid. J: Like why? Why would you be afraid? Why? How could you say that if a person comes...approaches you in that manner, in that way, and you had an earlier fight you'll be afraid? [00:48:01.29] J: How were you able to say that? A: We already had a fight. So there's possibility that we can fight again, anytime. J: How do you know that? A: Because...In the video? J: With yourself. If it happens to you in real life, you had a fight with a person. A: Yeah. J: So if you have a fight with me, and I approach you like that, and then you said you'll be afraid, why? A: Because if you don't want to fight, he will just ignore me or avoid me. Since he come to me, it means, he wants to say something, and that will begin another conflict between us. J: Where did you learn that? A: Where did I learn that? (laughs) Like if I had fight with friends, when I had a fight with friends, ignore is best way. [00:49:03.01] A: Like, whenever I am trying to make that better situation or something, that just make another conflict. So, just ignore that person for a few weeks, and time will solve everything. You don't need to approach that person. J: So, did something like...similar to this happen to you? A: Yeah. Something... J: Could you tell us? Did you have a similar experience like that? A: Yeah, yeah. J: Could you tell us? A: WIth my friend, we had a fight before. Since we are in the same school, we see each other every day, right? At first, I tried to solve the problem, so i keep approach to that friend.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

251

  [00:50:01.03] A: But that always make another conflict. So, I learned that avoid and ignore is best way to solve problem. Time will resolve everything. You don't need to approach the person that has a conflict with you. J: If it was somebody you hated, will it be okay for him or her to approach you like that? A: No, of course if I hate him, when he approach me, I will just run away, because I hate him. I don't want to talk with him. J: Why? A: Because I hate him, when for someone you hate. J: So, from experience? A: No. Not yet. Because I always ignore the people who I hate, so they never approach me. J: Okay, so where did you get the idea that if a person you hate approaches you, you'll run away? [00:51:01.29] A: How can I say that? What did you ask? J: Okay. Where did you...How can you say that..or where did you pick it up... Where did you learn that when a person you hated or dislike approaches you, you'd run away? How were you able to sayA: Not really run away. Like what I said , you better get out from the situation. Because the person who approached me is the person who I hate, right? J: Okay. A: So, if I approached with him and talked with him, that will make another fight or something. J: Alright. So this. (shows video) That one. What did he do? [00:52:01.21] A: Grab her arm. J: Okay. Is that okay? A: No, it's not. Like at the second video? The guy grabbed her wrist right? J: Yeah. A: In that situation, they like each other, right? J: Yes. A: So, it's okay. That's kind of skinship. But in here, they hate each other. And he grabbed her arm or something. It means, "let's fight". So, it's not good. J: How do you say that when the person...Okay. Happens when two people who hate each other and then one person grabs another person's arm, it means that 'let's fight". A: (laughs) J: Where did you learn that? A: Just, for example, like of course they will feel bad. Like, justl like what i said, while you interview about the second video. I said it's okay for them to touch each other because they're like. But if they hate each other, they will feel bad, right. [00:53:02.26] A: Like here, they hate each other. Since he touched her, she will feel bad. J: Where did you...How...If it were you...If you were the girl, what would you feel? A: Of course, I will feel bad because we had a fight before and he grabbed me hard. That means, yeah. It feels like he wants to fight again or something. J: So, where did yo learn that again? Where did you get that from again? A: Like, basically, like... I fought with my friend, and he grabbed me again. I will feel bad, and very possibility that we will have another fight. J: Okay. [00:54:01.01] J: This... (shows video) A: Uh... J: Yes. Is that okay? No, not that one. A: I know, the push.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

252

  J: yeah, the girl pushing the boy's shoulder. A: It's okay. J: Why? A: Of course, if she did that, it's not good. But there was reason, they have a conflict, like kind of fight, right? So, since it's girl, we can understand that was not so hard, so it's okay. [00:55:01.17] J: So, if you were the guy, what would you feel? You do remember the situation? WHy she pushed him? A: Like, they have a problem with baggage. J: Yes. But in that scene she pushed him becauseA: He keep saying like, "you try to steal my bag". J: No, in that scene he caused her, because I think he dragged her somewhere- he caused her to... He broke her phone. A: Yeah. J: So, that's why she pushed him. A: In that situation. J: Yeah, in that situation. So, would it be okay for you. For her it was a big deal. But for him, "it's just a phone, why are you getting so angry." Would it be okay for you if she pushed you? A: Yeah, it's okay. J: Why, again? A: Of course, I would feel bad. But since she's girl and she pushed me and that was not so hard. So, what can I do for that is understand her right? [00:56:07.18] J: Okay. I'll repeat the question. Where did you get the idea that if it's a girl, it's okay if she hits you? A: I can't hit her back, right? So, I should understand. J: We're done! INTV w/ Kim Ji Hye Interviewed by Joelle Robles [00:00:00.00] J: So, please state your name, age and nationality. K: My name is Ji Hye Kim. I'm 22 years old. And I'm from South Korea. J: How many years have you been living here in the country? K: Uh, I've been living here in the Philippines since 2007? J: Okay. K: So, it's likely 7 years? J: So, how long have you been living in South Korea? K: I was born in there, and I finished my middle school there. Just I was 14? J: When you went here, or until you were 14 years old there? You lived thereK: Yeah, until 14. J: Um, do you watch Korean dramas. [00:01:06.17] K: Yeah, sometimes. J: So for the past six months, how many Korean dramas have you watched? K: Hm. I'm not fond of watching Korean dramas, so maybe five? More than ten. No, more than ten. But I didn't really finish all the episodes. J: But you've been watching? K: Yeah. J: So, for your entire life, how many do you think you've watched? As an estimate?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

253

  K: Estimate? Like ten, maybe? J: Okay. Um...What genres, what types of Korean dramas do you like watching or do you usually get to watch? K: I don't really watch the drama, but love story? I like something like historical, or something really interesting like, do you know... [00:02:09.11] K: the drama about the something...I don't know the English title so something like...the title...has something "tree"? It was Sejung...King Sejung. J: I...I know that. It's about the HangulK: Yeah that one. Yeah! Something like that. J: He also starred in that right? Song JoongKi. K: Yeah, yeah. J: I know that...Tree with Deep Roots! K: Yeah, something like that. Song Joong Ki was there. J: Yeah. Okay, so you like those. Um. Okay. So, have you watched, have you seen City Hunter? K: Uh, no. J: Nice Guy. Chakhan Namja. K: No. J: Shining Inheritance. K: Some episodes. J: I'll be showing you first this... this one. [00:03:01.19] J: I'm going to ask you questions after this. What we're looking for is...This isn't about the...like I've said before, the production value. It' s not about how good the shot is, the actingK: You mean the behavior of the Koreans, right? J: We're just looking for the behavior of the characters. K: Okay. J: Like this guy and this guy. K: Okay. J: (shows video) [00:05:50.09] J: Okay. So...I mean, in this video clip, do you have a particular scene...behavior or gesture that you liked or did not like or you're comfortable watching or not comfortable watching? K: Hm...I'm not comfortable watching because he earned money by doing wrong things. J: Hm... Okay. Um, what else in the gestures and the behavior specifically. K: Um, I can understand his anger because the other guy, his friend let his sister to leave the house, so he punched his face? J: Okay. K: Yeah. J: Um. I'll ask you this question. If you were... [00:07:01.07] J: Have you had a fight with a friend or... K: Yeah. J: So, in this...As I mentioned earlier, they were the best of friends. K: Yeah.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

254

  J: He was kind of like a brother to him. If youwere that person. If you were Jae Gil, will it be alright for you if your friend did that to you? Would it be okay? K: Oh...I think I can understand the situation? Because I don't know for you guys, but in Korea, it's not really big deal. Like fighting or punching each other, if they are friends or if they really care each other? I think it could be happened. [00:08:02.25] J: So, it's okay. K: Yeah. If they are caring each other. J: If they're really friends, and they care for each other. K: Yeah. J: So, you say that it is okay. So, why do you think...Can you explain again why you think that it's okay? K: Because, like...Um...The friend is really concerning about his friend, that he's doing bad things, like earning money by doing wrong things. And then, he did like...He was doing wrong things because... to...for his sister. So they knew the reason why he's doing[00:09:04.11] J: So for you, that's okay. K: Yeah. J: Where did you get that thought, that idea, that with your friends, if you really care for each other it's okay if, and if the situation that serious or that heavy, it's to grab your collar. K: Because before...he told him about, like...The sister knows how he works and then, i think it already show in the script that, the friends each other, they care. J: Okay. If you take it...If you adapt that to real life. For, example....You. [00:10:01.06] J:Youand your best friend have a fight, similar to that, You put...and then, you were telling her off. You' were telling her that she's doing wrong. K: Yeah. J: And she grabs you by the collar or she grabs you. Would it be okay for you? K: Yeah. J: Okay, why? K: Because I'm not doing wrong thing. His wrong behavior and I have right to tell him that it is wrong. And then, he can be changed by my word? I think it's really necessary to tell what's wrong and right. J: Okay. If you...If that was done to you. Like you had a fight with your friend, and she grabs you by the collar. [00:11:02.14] J: At that moment when she does that to you, what do you think would you feel? What are the emotions you may feel? K: Heartbreak. J: Heartbreak? K: Well, I think in this situation, there is really need to say. J: What if...You said heartbreak. WHy would you experience...feel heartbreak? K: Because I know the friend is...no...maybe the best friend will know the real intention of the friend, that he is really doing? Because I know what he really wants and then...Even though he's doing wrong, the best friend will know the...and understand. J: Okay. So why did you think...

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

255

  [00:12:00.17] J: So you say that it's okay for you. Would you feel heartbreak because of the action or would you feel heartbreak because of what the person is doing? K: What the person is doing. J: Like um...The wrong thing he's doing. K: Yeah. J: Okay. So, for you, you say that in this context...It's okay, you won't really feel bad when that person does that to you, because it's...Is it normal for you? K: (laughs) It is not normal for you, but the situation is understandable. J: Okay. So where did you...That kind of thing is understandable. Where did you get that kind of thinking? Where di dyou pick it up from? Where did you learn it from? [00:13:00.29] K: I think it's a difference between different cultures? In...I studied here in high school? Then I have so many...the other friends who are fighting? But not really fighting like that, but after that they get slips for...in detention or something like that. J: Okay. K: In Korea, there is not similar thing as detention or slips for...too give warning to students because they...If they are friends with each other, they can give a punch to each other and it can be...Everything can be solved after hitting. J: Okay (laughs). K: Yeah. Because we believe that if it's really your friend, it's understandable, and after hitting each other, their relationship can be more deeper. [00:14:03.27] J: Alright. So another one. The second question is, this one. (shows video) What did he do? Here. K: He was surprised by what he's done. J: If you were...not Maru. If you were Jae Gil, and in that same situation, um, would it be okay for you if your friend hit you, slapped you or punched you? K: Uh...Punching someone is not really right thing, but... [00:15:00.17] J: Why do you say that it's not the right thing, punching someone? Is it in general or what someone? Someone in general or your...specific person? K: In general. J: Okay. Why is it not okay? K: Because it's not ethical. J: It's not ethical. Um, where did you get that? K: Because I...Uh...I don't know but...Everything can be resolved by talking each other, but sometimes there can be real fight? J: Yes. K: Where did you get that thinking that it's not eth-punching somebody is not ethical, and that you don't have to resolve to hitting a person or that type of punching, and like that. It can be resolved by talking, then sometimes, it happens. [00:16:03.24] J: But where did you get that kind of thinking? K: Isn't it general idea of ethics? I think I learned to not punch friends or something like that when I was in grade school or in kindergarten. I think i might have learned that one.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

256

  J: Where did you...Who taught you? K: I think, maybe teachers? J: Okay. K: Yeah. J: Was...So...But you said something about...What if you were...You said that in general, it's not a good thing. K: Yeah. J: But if you were in this situation, the situation I told you earlier, about you friend. K: Yeah. J: You're telling her off, and then she hits you, she punches you. Would that be okay for you, if you were that...If she did that. Would it be okay? K: Yeah. J: Why again? K: Because they are friends. J: Okay. And if... [00:17:02.01] J: If she does it to you, what would you feel? What are the emotions you'll feel? K: LIke, as the friend or him? J: As the friend. No, as you. K: As me? J: I am this person. K: Yeah. J: And then, you are this person, the one whom he punched. What would you feel if I was really your friend and I punched you. K: Maybe, i think my cheek would be very hurt. And then, also the heart. J: WHy? Why would it be hurt? K: Because I told him. I told my friend that my...uh...my real intentions. I delivered my friend that you should not, you should stop what you're doing, something like that. But he just... [00:18:00.23] K: He got angry because I didn't keep his sister. Because I let his sister left...Maybe he didn't really understand what I was telling me. Maybe I'll be hurt because he didn't really understand what I was doing. J: So, that punch. Are you... So, despite your good intentions, despite making it clear, making your good intentions clear to him, and he still punches you, what would you feel? You said you'd feel hurt. What else? K: Hurt. I don't know. J: Okay. I've a follow up...UH... [00:19:04.15] J: Would you expect it? That your friend to punch you? In a situation like that? K: Maybe, because...Before this situation, maybe the friend will think about what he will...talk to him? And then maybe, he will be angry with what I have done and what I have told him, so maybe it is expectable? J: Okay. Alright. Now this is the... [00:20:02.08] J: This one. So, as I told you earlier, they kind of like each other, but not saying that they like each other? So, she gets pissed at the guy because she saw him with another... (shows video) [00:23:12.18]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

257

  J: Okay, so in that video clip, um...Same question. Do you find particular behavior or gesture that you liked or did not like? Or you did not find comfortable or you found okay? K: Hm...There's nothing comfortable or uncomfortable things in the video. J: Alright. For...Um...In this...I'll ask you to put your shoes of either the girl or the guy. For this part (shows video), what would you feel if a person you're pissed at or you dislike at the moment suddenly approaches you? [00:24:17.01] J: Would it be okay for a person you dislike? K: No. J: Why? K: Because I dislike the guy. J: Okay. Where did you get the thinking or the idea that if you dislike that person, or that guy, it's not okay for him to approach you, especially when you dislike him. Where did you get that? Where did you pick it up from? K: For me orJ: For you. K: For me. So you mean that how do I know why[00:25:01.25] J: If you like...If you don't like the person, it's not okay for that person to approach you to...Okay. If you...Let's take this into...Give an example. Um...You. You're sitting there. For example, me. We had a fight and we don't like each other. We're not friends yet. We're kind of like enemies. And then, I approach you. Will it be okay? K: Yeah, approaching is okay. J: Approach you suddenly, like it's okay for you? K: Not talking to me, right? Just approaching. J: Um...to talk. [00:26:00.27] K: To talk. J: Well, kind of like that. It's like, you're just doing your business, and you suddenly see me walking towards you. What would you feel? is it okay? K: I... If I know that he's coming to me to talk to me, I will...I'll feel, I mean, not really good. But I won't really tell them to go away. (laughs) J: Okay. Why do you think that you won't feel good, if you see that person coming towards you? K: Because I don't like him, and I don't want to talk to him? J: Where did you get that idea that if you don't like a person, you don't want to see him or talk to him? Where did you pick it up from? [00:27:00.22] K: Isn't it what I...Isn't it natural behavior that I want to be with somebody that doesn't...that I do like... J: So... naturally? K: Yeah. J: So, it's kind of personal? K: Yeah. J: Do you have experiences like that? K: Yes (laughs). Yeah. J: Could you tell me?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

258

  K: Experience? Um...As you know, Koreans are not really care about eating...sharing food? Like for example, we eat one stew with like fork...For example there's four families, and one pot in the middle of the table. It's normal to get it in the same dish, but in the other culture, it's not really...mhm...yeah. [00:28:02.18] J: Yes... K: For you, is it okay to eat something like that? J: When I'm...Well, our parents tell us not to do, but for me it's perfectly fine, because I like sharing my food. But yes, in our culture, get your food. Don't eat from the pot. K: Mhm... J: So, go on... K: Yeah, something like that, but the boy I hated. He asked me if he could drink my water? And I really hated, because you know (laughs). I didn't really want to share my water with him, but he asked for it so... Okay. Then I didn't drink it after that. J: So, when he did that to you, why do you think that it's not okay for him to touch your water? K: Because I don't like him. [00:29:01.00] K: That's all. J: What did you feel when he asked you like, "Hey. Can I drink your water?" What did you feel when he asked you that question? K: I didn't really want him to drink my water, or come near me, but I didn't really say that word that I don't like you. Because he will be hurt, right, if I say that. So, I didn't really... J: What did you feel? What other emotions did you feel, when he asked you, when he came near you, when he approached you to ask you for your water? K: Feel? J: Did you...like... K: Not really good. J: Not really good. K: Yeah (laughs) J: Any specific emotions you felt? K: No. We are friends, but I didn't like his behavior. So...But we were friends. [00:30:02.17] J: Okay. UmK: Not really stranger or... J: Okay. Okay. Oh, I'm lost. Okay, um...If in that context you had a fight and that person, going back to that after you meet that guy, after you told me your story. We'll go back to the question I asked you earlier: What would you feel if somebody suddenly approached you, somebody you didn't like? LIke your friends, and you had a fight, what would you feel if your friend suddenly approaches you? What are the emotions you're feeling? K: Not...not really good. J: Okay. Why do you think that? I think you've answered that question. I'm going to move on. K: Okay. [00:31:00.24] J: This one. K: Yeah.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

259

  J: Put yourself in the shoes of the guy, Lee Min Ho, Lee Yoon Sung here. In this scene, he was talking to her, he was explaining to her that nothihng happened between us, you just misunderstood things. And she was about to walk away. She was going to walk away from him while he was talking. If you were the guy, would it be okay for you? K: I'd say that he will feel bad, while the girl go away while he was talking? So, he grabbed her hand, that because he wants her to listen to what he was talking. [00:32:03.28] J: Okay. What...If you were the guy, so for you is it okay or not okay for the... Okay let's take this situation and put it into...If you were talking to somebody, you were explaining to somebody...Do you have a boyfriend? K: No. J: Have you had a boyfriend? K: Before. J: Before. For example, you and your boyfriend were talking. And you were explaining something to him, because he misunderstood you or something. For example, he saw you talking to another person, he's jealous and all that. And you were trying to talk to him. And he's walking away from you. He starts to walk away from you, he's not listening to what you're saying. He's not going to listen to what you're saying. Would it be okay for you for him to walk away? K: Hm...I'm not sure, but in this case, like for example, the boy grabbed her, the girl. [00:33:06.19] K: I think it's okay? But the...if the situation is opposite, the girl grab the boy, it's...I think it's not really common in Korean culture? J: Why? So, it's not okay if youK: Maybe, if he walk away, maybe girl will just shout at his back. Not really grabbing his or her hand. J: Why? K: I'm not sure. J: So, it's not common in Korea. K: Yeah, maybe the girl will just shout or...yeah. J: So, if you did that...Why is it that it's not common in your country? K: I think it's just characteristic of Korean? [00:34:02.06] J: That... K: That girls wants to act...something like more conservative? And yeah. They don't really want to show their real feelings. J: Oh. Okay. Why would you shout...You said that a girl...What I'm asking you is if that guy walks away from you, you were talking. Would it be okay, he just walks away. K: It's not okay. But why? J: Why is it not okay? K: Because like...Turning around and walk to another place is that he shows he doesn't want to talk with me, and then he doesn't really want to listen to what I'm talking. J: So... [00:35:00.23] K: Showing back is a behavior... yeah. J: So, why do you think...why do you say that that behavior shows that he doesn't want to talk to you? That...what did you say? K: Showing back? Turning back.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

260

  J: Yeah, like you're talking and he turns around. K: Yeah. J: And he walks away. K: Yeah. J: You said that it shows that he doesn't want to talk to you, he doesnt' want to listen to you. K: Yeah. J: Where did you get that thought that when a person turns his or her back on you while you were talking, she or he doesn't want to listen to you? Where did you pick that up? K: Because in general, we...when we talk, it's a norm to see each other's face. But, the meaning of showing back, is that I want to draw line between you and me, and I don't want to reallyJ: Where did you get that? Where did you learn that? [00:36:00.28] K: I think it's natural thing. Like what I have told. J: So, have you experiencedK: No. J: Not even like that? K: No. J: So, if you were in that situationK: But that's rude, to turn around while on is talking to me. That's rude. J: Why do you think that it's rude? K: Because, um, it... the behavior doesn't really show respecting the other who's talking? J: Why do you say that it's disrespectful for somebody to turn...while somebody's talking...While you're talking to me, it would be disrespectful of me if I turn my back like that. If I start walking away from you. Why do you say that? K: Hm... J: I think you've answered it before. [00:37:00.21] J: But if you were the girl...Where did you get that again, that it's disrespectful, it's rude for somebody to walk away from somebody so suddenly? K: It's like what my parents and teachers taught me while I was young. I think it's natural thing to know these things. Because in Korean culture, respecting others is really important. J: Okay. K: We bow to other people who is older, and something like that. It's just natural thing. J: If you were that person, who was walked away from, what would you feel? K: If I'm the person to walk away? J: No, if you were the person who was talking, and then somebody walks away. [00:38:00.17] K: Um. Probably very bad. J: Very bad. K: Yeah. But not really hurt. But maybe I'll feel bad. J: LikeK: Because he didn't really show he respect me. J: So you'll feel bad. You'll feel...You'll feel offended, or something like that. K: Yeah. J: Offended?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

261

  K: Yeah. J: So, why offended? Why would you feel bad? Because... K: Because the other didn't show the respect. J: So, you mean you expect respect from that person. K: Yeah. J: Where did you get the idea that the person should respect you? K: We call it uh...I don't know if you've heard that word "Confucius". [00:39:01.04] J: Yeah, we studied it. K: Yeah, in Korean cullture, Confucius is really deeply affected? One of his theories "Yi", which is respect others. Yeah, it's really important. That's what we've learned from my parents and teachers. J: That's so interesting, I'd love to study that. We studied that too. K: Ah... J: So, you said that this...the hand-grabbing. I'm going to ask you. If you were the girl, would it be okay for you if he grabs your arm? This part. That part. K: If I don't like him? J: Yes. K: No. [00:40:00.10] J: Why? K: I don't...If it's in my case, maybe I won't like the stranger or the guy who I dislike...If he touches my something like here, here... J: Okay. K: Maybe, because I don't like him? J: Where did you K: I cannot explain. It doesn't really feel good. J: Why is it that when...Where did you get the thinking that if you dislike the person, if he or she is a stranger, for example we're strangers and I grab your hand so suddenly, and you said that's not okay. Where did you get that thought? K: Ah. Is it correct word? Skinship?

[00:41:01.21] J: Hm? It's a word we could use. K: Um, skinship between friends is okay, but between someone else and me will be not comfortable. Because for me, like, in here, we kiss each other's cheeks, when we say goodbye. It's not really comfortable doing that. (laughs) J: So, people do that to you? K: Yes, but if Filipino friend who knows me, they didn't really do that. J: Ah, because they respected you. Um. Where did you learn that skinship is only for friends and people you really know and not for strangers and people you dislike? Whre did you pick it up? Where did you learn it? Where did you get it? [00:42:02.18] K: Uh, i think, it's...it's our culture? We don't really touch...like kiss in public area, because Koreans are a little bit conservative? J: Hm...Okay.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

262

  K: If we see this couple like hugging or kissing on the streets, maybe the others would say, "Oh, look at them!" or something like that. J: It's the same her too. K: Ah. It's not natural. J: Why is it that in your... it's because in your country, your culture is conservative, that they don't like... That it's not acceptable for people to do skinship? [00:43:00.08] K: No, it's not acceptable, but it's not really common yet, doing that. But comparing old time, and now? It's...it's not really...No, I mean, I don't know how to say it, but it's improved? J: Ah, okay. Times have changed. It's actually the same. K: But old people really still say that it's wrong doing that. J: Yeah, my grandma says it too. K: Yeah. J: You said that if somebody does it to you, you'll feel bad you'll feel uncomfortable? K: Yeah. J: OKay. K: If the other person is totally stranger? J: What would you feel ifK: Bad. J: Okay. Like how bad? Specific bad. K: Hm... [00:44:01.03] K: I don't know how to describe, but... J: Describe your emotions. If for example, I touch you now, what would be the thoughts in your head? K: Huh. Something offended? Or, what like...What he is doing? Something like that. J: So, if you...if it's somebody you don't like does that, suddenly holds your hand or grabs at it. K: Maybe surprise. Not really offended, if I know the person. J: Okay, surprise. Why? K: Because I don't really expect to..him to be like in... I don't... [00:45:00.21] K:(laughs) J: To be like...a... K: The skinship is like between friends. So I didn't expect relationship between himJ: YeahK: I mean, relationship between-not relationshipJ: Between friends. K: It doesn't mean that. J: So, you don't expect him to not act as a friend, because skinship is only between friends, and you don't consider him your friend. K: Yeah, yeah. J: Okay. (shows video) I won't ask you about this anymore, because you said that it's normal for a person to try to stop a person from leaving. K: Yeah. J: In this case, you're putting yourself in the shoes of Kim Nana, okay? Would that be okay? K: No!

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

263

  J: Why? [00:46:01.09] K: It's the same thing as grabbing hand. J: Yes? Um, so it's the same thing asK: That's rude. J: Why? Why is it rude? K: Hm...It's acceptable but if the girl feels...feels...uncomfortable if the other touches her body... J: Yes. K: Okay. [00:47:00.17] J: Will it be okay? If you were in that situation, and that...Okay. I'll give you two scenarios. One scenario is that you're...it's the same one. Somebody you don't want...really feel like talking to, and you were trying to walk away. In this case, you're the one walking away. K: Yeah. J: And then, he grabs at your shoulder, and pulls you back. What would you feel? K: Can I look at one word? J: Okay! Is that an English dictionary. K: Yeah. J: Okay. K: There can be sexual harassment, if the girl or boy feels bad. J: Okay. K: If there is a skinship between them. In Korea, the law or policy, I don't know. [00:48:00.24] K: But, it can be made if feels offended...If one feels the offensive, something... J: Feel... K: Feel offended. J: Is it just...Okay. Wait wait wait. K: The girl can sue him, if she feels like offended. J: Okay. So...Sue. If it was you, it's not okay? K: If he is stranger, if I put it in my shoes, in this case, I could sue him, because I feel offended. But if I know the person and just I dislike him, I can just understand. [00:49:01.04] J: What would youK: Feel. J: What would you feel if...you dislike him and he grabs at you? K: Maybe I'll feel that, uh, maybe he wants to talk with me more. J: Okay. You're in a conversation, and you want to go. So you walk away. He touches your shoulder, what would you feel? What are the thoughts running... When he touches you like that, what are the thoughts running in your head, what are the emotions you're feeling? How would you react? K: Um. I will probably react that he not to touch my body. J: Yes. [00:50:02.11]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

264

  K: And then, Maybe I will know what he wants to do? Because I could understand why he wants to talk with me more. J: Okay. K: But touching somebody's shoulder like that is kind of rude. J: Why? K: I could not explain. It's... J: Is it nature or is it... K: I think it's general idea? J: It's a general idea that...Is it in all...Or in just your culture orK: In all. J: In all cultures, that it's rude to touch the shoulder? K: Yeah. J: Is it when you don't like the person? K: If we are close, it's okay. But if we are not really close, yeah. [00:51:01.02] J: Okay. So, where did you get that again? K: General (laughs) J: Oh, yeah. So sorry. K: General idea. J: Okay. So, next. This one. (shows video) You're in his shoes. Okay. So, what did Nana do? What did the girl do? What did you see the girl do? [00:52:00.22] K: Knocking, you mean? J: Okay. If you were the guy... K: Yeah. J: Okay, if you were...What she did was go in unannounced. Like she knocks and then she opens it. K: Yeah. J: So, he wasn't ready right? K: Yeah. J: If that happened to you...Um, if you were the guy, would it be okay? K: Hm...I haven't think about this kind of situation, because... J: It never happened to you? K: Because, like in our house, like...Do you knock, when you call your sister or brother? J: (laughs) So in your house, you don't. K: No, and we don't really close the door. J: Oh, okay okay. [00:53:02.18] K: But if they are not relatives and not family... J: Is it okay? K: Hm...But she needs to be more careful, and then more...Because he needs more privacy? Because they share house. J: Yeah. K: Like what the girl said, are you watching porno, or something like that? (laughs) J: (laughs) Yeah. K: Yeah. I understand.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

265

  J: So, for you it's not okay. For you it's perfectly fine for somebody to barge in inside your room if it's a...it's your family? K: Yeah family, but if not family, just sharing house, no. J: For your friends, would it be okay? K: Friends? J: If they barge inK: You mean opposite sex orJ: Um. [00:54:00.24] J: Let's...Okay. Give you two people. First females. K: Female, okay. J: Male? K: No. J: Why? K: Because. (laughs) J: It's okay. K: I think I can talk...I can...Can I talk to you privately later? J: Uh...Um this one is justK: Because this is recorded and then... J: Ah...Okay. I'll try to make this comfortable for you. It's not...Is it okay...Because in our culture. I'll explain my culture. After I say my piece, you could say yours. In our culture, it's inappropriate for a girl and guy who aren't married to be inside a room. [00:55:05.04] J: Because...Well, we're also a bit conservative. K: Yeah. J: But we're becoming more...improved. As you also said. K: Yeah (laughs) J: It's still frowned upon for a girl and guy, even if they're friends to be in the same room, or like the door's closed or something...or sit on the same bed, or something like that-unless you're brother and sister. So, is it the same for you? K: Yeah, same thing. J:So, a guy for you is not allowed...It's not okay for a guy to barge into your roomK: Yeah, I have only sister, but my friend's case, she has brother. Little brother, a younger brother. And then, I think when I was...fif...seventeen...No, I mean 14, 15, i guess? [00:56:04.03] K: And then, my friend told me that he found his younger brother watching porno. (laughs) J: My brother too. So awkward. Okay. K: So, me and my friend, like...talked to each other. "You have to be more understand" and like "be careful when you go inside his room". J: Okay. K: Because he has his own room, private thing. J: Okay. K: Yeah, it's something like that. J: Yes. I get it. K: (laughs) J: So, you learned this, you learned that it's okay. For you...I'll just repeat it okay. K: Okay.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

266

  J: It's okay if it's your female friend? K: Yeah. J: Family, but not okay for a guy? [00:57:04.13] J: Guy friend. K: Yeah. J: Guy friend? Especially, I think it's not okay for an enemyK: (laughs) J: A guy friend you dislike, K: Yeah. J: To barge into your room. Where did you get that from? Where did you pick it up from? That it's okay? Where did you learn it? K: Hm...learn from my friend who has younger brother? J: How about your family and friends? K: I think it's personalJ: Personal? Experiences, something like that? K: Yeah. J: Okay. Next one. K: So long. J: No...Oh sorry! Sorry I'm taking so much of your time! But you're very helpful! K: Really? J: (shows video) [00:58:02.13]' J: So you know the situation with... (shows video) [01:00:30.13] J: Okay. So in that scene, did you find anything you liked or disliked, were comfortable with or not comfortable with? K: Not comfortable, because they are not trying to listen to what she is talking. J: Okay, aside from that...the gesture, the behavior? K: Hm... [01:01:01.23] J: None? Okay. If you were the girl...You do know that they're enemies in this case, in this situation, they're kind of like enemies, because...Do you know the premise? K: I... J: Do you want me to tell you? K: I think...It doesn't really need to hear. I know they are enemies. J: So, if you have an enemy, you were there, and he suddenly arrives...he's there. And...what would you feel? Would it be okay for you, if he suddenly appears? You didn't know he was there. K: And her point of view or[01:02:00.00] J: She doesn't...She's in a place and then you're the girl, and then you enemy...then you see your enemyK: And then he says that this is his place? You mean that? J: Hm...Not necessarily. But would it be okay for you? If that person you really hate suddenly appears?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

267

  K: Uh...Okay, but after she noticed that this place is his house, maybe she won't feel comfortable. J: Okay. What if it's a...Okay, I'll ask you. You said that it's not comfortable, why? [01:03:01.25] K: Because like what i said before, it's not comfortable with...to be with the person whom I dislike, in the same place. I won't really be happy. J: Yeah, you said that. K: And if after I found out that the place is his home, then I'm going to leave his house. J: Okay. Where did you get that thinking from? K: General. J: General. What would you feel if your enemy suddenly appears. K: Hm... Not really happy and no greeting. [01:04:02.16] J: But okay. Um, if...you said that you won't be happy if he suddenly appears like that? What would you feel if he or she does this? K: Pointing at her? J: Hm...Okay. Uhm. Yeah. K: Pointing? In Korean culture, pointing at others, something like that it shows that I am not respecting that person. [01:05:03.17] J: Is that a free app? K: It contains in Samsung App, I think? J: Okay. K: Like acting like superior? J: Oh. K: Pointing... J: Alright. So, what if somebody does that to you, what would you feel? K: Very offended, maybe. J: Okay. Now this one. I just wanted to get your view on that. This one, you see that he approached her, he walked closer to her. Would it be okay? K: Hm... J: If yeah, your enemy appears. [01:06:03.16] J: But he doesn't stay there. He walks towards you. He just really walks towards you. And you're the only person there. Would it be okay? K: No. J: Why? K: Because he's like approaching, and then pointing someone? Consider that as like um...scaring someone? J: Mhm...Okay. So, what if he wasn't pointing? What if he was just approaching you in that manner? But without the pointy-pointy thing. K: Approaching? But if have bad intention, if he has bad intentionJ: Like what bad intentionK: He's approaching to talk ask something. It's not really bad but he's appoaching to hit or[01:07:01.12] J: How do you know if the person has a bad intention-

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

268

  K: The face shows the expression. J: Ah, the face. Okay, I'm gonna ask you to...in 2 scenarios. Let's first go with the good face. K: Okay. J: What would you feel? Is it...would it be okay? K: If someone approaches meJ: If your enemy approaches youK: Smiling? J: Yeah. K: Yeah, maybe yeah. If he's enemy?! of me? (laughs) J: Yeah. K: Maybe I would be curious, what he's doing. J: Yeah, okay. So what would you feel? K: Feel... curious but not comfortable. J: Okay. If he has that...Why? WHy are you curious? K: because Like, in this case, the relationship between them... [01:08:00.18] K: No, I mean, the last time they met each other, they had not really a goodJ: They had a fight, yeah. K: Yes. So, the next time we met again, and he's smiling and approaching me, maybe she would think about the fighting last time. And then curious why is acting like that. J: Now, if he has that face on his face, would that be okay? K: No, because I will think that he is scaring me? And then... J: Does it have to do with anything about gender? The scaring thing? K: No. J: Even if it was a girl? K: Yeah. Because facial expression shows what the person will do, or act. [01:09:10.01] J: Where did you get that? Where did you learn it? Like that, that it's all in the face. K: I think general idea or personal? J: You've experienced something like that? K: Approaching me smiling face? J: Okay. K: In Korean, I don't know how to explain that. But in...there's so many subway stations right? And streets? There's like a...I don't know how to describe them all. Anyway, there is like a person who asks about something likeJ: Directions? [01:10:00.17] K: No, I mean information. Because....I don't know what to say. Okay. One example. In Korea, there is telecommunication companies. And then unlike Phiippines, we only have...In th Philippines we have like pre... J: Prepaid. K: Prepaid. Something like that, yeah? J: Yeah. K: But in Korea, it's contract. Our cellphones are contract and numbers, and payment is through the bank account. J: Mhm... K: That's only way to have a cellphone in Korea. J: Okay. To pay money throught the bank account, and then the contract continues up to two years only.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

269

  [01:11:01.03] J: Oh. So, you can renew it? K: Maximum...ah. Minimum two years. The one contract is minimum two years. So, if the two years end, the person should, or can change the telecommunication company or to have a new cellphone. J: Ah, yeah. K: Okay? So, on the streets or the stores, there are so many people who are asking to change the cellphone. So, like I have an experience. I was walking on the street, then one guy, he grabbed my arms, here and then he asked, "Can... Do you have time?" something like that. But I don't feel very comfortable talking to some stranger, so I said "No." But he like start asking about my cellphone. [01:12:04.15] K: "What cellphone are you using? iPhone or Samsung?" or something like that. But I said, "No." And he approached me with smiling face. J: Oh, okay. K: Because it's...He's service, right? He's working. J: Ah, okay. He's a salesman? K: Yeah. Something like that. Salesman. But part-timer. So, I don't know what I'm talking about. J: No, you said something about because he was smiling? K: Yeah. J: But you still felt uncomfortable even if he was smiling? K: Because I know that he's...He wants to sell something. J: Hmph. Okay. You mentioned about him suddenly grabbing at youK: But salesmen normally, the salesmen on the streeet, they're very handsome and tall. Because, like salesman...You know?

[01:13:00.16] J: Yeah. K: They have a good facial expressions and then...to allure... J: Yeah, to getK: Good impression on customers. J: Yeah, but this one? K: No. (laughs) J: (laughs) okay. So, okay. I think you answered my question. (shows video) This one. If you were the girl, and somebody grabs you like that, in that mannerK: That's...that's not...That's rude. J: Okay. K: Like what Lee Min Ho did in previous film? J: Okay, why do you think...what would you feel if that was done to you? K: Hurt. J: Hurt? Physically and... [01:14:00.24] K: Hm...feel very bad. J: Okay. You see that he did that. If he did that againK: Yeah. J: What would you feel? Would it be okay?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

270

  K: No! J: Why? K: Because he is yelling at me and I would be feeling physical pain. J: Would it be okay for you, acceptable for you? K: No, not at all. J: Why? K: Even though he is not...he's doing wiith bad intention, it's rude. Because it hurted her. J: Yeah. K: And then she...maybe she felt... J: Did that happen to you? SomebodyK: No. J: Your enemy... K: No. [01:15:00.22] K: But, she will feel uncomfortable and then scared? J: Why do you say scared? K: Because like, the one who grabbed her is the man and there is a different physical... J: Physical difference? K: Because he's taller and stronger than her. Maybe she'll feel scared. J: Okay. So it's not acceptable for him to do that? K: Yeah. J: Why again? K: Because she feels offended. J: Okay. I'm just really going in circles, because I need to get answers also. [01:16:04.00] J: This one. Here. That one. (shows video) Do you remember that scene? K: No. J: That scene was the last time they met. Because he knew who she was, but she didn't really know him, she didn't really see him. Not yet. So he introduced himself so then while...I think he grabbed her arm then, and she was forced to drop her phone, and it was that time when her brother went missing, and she badly needed to answer that call. No, no. It was just she dropped her phone. That was just it, and he stepped on the phone. It was an accident. [01:17:02.07] J: But he was...She was so mad at him for stepping on the phone. And he was like, "It's just a phone". So she pushed him. So, that was the scene. If you were the person who was pushed. Would it be okay? K: As the man? J: Mhm..Let's put it into a realistic context. If you were talking to a person, or you were arguing with a person, and you accidentally break his or her stuff, like for him it wasn't an important thing. So, for example, if I suddenly cause you to drop your phone...No no...If you cause me to drop my phone, and you accidentally stepped on it, and I pushed you. [01:18:05.06] J: Would it be okay for me to push you? K: Hm...It's kind of...Maybe I would feel bad, but acceptable because I stepped on your phone. J: Ah...How bad? What feelings you're feeling? What emotions? What are the thoughts that would run through your head at the time I pushed you?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

271

  K: Maybe, I'll feel sorry then...being angry. J: You'd feel angry also if I pushed you? [01:19:00.12] K: I will feel angry, but at the same time, I will be sorry, because I did wrong thing. J: Why would you be angry? K: Because like, um...I like doing something like this, is showing...the body gesture shows that to be apart from me? J: So it's like I'm pushing you away? K: Yeah. J: And what does that signify? What does that mean? What does that signify? K: To not go near me? J: Ah, okay. Where did you get that idea that pushing somebody means that...like pushing you away from me? K: I think it's general? [01:20:01.08] J: Why would you be angry? K: Hm...Angry, because we were on a fight, and suddenly somebody pushes me. And I know that it doesn't mean good to me right? J: How would you react? K: Hm. For me, I will step back. And then talk? J: Okay. If...So, this applies for an enemy? Or does it apply for all? K: Enemy, stranger or sometimes friend? If someone pushes me in that situation it's not really accepted as good intention. J: So, if it's another situation, a less serious situation, would it be acceptable? [01:21:06.29] K: Hm...hm... J: For example, you weren't really in a fight, and you broke my pen, and I pushed you. What would you feel? K: Maybe I would feel sorry, if we were not in a fight. I'll just say sorry, "I will buy you a new pen" something like that. J: You'll feel sorry? K: Yeah, because I'm the one who broke the pen. J: It's okay for me to push you? K: Yeah. J: Okay, where did you learn, get the idea? Because you said that it's not okay, if in that situation? That it's okay in the situation where we're not fighting. [01:22:00.18] J: Where did you get that idea? K: Hm...Isn't it general toJ: Okay... K: General, because I'm the one who did wrong thing. I don't and then...I should be replacing that. J: We're done! INTV w/ Helen Jeon (Jeon Hyun Jung) Interviewed by Joelle Robles/ Christelle Tolisora [00:00:00.00] J: Name, age and nationality.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

272

  H: My name is Helen Jeon. I am 18 years old. And I am Korean. J: Okay, how long have you been living here in the Philippines? H: For eight years. J: Do you go back to Korea? H: Once a year, like during vacation. J: Okay. How many...Have you watched Chakhan Namja? Nice Guy? H: Yeah, I watched it. J: Chanranhan Yusan? Shining Inheritance? H: Yeah. J: City Hunter? H: Yes. J: Okay. How many dramas have you watched? In your estimate for yourH: Like more than twenty? J: What kind of genres of drama do you usually like to watch? H: Romance. J: Romance? H: Yeah. J: So, here. (shows video) [00:03:06.09] H: Done. J: Um, in this video clip, is there a specific behavior or body gesture that you liked or did not like, or you were comfortable or not comfortable with? H: Can it be like facial emotion? Or only the gesture? J: The body gestures. H: Uh...No, not really. J: Okay. Um. For example, you know the relationship betweenH: Yeah. J: What' s the relationship? H: They are friends? J: Okay, so they're best friends and they've known each other for years. H: Yeah. J: They're kind of like brothers now. So, if you put yourself in the shoes of Jae-gil, H: Mhm.. J: And then...(shows video) [00:04:00.08] J: Is it okay if your friend does this to you? H: Hm...Tsk...Yes, because they are boys and they can get into little trouble? J: How...why do you say that, it's okay if you're a guy and you're him, it's okay if he does that to you because you're guys? H: Because it's my best friend. It's like...it's acceptable. J: It's acceptable. Why do you say it's acceptable? Where did you get the idea that...In that situation, where they're fighting, it's acceptable for your friend to grab your collar like that? [00:05:01.03] H: Because the reason? Like the story of the drama, flow that...it's acceptable. J: Like this guy did something badH: Yeah. J: And this guy wants to tell him somethingH: Yeah. J: So, let's put...So, it's okay for you? H: Yeah. J: In this situation, it's okay for you?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

273

  H: Yes. J: But if you put it into a real life situation. H: Uh-uh. J: Um, if you had a friend, and you guys were fighting and having a verbal fight, and he suddenly does that to you. Would that be okay? H: Hm...Yeah. I think it's because it's like they both are angry so, maybe yeah, I think can be. [00:06:06.16] J: What would you feel if your friend does that to you? H: Hm. Like maybe I get angry also? J: Why? H: Because she grabbed my this? J: Yeah, your clothes. Why would you be angry if she does that? H: It's not polite thing, yeah. J: How can you say that it's not polite if you grab the clothes of somebody? H: Uh... J: Where did you learn that thought, that idea, that it's impolite to do that to a person. [00:07:03.01] H: Hm...Maybe from my parents? J: Okay. Would you have an example? Have you had an experience like that? H: No. J: Okay. The next gesture is (shows video) this one. H: Hm... J: Um, is that okay for you? H: No. J: Why? H: (laughs) It's like kind of bullying? J: Bullying? Is that what you said. H: Yes. J: Okay. Why? H: Because it's hitting someone? [00:08:00.23] H: Yeah. J: So, um...If you were him, what would you have felt? Wait. How can you say that it's bullying when you hit somebody like that? It's kind of bullying somebody if somebody it you hit him? Where did you get that idea? H: Hm...In school? J: What school? H: In high school in...What's my high school? J: Yeah. H: In the Brent in Philippines. J: Okay. Have you seen, have you had experiences similar to that or have you seenH: Not really. J: But you picked the idea that hitting is bullying, you picked it up from your high school? H: Yeah. J: If you were him, what would you have felt if your best friend or friend hit you? H: I...maybe I would be so sad? J: Why? H: Because, how can my best friend hit me? [00:09:02.27] J: Like, where did you get the idea that your best friends should not hit you? Your best friends shouldn't do that? H: Because like, best friends. That's like strong trust? And when my best friend hits me, maybe I would get...yeahJ: You'll feel like your trust was broken-

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

274

  H: Yes. J: Where did you get that idea that your best friend is somebody you could trust, and that if your best friend hits you like that, you'd feel that they broke your trust, so something like that? Where did you get that idea? H: Just from my experience. Like, my best friends, I haven't fight or hit each other, yeah. So, best friends...there is strong trust between best friends. [00:10:04.17] J: Okay. So, the next scene would be from City Hunter. H: Mhm... J: Would you remember this scene? This is the scene after where she saw Yoon Sung in a hotel room with the vet? Do you remember that scene? You know her relationship with Lee Yoon Sung right? Lee Min Ho. H: Lee MIn Ho? J: Yes. This is the scene after she....I'll show you. (shows video) [00:11:39.03] J: She sees him with another girl. She misunderstands. So, this is the scene after that. H: Mhm... [00:14:39.09] H: Finished? J: Yes. So, is there any specific gesture or behavior that you liked or did not like? H: Like grabbing the shoulder and grabbing the hands? J: Yeah? H: Lee Min Ho. J: What did you think of those gestures, did you like them or did you not like them? [00:15:01.01] H: I liked it. J: Why? H: Hm, because he grabbed her to, like...to... The girl was going to leave him, so he grabbed to not leave. J: Ah, so that she won't leave. H: Yeah. J: So, why do you like that? H: Hm...Because he has responsibility of... J: Of? H: Like he act, he wanted to solve the misunderstood, andJ: Where did you get the idea that it's your responsibility to solve the misunderstanding? H: Hm... From my parents? [00:16:01.11] J: Okay. H: Yeah, they taught us. J: So, it's the same with grabbing the shoulder? H: Not really. Grabbing the shoulder was just a process of grabbing her not to leave. J: For you it's okay? H: Yeah. J: That...okay. Um, where did you get the idea that grabbing the wrist and grabbing the shoulder is a way for somebody to stop somebody from leaving? H: Hm... J: How can you say that it is a gesture that shows that it can be used to stop somebody from leaving and like that? H: Because, like, when we grab, they can't go anywhere. J: Oh okay. So, where did you learn that? Where did you pick it up from? [00:17:02.03]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

275

  H: Just my experience? J: Have you experienced doing that? H: Yeah. Yes. J: Okay. Let's consider the situation. H: Okay. J: She's a bit...In here... H: Yeah? J: She's pissed at him. So she likes to walk away. H: Yes. J: Um, have you ever been pissed at somebody? H: Yes. J: You thought bad about somebody. Have they tried to talk to you? H: Yeah. J: Okay. So imagine that scenario. H: Yes. J: And he was trying to talk to you, and you wanted to leave. H: Uh-uh. J: ANd then, he grabbed at your wrist. H: Mhm... J: Would that be okay? H: Yes, I think. When they grab it? I feel like...like...I'll talk a litle more with them, yeah. [00:18:00.22] J: Okay. So, it's okay for you. Where did you get that again, that it's okay if somebody you're pissed at your hand, it's okay? H: Yes. J: Where did you get that? H: Uh, from experience before? J: Okay. (shows video) So, this one, the grabbing of the shoulder, she wants to leave, so let's go of the wrist, she wants to leave and then he grabs her by the shoulder. Would that be okay for you? H: Hm...I think so, yeah. J: Okay. Why? H: Hm...Because, like they are grabbing for not me to leave right? [00:19:06.14] H: So, yeah. It's not angry things for me. J: Okay. But if you really...At that time, angry were you? H: Like very angry (laughs) J: Really very angry. Okay, okay. H: Well, maybe like third time, it would be more pissed off. J: Why? H: Because on the second time, it's okay, but for the third time, maybe it won't be...be more angry. J: Okay. Why? H: Because I don't want to talk anymore, and if he keeps on grabbing me. It would be more angry? [00:20:01.07] J: How can you say that um, it would make you angry if somebody stops you from doing...If somebody is forcing you to do something that you don't want to do? Like for example, you said that for the third time they do it, you'll be madH: Yes. J: Because I don't really want to talk and you're forcing me to talk. H: Yeah. J: Why do you think you'll be angry? H: Because since they are not respe...He's not respect to me, he doesn't respect me. Yeah, because I said that I don't want to talk and go, but keep on grabbing my wrist and...

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

276

  J: How can you say that doing that is a form of disrespecting you? H: Because he's not listening to me. Because I was leaving, right? J: Okay. H: And he kept on grabbing. He doesn't listen to me. [00:21:01.03] J: Where did you...First, why do you think that not listening to you is a form of disrespect and where did you get that idea that not listening to you or not listening to your words or not doing what you want is a form of disrespect? H: Based from my experiences? Because If someone doesn't listen to me, you'll feel not that good, right? J: Mhm... H: And I think that's also part on not respect. J: Have you experienced a similar situation like that? H: Yeah. J: Could you...like give an example? H: I said, I don't want to...For example, I don't want to hear about something, but another person keeps on saying thing about the something. [00:22:04.06] H: Even I said, I don't want to hear it. Maybe that's also part of like not respecting to me. J: Okay. What did you feel when that person kept on talking about something you didn't want to hear? H: Maybe I'll not...I'll be angry. I'll feel not good? J: Okay, what specific emotion? H: Hm...I'll be disapoointed to her or him? J: Why? H: Because they don't think of me. J: Okay. H: Yes. J: But...When you said that you'll feel disappointed, would you expect something from them? H: Yeah, I want them to be more careful and to think more, before act. [00:23:01.05] J: Okay. Who are they? H: Can be my friends, yeah. J: Oh, okay. Alright. So, next one is (shows video). What did Kim Nana do here? Uh, wait, sorry. H: Just, ignore and go? J: What? H: Ignore and go. J: Yeah. So, if you were the guy... H: Mhm... J: Would it be okay for you? H: In this situation orJ: Hm...Okay, let's take it first into...Let's first talk about this situation. H: Mhm... J: Would it be okay? H: Yeah. J: If you were the guy? H: Yeah. J: Okay, why? H: Because she's pissed off, so maybe I can understand. J: As a third person, or as a[00:24:01.09] H: As the guy. J: Okay. Why do you say that you could understand? It's acceptable for you to walk out. H: Yeah, because she's now angry because of me. So I think I can understand.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

277

  J: Okay. What would you feel? H: Oh, she's very angry. J: Okay. What emotions are you feeling when she does that to you? H: Maybe I'll feel sorry? Yeah, because she shows that she's very angry. J: Hm...Alright. Let's take it into...Have you experienced something similar to that? H: I'm the guy orJ: You're the guy. And somebody you're talking to walks away from you, somebody you're trying to talk to. He was trying to explain things to her, right? H: Yeah. J: So, she ignores him and walks away. H: Oh. J: Is that okay? [00:25:00.22] H: Um, no. J: Why? H: Like, for me, if there's something... Trouble happens, I want to solve right away. Like, talk. I want to have the conversation. But some people don't want to talk, right? They just want to go. I don't like that thing. I don't like some person go away, while talking? J: Why? Why don't you like it when some people go away while you're talking? H: I want to talk and solve the problem, but if the persons don't, I can't solve the problem. J: Okay. Two questions. H: Yes. J: First is, where did you get the idea, that mindset, when there's a problem, I want to talk it out right now. I don't want to talk about it later, I want to solve it right now. H: Cause it's my...my characteristics? J: Hm...Personal beliefs? H: Yeah. [00:26:00.23] J: Okay. Second is, wait... T: Why do you think that when you want to talk to the person you're angry with and solve the problem? Then why do you think that you can't solve the problem when the other person runs away from you, or walks away from you. J: Like why do you think that the problem can't be solved if they don't solve it now. If they walk away? H: Because there is no one to talk with, I can't talk it out, right? There should be someone. J: Where did you learn that again? H It's personal belief. J: Okay. Now my question. What would you feel... H: Yes? J: If somebody you're talking to... [00:27:03.11] J: You're explaining to somebody, and then she walks out on you. H: I'll get like uh...Like nervous...Like if I can't...we'll get far from each other because of this problem. So, I want to solve it. But if he or her is going to walk away from me, maybe i'd get nervous. T: WIll you be comfortable or uncomfortable if that person walks away from you? H: Uh, uncomfortable. J: So is it okay, or is it not okay? H: Not okay. J: Not okay. [00:28:01.12] J: What...which person are you referring to? H: If I'm the guy? J: If you're the guy.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

278

  H: Yes. J: Has this happened to you in a way? H: Yeah. J: It happened with who? H: With my friend. J: Okay, a girl friend, or a male friend? H: Male friend. J: Male friend. Did you have a fight? H: Yeah. J: Did you...could you give us an example? Could you telle us about this, about your experience? H: Like the guy was mad at me, so I was going to explain. But the guy didn't want to listen to me so he was...Leave me, like...Before, I also wanted to grab and to talk, yeah. [00:29:06.02] J: So, what...Did you like it or did you not like it? That he left. H: I didn't like it. Yeah. J: Where was this? H: Where? J: Yeah. H: In the Philippines. J: What did you feel? H: Uh... J: When that happened to you. H: Hm...Feels not good. Also uncomfortable. J: What emotions were you feeling? H: Hm...Feel... J: At that time, he suddenly walks out, he didn't want to listen to you. H: I just feel sorry. Because he's mad at me. J: Okay. How were you able to say that... [00:30:02.10] J: Do you mean that if somebody walks away from you, they don't want to listen to you? H: Yeah, I think. J: Why, how do you think that? H: Because sometimes, they just say, "I don't want to listen anymore." and leave. J: Ah... H: Yeah. J: Um, so this one. (shows video) Is that okay? What did Kim Nana do? H: Just opened the door without seconds waiting? J: Yeah. Is that okay? H: If I'm the guy? [00:31:01.04] J: Mhm... H: Uh, I think it's not okay. J: Why? H: It's not respectful? J: Yes. Why do you say it's not respectful? H: Because...Can like...A person can do like secret things, like changing the clothes can be in the room. When someone opens the door, without waiting, without permission, right? It's not okay things to do. Yeah. J: How were you able to say that it's not okay? Why? H: Where? T: Where did you come up with that kind of idea that it's not okay if a person just barges in and does not ask permission from the owner of the room. H: Hm...

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

279

  T: Just enter the room. H: From, like my...my experience. [00:32:01.11] H: I don't feel good when somoeone just opens the door without knocking or just permission. J: So, does it...Which kind of people? Anybody? Or could it be limited toH: Anybody for me. J: Okay. H: Yeah. Even my mom or my father. That's just...I think...Yeah. J: Have you had like experience, like that? H: Hm...not really, I think, no? J: Okay, next. Chanranhan Yusan. (shows video) [00:34:40.20] J: Um, so do you know the relationship between him and her? H: Yeah, yeah. J: So, what is their relationship there? H: They both misunderstood and became enemy? J: Yes. So, in that video clip, is there any behavior or gesture that you found that you liked or didn't like, or were uncomfortable with or comfortable with? [00:35:11.07] H: Like grabbing the arm tightly? J: Yeah? H: When he grabbed it, it hurt, right? J: Yes. H: And also he was pointing? J: Yeah. H: Yeah, that thing. J: Did you like it or did you not like it? H: I didn't like it. J: I'll ask you questions regarding that. FIrst, you said you didn't like this part? When he grabbed her arm? H: Yes. J: Which part, the first part or the second part? Or both? H: Both. He was like continue grabbing right? J: Yeah. Why didn't you like it? H: Because she said, 'It's hurt. Just let me go." But he was still grabbing the arm. J: Okay. H: Yeah. J: Why is it not okay with you again? [00:36:01.18] H: Because she said, "It's hurt." But he also didn't listen. J: SoH: It's not right thing to do. J: Why do you say that it's not the right thing to do? H: Because it's also kind of...Also, I think it's kind of bullying? Someone is hurt, but keep on doing. J: Okay. Where did you get the notion that grabbing an arm tightly like that is not good, is not the right thing to do, that it's a kind of form of bullying? H: It's just my thought? J: Your own thought? H: Yeah. J: Okay. Where did you think you picked it up from? H: Where do I think what? J: WHere did you think that you got that idea?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

280

  [00:37:01.15] H: Hm... J: Where do you think you formed that? How do you think you formed that idea? H: For me, if someone's hurt, like, I won't do it. Oh okay. T: Where did you learn that kind of thought that doing...hurting someone is notH: Right thing? J: Yeah. H: Hm...Maybe my parents? Tell me to not hurt people. J: Have you hurt people before? H: Hm... I think not. J: Okay. Were you hurt before? H: No. J: So, you had no similar experience to this one. H: Yes. J: Second one is the pointing thing you said? [00:38:01.06] H: Yes. J: Did you like it or did you not like it? H: I did not like it. J: Why? H: Because it's not respectful to do. Pointing things. Like in another country, pointing can be a very bad word, right? J: Mhm.. That gesture, yeah. Where did you get that ideaH: Uh, my parents? They said do not point at people. You are always use like hands? J: Where did they teach you that? H: Just when I think I did the pointing thing? They told me to not point, because it's desrespectful. J: I forgot to ask you a question. If that was done to you, that? H: Yeah? Pointing? J: That grabbing thing, you said that it wouldn't be okay. [00:39:01.06] H: Yeah. J: But what would you feel? H: I'll feel like...scared? Because it's very hurtful, if someone keeps on doing it. Yeah, I'll feel scared. J: Why would you feel scared? H: Because it hurts, but it...keep on doing it? J: So, if it's a guy doing that to you? H: Yeah, it will be scary. J: If it's a woman? H: Yeah. J: You'll still feel scared? H: Yes. J: Alright. If somebody did this pointing thing at you, what would you feel? H: Tsk. I'll feel...I'll feel bad. Yes. J: Why? H: Because it's like I'm very like lower level than the person? [00:40:06.29] T: More... H: Like... T: Where did you get that kind of idea that if someone points at you, you're a lower level than that person doing that action. H: From my experience. Like, because I feel like that. I feel like pointing...they're ignoring me? J: Hm...Belittling you or something?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  H: Yes. J: Have you experienced something like that? H: I think no. J: Okay. This one. So, what else did you see that you liked or did not like? Or you were uncomfortable with orH: I think that was all? J: That was all. Alright. (shows video) [00:41:10.29] J: What did Sun Woo Hwan-Lee Seung Gi do? H: Talk to...Her or him? J: Him. HIm, the guy. H: Talk loudly. J: Um...so, here he came out suddenly. H: Yeah. J: He suddenly appeared behind her. And, what was her reaction? H: She was surprised. J: So, if you were the girl... H: Yes. J: Would it be okay for you if you saw him? H: Yes. J: Why? H: Because someone called me, but if it's just surprising right? [00:42:01.17] J: So, for you it'sH: It doesn't matter to me. J: So, it's kind of natural for you? H: Yeah. J: But, considering their situation that they're enemies. H: Uh-uh. J: Would it be okay for you if he suddenly appeared behind you? H: It would be okay. But I won't be answering, like nicely to him. J: Why do you think it's okay for you? H: Because it's just calling me? Even thought it's suddenly, I think it doesn't matter. J: Okay. So would you feel anything? Okay. Let's put it in a..on...a real life situation? [00:43:03.04] J: Do you have people you dislike, or you hate or your enemies? H: Yeah. J: For example you're in a place, where you...Then they suddenly...One of your enemies calls you by...appears behind you and calls you. Would it be okay? H: Well, it would be okay but I won't be answering nicely. J: What would you feel if he did that? H: Hm..."Why is he calling me like that?" Maybe there will be no reason? Maybe wondering why? J: So you're curious? What if...Aside from the gesture, what did he do? [00:44:01.29] H: Walking towardsJ: Yeah. Is that okay? H: Walking towards for me? J: For you, if you were the girl... T: Considering your situation. H: I think it will be okay, but I'll be like surprised. J: Okay. Why will you be so surprised? H: Because suddenly, he comes to me, I'll be surprised and...yeah.

281

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

282

  J: Why would you think he comes towards you sudden, and why won't you expect that gesture? H: Hm...Why? J: Mhm... H: I...Not acceptable. [00:45:00.12] H: It's the situation's not acceptable. I can get...Unexpected right? J: Mhm... H: So, it can get...I don't know what to do. J: What would you feel if your enemy did that to you? What emotions would you be feeling? H: In my...like I would think that I'll be surprised, and "why is he doing that". I don't think I won't be angry, just only in my mind. J: Wait, you'll be? H: I angry? J: Angry? [00:46:00.06] H: Yeah. J: Okay. You'll be angry, why? H: Uh, it's like because it wasn't expected? But, I don't like that person, but he just came and walked to me. J: Why do you think that it's not okay for you if a person you didn't likeH: Yes. J: Comes towards you? H: Hm...Hm...Because it's...I think it will be okay if someone comes to me. Maybe I'll think that she's somethign to talk to me. So... [00:47:01.29] J: Where did you get that idea? H: It's okay? J: That you'd feel angry. It's okay for you, but inside, you'll feel angry. Where did you get that idea? H: Hm...It's just my opinion. J: Okay. Last. (shows video) Here. Remember that part? H: Yes. J: What happened there? H: Hm...She pushed him. J: Is that okay? In that situation, the reason why she pushed him was because he accidentally broke her phone. That was the last time they met in the nightclub, she worked as a waitress there. [00:48:01.21] J: And she was waitress there, and her...she was...That phone was very valuable to her, ebcause she lost everything, right? She was expecting....Her brother was in the care of her friend, and she was expecting...she calls in every now and then, and when he saw her, he thinks that...they have a misunderstanding right? So, he thinks that she's a swindler. She's a thief. So, he drags her and then, because of that she dropped her phone. So, he caused her to drop her phone and he stepped on it. So, he said, "Oh, it's your phone?" While she was looking for her phone. "Where's my phone? Where's my phone?" And he was like, "Is this your phone?" And the screen was cracked, and it was broken. So she pushed him like that. H: Mhm... J: If you were the guy, would it be okay? H: But the guy don't know right? [00:49:01.25] J: Yeah, he doesn't know. H: I think that the guy...he'll get angry because he doesn't know. He'll misunderstand. Because pushing someone is not right things to do. J: Why? Why do you say that?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

283

  H: It's also kind of...it can be bullying right? J: Yeah. H: Pushing is... yeah. J: Okay. Where did you get the idea that pushing is a form of bullying, it's not the right thing to do. H: In the school... J: By... H: For me in the high school. J: Brent? H: Yeah. J: Alright. Who taught it to you? H: The teachers. J: Oh. Okay okay. So, if it were you, what would you feel? Let's put it into a context. H: Okay. [00:50:00.08] J: In real life, for example, because he doesn't think that that thing is valuable. H: Yes. J: He doesn't consider it valuable. So, what if it was just a pen. We're friends. And then...Well, not exactly friends. You just dropped this pen accidentally. H: Yeah. J: And I push you. What would you feel? Will that be okay for you? H: Wait, the pen is really valuable to you? BecauseJ: Yeah, for me, it would be valuable, but you don't know. H: Ah...I'll feel surprised. "It's only that thing that I dropped. Why is she pushing me?" J: Why do you think you'll be surprised if it's just a small thing? So you think that I shouldn't have pushed you if it's just a pen? H: Because it's not understandable for me. J: Yes. [00:51:00.13] H: Dropping pen is not the thing to push... J:Okay. Where did you get the idea...So, you said that I should have a good reason... for to push you. Is that what you're saying? H: Yeah, like. It's not the reason that needs to push. J: Okay. So where did you get the idea that one should have a good enough reason to...for an action like that, to push, to be acceptable? H: It's just my own perspective? J: Okay. Where...How...Do you have experiences like that? H: No. T: How did you form that perspective? [00:52:07.04] H: Hm...I just learned that it's not right thing to push someone. So, for me, yeah. It's not right thing. J: So, you learned that where again? H: In the high school? J: Oh okay. You don't have any experiences. H: Yes. J: Nobody pushed you. You didn't push anybody. Alright. Thank you.   INTV w/ Choi Ji Woo Interviewed by Joelle Robles/Christelle Tolisora [00:00:00.00] J: Please state your name, age and nationality.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

284

  C: My name is Choi Ji Woo, and I'm Korean. J: How long have you been living here in the Philippines? C: I think it's more than six years. J: How long have you been living in Seoul...In Korea? C: From the born to...Until high school, fourth year. J: Okay. So do you go back there every now and then? C: Yeah! J: Okay. Do you watch Korean dramas? C: Yeah, when I like the actor. J: How...In your...Could you estimate how much Korean dramas you've watched in your entire life? C: I think it's more than a hundred. J: Have you watched Nice Guy? C: Yeah. J: City Hunter? C: No. J: Shining Inheritance. C: No. J: Okay. What kind of dramas do you usually watch, you like to watch? C: Hm...I like romance, but I also like the historical dramas. [00:01:01.05] J: Okay. Um. This is the first scene. Just take note of the gestures...the body gestures. (shows video) [00:03:27.00] J: So, in this scene was there a particular gesture or behavior that you liked or did not like? Was comfortable with or not comfortable with? C: Um...Basically I think the friend did what he needs to do. I think it's the right thing for him...I think he tried to teach him a lesson that it's wrong way to earn money, even for the sister? [00:04:00.03] C: But I think that he knows, the main character knows that's wrong. But he cannot do anything about it, so... J: So, any particular gesture that you found...that you liked or didn't like? C: When he...tried to stand out for his friend, and also for the sister. T: How about body movements? C: What do youT: Some body movements that you were comfortable or comfortable with, or something that you didn't like or liked? C: Fighting is defnitely not comfortable, but the guys usually learn their lessons through their fighting. So, it's not really uncomfortable, but fighting is bad. [00:05:00.17] J: Where did you get that idea that...I have two questions for you. First is fighting, then you said that guys learn their lessons through fighting? C: Yes. Yes. J: First, where did you get the idea that fighting is bad? How did you get...Why do you think that fighting is bad? Why do you think that? C: Basically, hurting other people is bad, especially if you love someone, you get also hurt. So, and the fighting bad thing is also from elementary to now, the behavior that is bad. J: Why? Where did you get that? C: The idea that...my parents, and my teachers and my friends...my life cycles (laughs) T: Next. J: The second one, you said that guys settle their...through fighting? [00:06:00.24] C: Yeah. J: Why do you think that? How do you think that?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

285

  C: I think because the guys are more hot-tempered than the girls. So, like, they express their feelings through their fist or fighting. But if they don't hate each other so much, I think that's kind of necessary. Because girls also do fight, but not necessarily for like physical fighting, but also through the words, yeah. Verbal actions. Yeah. J: Where did you get that idea? C: I have few friends. I don't have a lot of friends, because I don't want light connection with each other. So, I make only few best friends, and we fought so many times before. We get so offend. Because, when you like somebody, you somehow want them to change the bad actions or good actions, something like that. [00:07:02.05] C: Also, I had the physical fight before. Which is, I don't like. J: Okay. So, it's based on your experience? Okay. I'm gonna ask you about two things. First, if you were...for example...Do you have best friends, right? C: Yeah. J: So, put yourself in his shoes. If your friend would do this to you (shows video), would it be okay? C: Hm...It will be uncomfortable. J: Why? C: Because I told my friend what's wrong and what could be the right thing to do, but he still can't accept the fact that I'm telling the truth. J: So where... [00:08:03.20] J: So, is it normal for you if he or she does that to you? C: I understand if I'm guy. But the girls, I don't think so. I don't know. J: You would understand if a guy did this to you? C: The guy cannot do that to the girls. But if the girl did that to me, I would feel bad somehow, yeah. J: Why? Okay, you said why. Where did you get the idea that if somebody did that to you, you'd feel bad? T: Especially when you're friends with that guy. J: When you're friends with that person. C: Because that gesture is like threatening, that I'm gonna punch you if you say a words. So, if you don't want me to punch you, then shut your mouth. It will be uncomfortable. J: Where did you get the idea or thought that when a person grabs you by the collar like Maru did here, it means, "Shut up or else I'm going to hit you." [00:09:08.28] J: Where did you get that idea? How? How were you... C: I think through the dramas. J: Through dramas? C: Yeah. J: Okay. Um...you said something about..."Your'e not supposed to do that to girls." C: The guy, yeah. J: Why? How...why do you say that? C: Of course guys has more physical powers over girls. But they know that that's wrong. I cannot explain why it's wrong. But that's how I'm taught. J: Taught where? C: Taught...um...from the schools. Because usually in school, elementary school there involved fight. [00:10:04.00] J: Okay. C: So I've seen it, and I've...Yeah, I've seen it. Also, through the dramas or tv shows teaches us that it's bad the guys, punch or hit the girls. J: Okay. Now this one...Oh yeah... Did somebody do that to you, what would you feel again? What emotions are you going to feel if your friend does that to you and youC: I will be mad, aft first. Uncomfortable, and mad because I said the truth, and my friend couldn't accept the fact. But later, if she realized and apologize, I'll be fine. J: Okay. (shows video)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

286

  [00:11:02.23] J: Is that okay for you? If youC: No. J: For example...Yes it's not okay for you. Um...would you imagine yourself being a guy? Is it okay if you imagine yourself as a guy? If your guy friend punches you, is that okay? C: No. J: Why? C: Because it hurts. (laughs) J: PhyicallyC: Yeah. Physically hurts and if he's a...like in this situation, physcially and mentally. Because, he don't seem to realize that it's bad. J: Okay. Um...Okay. What would you feel if your guy friend did that to you in this situation, and what emotions are you going to feel? [00:12:06.19] C: Many kinds of emotionsJ: Like whatC: Like of course, I'll be mad, and somehow regretting telling the truth because I got punched! (laughs) Somehow...what do you call this...I feel...hm...What do you call this like...I've said already... Like, I feel...What do you call it. J: Frustrated? T: Straightened out...you've straightened out everything? C: Yeah, so I feel like so... J: Light? C: Yeah! J: Like you've said all that you've wanted to say and you feel so light? C: Yeah. J: You take it off your chest? C: Yes. [00:13:00.19] J: Okay. After you get punched? C: Yeah! J: Okay. For example, you're girls. I think equivalent of this is when a girl slaps another girl? If you're friends with somebody, and you just had a fight and she slaps you, is that okay? C: No. J: Why? C: Not in this situation. But if I get slapped by somebody, but she's a friend but not a really best friend, J: Okay. C: I will be very mad, because I had that situation before. J: Okay. C: Like, I had three friends, no four friends. I was with a particular one friends. J: Yes. C: Because we're going to a piano lessons for the school finals, and then the other girl, she doesn't want her to leave. [00:14:05.12] C: So, she thinks that I'm forcing her go with me. So, she basically threw her bag at me, and she grabbed at my neck like that and...yeah. T: Oh... C: We didn't really slap or something. But I was feeling so bad! And somehow also frightened. J: Okay. C: Because that was my first time in a physical fight. J: Did you expect that?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

287

  C: No! I didn't know why she did that! I don't... I still don't understand why she did that! J: Until now? C: Yeah. Until now. J: So, did you speak after that? C: She tried to apologize. But I know her character already, so I didn't accept it anymore. J: Okay, so why do you think that it's unexpected that she does that to you? C: Because we're just having fun! [00:15:00.25] C: Like...so having fun, and then it's just time to leave. So, I told my friend to, "Let's go." And then like she threw her bag at me, and then like grabbed my neck , so like I don't know. J: So, where do you get the idea, the thought that if you're having fun, that shouldn't happen, that kind of thing should not have happened. C: Because nothing bad was there, and we had no problems, even a small thing. We didn't have problems. I think her mental was not...(laughs) J: Okay. So where did you get the idea that when there's something bad, there's going to be a fight? C: Whether you confront or not, if you have a bad thing between like uncomfortable things between friends or whatever, it will definitely have to face someday throught the words like this or physical fight or not seeing each other. [00:16:04.04] J: Where did you get it? C: From my experience. J: You said something about...You said that that friend is not...Because you said that "if my friend, not my best friend slapped me like that, I'd feel bad". So, if...Does it depend on the person who slaps you? C: Of course if total stranger slaps you, then that's a crime! But if it's my best friend, it depends on the situation of course. If my best friend slaps at me with no reason, I'll be mad! So mad! Maybe we wouldn't be a best friend anymore. But if there's a reason, involving like confronting or correcting her faults, then that would depend on her reaction. [00:17:03.19] J: So where did you get that? C: Maybe a value lessons from parents, teachers, friends, and also through the tv shows. J: What did they teach you in relation to the slapping thing? What did theyC: It's not basically "Don't hit each othe." "You don't slap somebody." It's...It's just you'll learn from, somehow, experiences? Of course, in school you teach, "Don't fight. Fight is bad." But yeah. Basically, the kids are raised by "Don't do this, because this is bad" or something yeah...So it's just in my mind and habit already that... J: Okay. So we'll move on to this video. [00:18:00.28] J: Here. (shows video) [00:20:57.00] J: So, in this video clip, is there a particular gesture or behavior that you liked or did not like? [00:21:04.14] J: You were comfortable with or not comfortable with? C: Hm...The behavior, I think they like each other. J: Mhm... C: But they just don't admit themselves that they like each other so...It's not uncomfortable. J: So, any other gestures? C: Body movements that you didn't like or like? J: Body movement. Not really. T: Or actions? C: No.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

288

  J: Alright. Here. So, she's pissed at him, right. Like she's pissed at him? So, first is Kim Nana (shows video). Put yourself in the shoes of Kim Nana. In this scene, we're going to ask you to put yourself in his shoes and her shoes. [00:22:03.28] J: Is it okay what he did? For you? C: Yeah. J: Okay. Why? C: Because he's just trying to talk to me, because if I'm her, he's trying to talk to me, but I'm ignoring him. J: Okay. C: So she's like, I'm not listening further to his explanation, so it's fine. J: So, where did you get that? Where dd you get that idea that it's okay if he grabs your hand because he's just trying to talk to you? Because you're ignoring him. That gesture, where did you get that? [00:23:00.02] C: Uh...Where did I get that? (laughs) Where did I get that? T: Or from where did you learn that if you're tryingC: It's like...It's not really particularly holding hands or wrist. It's like when you call somebody's attention, you touch because if somebody can't hear you, you touch to get an attention. It's like, I think same, same. J: Okay. So, where did you get that idea, thatT: If you're trying to talk to someone, if you're trying to get the attention of someone, then you can touch him or her to get his attention or her attention? C: (laughs) Where did I get that? T: From where do you learn? From whom did you learn? C: It's not somebody really particularly teaching me like, [00:24:00.21] C: "When you call an attention, you touch somebody." It's likeJ: Where did you acquire that? C: I think I see some actions through the tv show, or my friends, parents, other people, yeah. J: In your country, or in this country? C: In my country, because I was raised in Korea. J: Okay. Um, but in this case, she's ignoring the person because she's jealous, she's pissed, she's a bit mad at the guy. So, put yourself in her shoes. Like, for example, do you have a boyfriend? C: Had. (laughs) T: Had. C: Yeah. Had. J: Okay. So, if you have a fight with your... First, let's put it like this. You have a fight with your friend, and you're walking. You ignore your friend, and then, because you're mad at your friend, and you're about to walk away. [00:25:07.16] J: And she grabs you by the arm, by your hand. Is that okay? C: If I'm so pissed about something, I might not listen. Because I tend to cool myself down, because I have a high temper. So, like I tend to cool down for myself alone. J: Yes. C: Without the issues, so... J: So, what would you feel if your friend does that to you? Tries to stop you from leaving. "Wait, wait!" Holds you. What would you feel? C: Depends on the situation, actually. If it's like, slight misunderstanding like that, I would listen. J: Okay. [00:26:00.14] C: But if it's like big deal, I don't know what's big deal, but maybe big issues, for myself. Maybe I will try to ignore. J: So, what emotions would you feel if the person you dislike touches you? C: Dislike? J: At this moment, she dislikes him, because she thinks she did something wrong. So, what woud you-

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

289

  C: Feel bad, basically. Not good emotions. J: Like, what not good emotions? C: Like, somehow, bad. (laughs) J: Okay. Where did you get the idea that you'd feel bad if a person you dislike tries to touch you? Or tries to get into contact with you? C: I, for myself, dislike somebody to touch me, if I don't know the person. [00:27:00.26] C: It depends on the person, but...yeah. It depends on the person, if you get...If you like to get touched or not. J: Where did you get the...Where'd you get it from, the...You not liking to be touched. Where did that come from? C: In the Philippines. I didn't have that thought before. But here, when I walk by and like stranger...what do you call that? J: You accidentallyC: Yes, you touched. I feel so irritated. Yes. J: Why? C: I don't know why. I just feel that way. It just started when I got here. J: Okay. Um. C: And also, I don't like to get touched like... not really touched like holding hands, and then arms. [00:28:01.20] C: I don't like when the girls do that. J: Oh.. C: Because I did that usually when I was in Korea. But here, I see the lesbians and gays. And if you do that to girls, the other people might think you're the gay people. So, the behavior, I don't know. For six years, I do not like it. And when I go back, my friends usually do that, because it's normal in Korea! But I don't know, I feel uncomfortable. J: Now, when youC: Yeah, now I don't feel comfortable. J: Even if you're back in Korea? C: Yes. J: Okay. Um. So you said, it depends on the person. Let's go back to the option. If he were your ex-boyfriend. Sorry. What would you feel if he triesC: I won't like it. "Ex" is "ex" for me. J: Okay. How would you react, if he does that...if he touches you like that? [00:29:01.18] C: I will not make that situation at first, but if that situation occurs, I will try to really ignore. If it's not a closed space. J: Okay. C: Because that barely happened to me. J: Barely. Could you explain? C: I saw him passing through, and I was afraid he might see me. So, I just backward. Yeah. (laughs) Because I know that if he sees me, he's going to try to approach me. Because he, now, is also contacting me through the Facebook, Skype and because I unfriend him. (laughs) J: Okay. So, what did you feel when you saw him? [00:30:02.15] T: What's you initial emotion? C: I don't really like it. It's like it's different feeling. J: Could you explain that feeling? C: Like, the past moment of bad thing, get just through here? J: (laughs) Okay. So what would you feel if he approached you like that? Like you weren't able to run away fast enough and then he saw you. He sees you. He goes to...He approaches you. What would you feel? Would that be okay?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

290

  C: No. Because I'm ignoring him, because I don't want to talk to him. Like what else could he say, not related to our relationship? Like, he's not going to say, "Can I borrow something?" He's going to talk about our relationship, or somehow get back together. I know what's going to be happen. So... [00:31:00.19] C: Because I cannot say no straight to the person. I feel bad for somebody. J: Yeah. C: So, I know what he's going to say, so I will not talk to him. I will not give him a chance to talk to me. J: Where did you get the idea that if somebody you don't like or you don't like to see, you'd feel bad if that person approaches you, you won't like it when that person approaches you? Where'd you get that idea? That thought? Mindset? C: Maybe like when I see the bad news? Like raping stuff. And like get cut? (laughs) J: (laughs) Where? C: Because yesterday, my friend called me. [00:32:01.20] C: She was kind of drunk, Her friends didn't want to go home with her. So, she left alone, but she found out she had no money. So she was just sitting on the bench, and then some stranger approached her. Yeah, they were talking to each other. She told her situation, and he's like "I can drive until the house" and she said, she's thinking. She doesn't know him. So, she might ended up his trunk, or get cut into parts. She just told me. It just popped in my mind right now. J: Okay. So, where did youC: The bad news from the world. You get raped. Kidnapped. Got killed. J: Where did you get the idea that, of course yes... [00:33:01.23] J: But we're asking you, where did you get the idea that if it's a strange man, who approaches you out of nowhere and asks you for...and extends...seemingly extends help, like "I can help you" like that, like that. It's like a bad thing? C: It's not always a bad thing. It's like you don't know the person. J: Yeah. Where did you get the thought thatC: My mom. My parents. Like, when you're child, your parents use to say, don't follow the stranger. That happens in the, like, playground. The kidnappers try to, like they're approaching the kids, like they know their parents. Like, "I know your mom or dad. He's just there. I'll walk you to your parents", and then they just get the child. [00:34:01.22] C: So, that kind of things happen, so the parents try to teach like, don't follow the strangers. The strangers might do bad things to you. J: Have you experienced those kinds of things? C: Not yet. J: Okay. C: NOT YET? (laughs) J: (shows video) That one. Is that okay? C: (laughs) J: The shoulder? If he grabs you by the shoulder? C: If I'm in a bad situation, no. J: Why? C: Because, she's trying to escape from this issues. But he's trying to...he wants to talk about it. So, if I'm her, I don't like it. [00:35:05.09] J: Why? Because you said, she's trying to escape their conflict, but he's not letting her? Why don't you like it when...essentially, he's stopping her from doing what she wantsC: From third view... J: Yes? C: If I'm not her, I'm just a person like here, watching the drama, it's like the girl is trying to escape from the issues-

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

291

  J: Yeah. C: Uh... J: But if you were her, you said that you won't like it. C: Yes. J: Why? C: Because...why? Because...Maybe, I don't want to talk about it anymore. [00:36:03.18] C: Because I believe what I saw. So, he might explaining other things. Like... This happened. But he might say it's not happened. He might lie. So, it's like she believed...I want to believe what I saw. Something like that. J: So, that gesture, like she's trying to walk away from him. If it were you and your boyfriend, and you've had a fight. Let's say you see him doing stuff you don't like. And you were going to walk away...He'll go, "No! Come back here!" Like that. Is that okay for you? C: At first, no. But if I want to keep this relationship, I might listen. J: Okay, why won't you like it at first? [00:37:00.09] J: Initially, you won't...you said you won'tC: Because I saw something bad. Or I saw something I don't like, and he was doing it. So, of course I'll be mad, because he did something. But I will have to listen or hear the explanation. J: Okay. What would you feel if...since you're pissed at him, what would you feel if he does that to you, like you'll walk away from him and he grabs you by the shoulder like that. C: In the situation, they're not in a relationship. So, it might be bad. Yeah. J: Mhm...Why? C: Hm...It might be bad. [00:38:02.03] C: Because he's not even my boyfriend or something. We're not related to anything. He's just trying to explain for something I don't want to listen. J: So are you saying that um... T: If we don't have any relationship with each other, then you can't touch me. Is that what you're saying? C: Not particularly. J: Okay. C: It's not you don't have, you cannot touch me. It's like in that situation, is actually nothing if they're not in a relationship. Like, she doesn't have right to get mad. And he doesn't have to explain to her. J: Yes. C: So, yeah. So, it's not like that, but it's...He doesn't have to explain. She doesn't have right to get mad. [00:39:04.17] J: So, for example, you're friends and all and you got into a fight, and feel like you don't have the right to get mad, but you're mad. And then...Okay. Your friend did something. You saw your friend do something, that...something bad. But it wasn't related to you. She didn't do something to you. C: I think it's like the one I watched a while ago. J: Yeah. C: Yeah. the Chakhan Namja? J: Yeah. C: It's not...He doesn't have to do what he... how he earns money. He concerns him, because he wants him to be better person, as a friend. J: What would you do if you were mad at the person, and you're gonna walk away. And then he grabs you by the shoulder to stop you from walking away because he wants to talk to you. [00:40:03.00] J: What would you feel, if you're mad at the person? C: I'd feel disturbed at first, but I think I would listen because since it's my friend and I deserve an explanation. J: Where did you get that mindset again?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

292

  C: Huh... T: Where did you learn that kind of thought? C: Okay, where? That...what...the...listen...what? J: Like, you'd feel disturbed... all the things you've told me. Told us. Like, first if you do this...first, you'll feel disturbed, but then you'll say that you might have to listen to...I'll have to listen to his explanation. [00:41:00.07] J: Where did you learn that? Where did you get that from? C: Through my experiences. I fought many many times with different kinds of people. And then like, I get advise from my friends that you should do something...In this situation, you should behave like this, so it would lessen the problem. I think yeah, it's through my friends and experiences, not particularly the older person. J: Okay. Now. (shows video) What did Kim Nana do? C: She didn't want to receive money. [00:42:01.00] C: She was asking for money, but she didn't receive it. J: Yes. What else did she do? What gesture, what behavior did she do? C: She just run away from the conversation. J: Yes. So, is that okay, if you were this guy? Is that okay? C: Hm...I would do the same, if I were this girl. But I would be...feel uncomfortable, if I was the guy. (laughs) Because if I'm the guy, I'm trying to talk to her about the truth. But the partner is...won't even listen to me. J: So, why do you say that you're uncomfortable if that person doesn't listen to you and walks away while you're talking? C: Because that's ignoring me. J: Where did you get the idea that it's a form of ignoring? [00:43:03.22] J: How? C: Turning back, while talking and walking away is like "I don't want to listen to you". So, it's like...the question is where. J: Yeah, that's...You continue that. T: Just continue. C: Turning back on me, or like walk away while I'm talking is actually like ignoring or "I don't want to listen to you anymore". J: Why? T: Or where did you get that kind of idea that when someone turns their back on you, and you're talking, it's a form of ignoring? Where or from whom? C: (laughs) J: It's okay! T: After all this, we'll explain why. J: We'll promise to explain why. [00:44:00.07] C: I can sometimes see the parents fighting and all. So friends fighting. I fight. So, basically experiences, and also ,the TV dramas shows that that kind of behavior, something like that. J: Have you ever experienced beingC: Ignored? J: Being...you were talking to somebody then that person suddenly walks away from you. Yeah, and also being ignored like that, and oaky. First is you being ignored. Second is you're talking to a person, you're having a normal conversation, and sheC: And I walk away. J: No, you're the one who's being walked away from. C: Oh, okay. J: First one. What would you feel if you were ignored like that, in that way? C: If I was ignored by somebody?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

293

  J: Mhm... C: Like I've said a while ago, I'll feel bad. [00:45:03.19] J: Like what emotions? Like, for example, um, Ji Hye and you. You're on the corridor. You think that she saw you. But then she doesn't acknowledge you and just walks past by you. C: I might think that "Did I do something wrong?" J: Yes, why? C: Or like, did she get mad at me? J: Yes. C: "Why is she doing that?" J: Why do you think that if a person does that action, it meansC: Because we know each other. We know each other. We greet each other. Like we hang out sometimes, with each other. And suddenly she ignores me. That has to do with something. [00:46:03.19] C: She's...She's mad at...She's not in the mood. J: Where did you get that? ThatC: I just assumed. It's not a correctJ: Yeah. C: I just assumed because she saw me, I think she saw me, but she didn't approach me. So... J: Where did you get it, or how... Okay, you said you assumed right? Since she ignores you, and you're good together. Like you're friends but then she ignores you. "Did I do something wrong? Is she mad at me?" Where did you get that assumption that when a person you think you're friends with suddenly ignores you, you did something wrong to that person. C: I think that one...the drama is the a lot, I learned that I experienced a little. [00:47:01.10] J: Okay. So second is, when you're talking to somebody, and then you suddenly. Two. The person suddenly jumps out of his seat, of thier seat and then walks away. What will you feel? Would that be okay? C: No, it's not okay, because I was talking, and somebody's ignoring me. I'll feels so extremely bad. J: Like whatC: Because I don't want to be cut. (laughs) J: Why? C: Uh...Because if we're fighting, maybe I was trying to explain or saying somehting. But ignoring is like, he doesn't want to to talk about it. [00:48:01.16] C: Or she doesn't want to talk about it. So it's like leaving the problem still. It's not solved. I'm talking. I'm explaining because I want to solve this problem, but walking away. She wants to leave the problem still. So, it's like she doens't want to make up with me. So, I will feel so bad. J: Okay. Where'd you get that from again? C: Dramas and experiences. J: Okay. This one. This is the last one. T: For this scene. J: There (shows video) [00:49:01.18] J: What did she do? What did she do? What did Nana do? C: She just opened the door without knocking. J: Is that okay? C: No. For me it's not okay. J: Why? C: Because room, the personal room, is like the personal privacy. J: Okay.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

294

  C: He might be changing his clothes, or he might be doing something else. J: Okay. C: He's distrubed! J: So where did you get the idea that a room is a private space? Is that what you said? C: Yeah, yeah, yeah. J: Where did you get that idea? WHy do you say that the room is a private space? "Don't enter without knocking." Why do you say that? C: It's culture. [00:50:01.23] C: I don't know if other countries are okay with that. No? J: We're not okay with that too. C: Yeah, it's like. T: Is it in Korea or in the Philippines. C: Korea. I had my own room. Because I don't want to be disturbed by my parents. J: Okay. C: So, it's not really stated in the law thay you should knock. But it's like an understandig between each other, that the room...I have this room because I want to be alone in this...my space. J: Yeah. C: If you want to disturb me, you should at least let me know that you're in. J: Okay. I have two follow-up questions. First, where did you get that? [00:51:01.03] C: Huh...Maybe...Through my experiences in my house and my friends' house and other shows. J: Okay. Do you have experiences like that? That when...Have you ever experienced things like this? T: Someone coming in your room without asking permissionC: Yes. Yes. J: Really? C: Yes. J: Two follow up questions. One, can you tell us about the scenario? C: Uh...In Korea, it's studying the...what you call it...the rank? It's very competitive. J: Ah... C: So, you have to study very very hard to go to a good college or university. [00:52:05.02] C: So, like during midterm week, I was trying to study. Then I see the computer, and I couldn't help but to use my computer and my mom just came in. (laughs) So I told her that I'm going to study. (laughs) Then she walked in, and I got caught. So like that. J: Okay, so the second question is, when that happened to you, what did you feel? C: Surprised. Very surprised! I felt guilty. Because i told her that I'm doing something, then I was actually doing something else. J: Okay. [00:53:02.07] J: Um... T: Last video... J: Okay here. Do you remember my explanation? Alright here. (shows video) [00:55:53.21] J: Okay. So, in that clip did...were there particular behaviors or gestures that you liked or didn't like, or you were comfortbale or not comfortable with? [00:56:06.23] C: I don't like the situation in that they only listened to the son's, not thinking of the situation, not listening to her explanations.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

295

  J: Okay. What else? T: Any specific behavior or body movements you didn't like or liked? C: He trying to...forcing her...grabbing her, and the like...forcing her to like, leave. That was uncomfortable. J: Why? Why was it uncomfortable? C: Because he...that must be very hurt. T: Aside from the physical pain, so what do you thinkJ: Is it okay for you, if you were the girl? C: No, because she didn't come here for that guy. She come here for her purpose. [00:57:02.05] C: And then he just ignore what he's saying and he just grabbed her arms so hard and let her go out. J: But if you were the girl....Why do you think it's not right that grabbing her arm, and forcing her to go out? C: Because she might have a reason to get in here. Because there's a door. It's not wide open for anybody else. It's open for her. Then somebody just came in and let her go out, because he thought that he's going to do something about him. J: Okay. What would you feel if somebody did that to you? C: I'd feel sad, and also bad at the same time. [00:58:02.21] J: What... like what bad? C: Because she doesn't deserve that thing, and like he was doing that. J: Why do you say that she doesn't deserve being grabbed like that, grabbed painfully like that? C: Like forcing like this one is also like... (types) J: Jee Hye has that too. C: It's like violence. J: Oh.... C: Yeah. [00:59:01.10] J: So, is violence... C: Violent reaction. J: What was that...what's my question? T: Why doesn't she deserve to be grabbed like that? J: Why doesn't she deserve violence? C: Nobody does actually. J: Okay. T: Where and how did you come up with that kind of idea that no one deserves violence? C: In values lesson. J: Okay. Values lesson in? C: In schools! T: In Korea or here in the Philippines? C: Korea. J: Here. First, put yourself in the shoes of Go Eun Sung. C: Who's that? J: The girl, Han Hyo Joo. What would you feel? [01:00:00.19] J: Here. (shows video) What did he do? What did the guy do? C: He asked "who are you" J: What else? C: In doubt. J: He approached her suddenly. Like, she's doing her business, walking and he goes up from behind her, and says, "Who are you?!" C: I think he has a right to say that, because it's his house, and a total stranger is also... J: Where do you get the idea that he has a right to do that because it's his house?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

296

  [01:01:02.03] J: How did you get that idea? C: Because it's his house? J: And? T: Could you elaborate? C: And unexpected person is in my house, walking around. So, it's like she or he might be a theif or a bad person, or trying to sell something. J: Okay. C: Yeah, that's right. The house is his house. J: What would you feel if somebody like her came into your house? If you were in this situationC: I would do the same. J: Like, what would you feel? C: In Korea, the house is not like that always. The house is like condominium type. Most. [01:02:01.12] J: AH... C: So, in that house, maybe I will not the call the police immediately. But if it's my condominium, I have to call the police immediately. Because that can't be possible. J: Okay. Um, what would you feel if you were in the girl's shoes? What would you feel if a person suddenly comes up behind you, and you're in a place like...They're enemies, right? So for example, you're hanging out somewhere. Then a person suddenly comes. T: For example, your ex-boyfriend. J: You have enemies, or something? C: No, I don't have enemies. T: Or your ex-boyfriend. Maybe you're with your friends in a restaurant, and you're just hanging out. Then suddenly your ex-boyfriendJ: Enters the restaurant. [01:03:00.10] J: What will you feel? Will that be okay? C: If I was enjoying my dinner, then I wouldn't be enjoying anymore, seeing that person that I don't like. J: So, you don't...It's not okay? C: Yeah! J: What would you feel? T: Your emotions. C: I feel I want to go out of this restaurant as soon as possible. J: Why? C: Because we ended up bad. So, I don't want to recall the memory, because I was just having fun. Just to see him made me feel awful. J: Okay. So, this one. (shows video) What did he do? [01:04:01.16] C: I didn't like that. He pointedT: Is that okay with you or not? C: Actually that gesture is I taught from the school that gesture is bad if you pointed that finger at somebody else. It's bad. T: What would you feel if you were the girl? J: If that was done to you? C: It's like the person is so rude! J: What else did he do, aside from the pointing thing? T: Behavior or body movement or action? C: He was trying to recall her. [01:05:02.01]

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

297

  J: What he did was he...from this distance (shows video) right? He moved towards her like that. Is that okay? Put yourself in her shoes. She recognized him, and was like "Oh. Shiz. it's this person." Do you have...aside from your ex-boyfriend, do you have some people you dislike? C: Yes. Yes. J: Okay. Um. Female or male? C: Female. J: All females? No males? C: No, because I'm from all girls school, from the Middle school to College. J: Oh...Okay. So, female. then you see each other. and she approaches you, in that manner. Like that. C: That's so rude! [01:06:00.20] J: No, take this off. She just approaches you as fast as she did. Like she approaches you in that aggressive manner. Would that be okay? C: If I don't like the person, it's not okay. Somehow, i'll feel nervous at the same time. Nothing happened but she approaches me, because I dislike her! J: Why do you think that? C: Because she has something to say to me, that's why she's approaching me. I don't know what she's going to say, because I don't like her. Maybe she doesn't like me, we have no issues getting each otherJ: You said, when you dislike the person, it's not going to be okay. So, if you're okay with the person, is that okay? C: Yeah. She might be just greeting me, or like trying to tell me, "How are you?" It's like you...you're meeting unexpected person you know. "Oh, hi!" or something like that. So, it's okay. [01:07:03.17] J: Okay. So what would you feel. Oh you said that. Where did you learn? Where did you get that thought that "Oh shiz." or "I'll feel nervous if that person I dislike did that to me."? C: I think it's based on my experience, if she...I really didn't like when somebody approaches me, the person I don't like. J: Did that happen to you? C: Yes. That's why I learned by myself. J: Could you relate...could you tell us? C: Because I don't like somebody copying my style or my things. Like, I have this particular wallet, and she buys the same wallet because she likes my wallet. Or she buys clothes very similar to mine, and she'll say that she already had it before. So it's not she's copying me. So, I don't like that kind of person. [01:08:01.28] C: So, i just didn't like her, she approaches me, something...I really don't like. J: What did you feel when she approaches youC: Annoyed, actually. J: Annoyed. How did you react when she approaches you? C: I pretend. I pretend, actually, because I don't want to fight. So, I pretend to answer her question but in very short and.... J: Okay. This one (shows video) C: That's a violent reaction. J: Yeah, so is it okay, or is it not okay? C: No. J: Why is it not okay? C: Because it's not like the previous clip. It's not him tryng to tell something. It's him letting her go out from the certain place, without listening to her situation. [01:09:07.15] J: Did she answer that? We asked her earlier, right? Where did you...How could you say that he shouldn't have done that? Why do you sayC: Because as I've said, she has her own situation or purpose to be there, because the door opened for her. But then he assumed or he just disliked the person, so he just grabbed and let her go out, without listening to her.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

298

  J: Here. (shows video) Okay. [01:10:01.01] J: Is that okay? Not her. Eun Sung pushing Hwan. C: Oh...I don't know what that situation is. J: Okay. That was the last time they met. It was her birthday, and they went out into the bar. That was where she was working. That was the night she lost her brother. C: So, that's the time when he broke her phone. J: Yes, so like he recognized her, and she was minding her own business doing her job. What he does is he trips her, like he sticks his foot out and then he trips her, and then he drags her to that place. And then, because he dragged her to that place, her phone...The phone that her friend gave her, it was just a borrowed phone, it wasn't even hers. He stepped on it accidentally. Because she dropped it. He was dragging her, and she dropped it and he stepped on it. [01:11:02.04] J: And to her, it was a very big deal, because she has nothing, and it was just given to her. And she needs to be contacted every now and then. To her it's a big deal, to him, it wasn't a big deal. And she pushed him like that. If you were the guy, would it be okay? C: If he doesn't know the situation of the girl...No. It's not okay. J: Why? C: He's just being so rude, to her and to her belongings. Because he doesn't know the cellphone is valuable for somebody or not. It's just...I think it's not. Let's just assume it's not. It's not okay. J: So, are you...Let me clarify, So you were the guy. Okay, for example... [01:12:01.27] J: It's a pen. It's a pen, and we were talking and all, and then, he broke the pen. And I pushed you. "Why'd you break my pen"And then...would that be okay for you? C: In that situaiton... J: Because he deems himself not that valuable, and to you , since it was just a pen. Would that be okay? C: Yeah, I will feel bad, by the reaction of the partner, because before I say sorry, or...For me, in that position, for him, he could buy. Replace her phone. She's just reacting so bad. Pushed me, it's like the violent reaction as he did. [01:13:01.23] J: Okay. What else... what emotions would you be feeling? If somebody pushed you like that? C: For me, she's being rude, and then like. J: You were the one who was pushed. C: Yeah, and then like, I might think "Why is she reacting...like overreacting about something that I could replace?" J: Yeah. Okay. So, why do you say that she's not supposed to react that way? It's just a small thing. C: Did he say sorry? Or before he say something she just pushed? J: Um...This is what happened. You're the girl, I'm the guy. She's like "Where's my phone? Where's my phone?" The girl's like that. [01:14:00.10] J: "Is this your phone?" Like that. "Yah!" T: So, he wasn't able to say anything after that. C: I think it's a...his mistake to step on the cellphone. So, hm...what's the question? J: Why do you say that it's not...why do you say that a person's not supposed to act like that overC: Actually, it depends but if I'm the one who broke something, I will...in my situation, she can't act like that. [01:15:04.23] J: She can or she can't? C: Cannot. J: Cannot. Why? C: Act like that because...it's just a cellphone? J: Yes, why do you think that?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

299

  C: Because I know I'm capable of buying or replacing something...that thing... and then she's overreacting. Of course, I don't know if it's a valuable thing or not, in that posiition, yeah. If I don't know any, I would feel like puzzled. Like, "Why is she reacting like that?" It's just a thing. J: So, it's just a thing, so it's like a small thing. C: Yeah, if I'm in his shoes, yeah. J: Why...where did you get the idea that it's just a small thing, that you're not supposed to act like that, like she became so angry and she pushed him. Why...where did you get the idea? [01:16:04.21] C: It depends on how the person value a thing, if I'm so poor. A little thing would be valuable. But if I'm so rich, this little thing, is nothing. Like, maybe because I can buy again and again and again. But if I'm poor, I cannot buy that again and again and again. So, this one, I have to take care of. It depends on the situation. J: So, where did you learn that? That for example, you're in his shoes. In his situation, he's rich. Since he thinks that a cellphone is a small thing when it's actually not. He thinks it's a small thing. Where did you learn that if it's a small thing, you're not supposed to get so angry about it? [01:17:02.06] C: I think if he's rich, he was raised that way. It's like the parents got him anything he wanted? Like so he doesn't know what's valuable. What's expensive, what's not expensive. What's very important or not important. He's very rich so he's also spoiled. So, he didn't learn or taught by parents that everything is important or valuable because he got what he wanted always. J: So, what about you? C: Me, I didn't get what I wanted, all. J: Like for example, yes, we fought over a pen and I got so mad when you broke my pen, and then you're thinking "Why is she reacting that way? Why did she push me? Why is she getting so angry?" [01:18:02.17] J: Where did you learn that it's just a small thing. I'm not supposed to be acting like that. Where did you get the idea? C: By small thing meaning it can be replaceable by the person. So, you can get it once again, yet you're acting so weird to me. So, if it's a pen, and I broke it, I can buy you one, and you have one. So, you have nothing to lose. But you're reacting so weird. J: Where did you get the idea that I'm not supposed to react like that. Like you could get me another one, why do you find it so wrong? Um, why do you find it so wrong when I react like that? [01:19:01.05] J: When you canC: I think it's not being taught by the school or anything. But it depends on the parents' attitudes, how they raised their kids or how they tell them what is valuable or not. Or their habit to spend, yeah. J: So whereC: Yeah, I think I got it from my parents. J: DId a similar thing happen to you? C: Actually, uh...I borrowed my friend's...I lent her my quick board. Like board type. It's like this kind ofJ: Ah...scooter. C: Yeah. Something like that, yeah. A kid scooter, when I was young, and then my friend lost it. J: How did you lose something so big? C: I don't know. [01:20:01.08] C: She says she lost it. It might be broken or something but she couldn't tell her parents. So, like she's saying she lost it. Well, she was hiding. She said she has it, and eventually I found out that she lost it. So, she couldn't replace it. That time, the scooter was big deal. There was like boom and it was expensive at that time. So, that happened. Not particularly something I broke or replaced. J: Okay. You're done.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

300

  Appendix K Interview Matrix Parti cipa nt ZAB AGA RAO (I1) ZAB AGA RAO (I1) ZAB AGA RAO (I1)

ZAB AGA RAO (I1) ZAB AGA RAO (I1)

GAB Y NOV ENA RIO (I3)

Expectancy Violation

Why like?

Why not like?

Arm Grabbing (aided) -Marco to Jean Arm Grabbing (aided) -Marco to Jean Arm Grabbing (aided) -Marco to Jean

- Hindi. Yung hihilahin ako palabas? Parang di pa nga ako nakakapag-explain, diba?

No reason

- Parang wala karapatan hilahin akong ganon,

No rights

- Di ko gusto, kasi diba sinasaktan, hinihila mo na ako, sinasaktan sa pagkapit mo ako, hinihila mo na ako na parang walang respeto, yung parang bara-bara lang

It hurts No respect

Arm Grabbing (aided) -Marco to Jean Arm Grabbing (aided) -Marco to Jean

-Simple lang. Wala ka pang alam para hawakan at saktan mo ako nang ganyan, at hilahin ako ng parang hayop.

No reason No rights

-Pag sinasabi nila wag papayag na masasaktan ako ng walang dahilan tyaka sabi rin ng parents ko, "wag kang papayag na nasasaktan ka, sa kahit anong dahilan kung kaya idaan sa pag-uusap sa matinong paguusap. Doon. Pero wag kang papayag na hinihila-hila ka, sinasampal ka or something." - No. Because, again, you're trying to explain something, and suddenly he pulls you out of the room, and not just pulls you, drags you out of the room.

Parental Advice

Arm Grabbing (aided) -Marco to Jean

Not allowed in any context

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

301

  GAB Y NOV ENA RIO (I3)

Arm Grabbing (aided) -Marco to Jean

-I'd feel like a rag doll being dragged in that way. I would feel sad. For somebody especially, a guy to treat me like that. Like you don't treat women like that, especially someone who looks that vulnerable.

Feel Sad Not the way to treat women Not the way to treat the vulnerable

GAB Y NOV ENA RIO (I3)

Arm Grabbing (aided) -Marco to Jean

- Society probably. You don't... I think I learned early on that... yeah, sexism aside, you just don't treat women, i'm sorry, but you just don't treat women like that.

Society’s norm/perce ption Not the way to treat women

GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3) ZAB AGA RAO (I1)

Arm Grabbing (aided) -Marco to Jean

- You don't harm women

Not the way to treat women

Arm Grabbing (aided) -Marco to Jean

-Aunt who was a battered wife

Armgrabbing (aided) -Dave to Audrey

- Ayoko. Parang gusto ko, malayo muna tayo, kasi baka ano lang yung magawa ko, masaktan ka din or kunwari, masampal nga kita or something pero siyempre given na naman yun

Personal knowledge of someone who has experience d it Causes anger

ZAB AGA RAO (I1)

Armgrabbing (aided) -Dave to Audrey

- Lahat ng tao. Ayoko talaga yun, yung parang: "Wag kang lalapit sakin baka..." Parang may ganun ako na parang pag may kaaway ako, lumayo ka sakin baka may mangyari lang na hindi mo magustuhan.

Causes anger

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

302

  ZAB AGA RAO (I1)

Armgrabbing (aided) -Dave to Audrey

- Minsan... depende, minsan maiinis ako. Parang ayaw ko pag... lalo na pag hindi ako kalma, magagalit ako.

Causes anger

ZAB AGA RAO (I1)

Armgrabbing (aided) -Dave to Audrey

- Magagalit ako. Parang, magagalit ako na: "Ayoko! Lumayo ka muna sakin." Alam mo yung ganon? Ayoko na.

Causes anger

ZAB AGA RAO (I1)

Armgrabbing (aided) -Dave to Audrey

- Wala, sakin lang. Yun yung nafefeel ko eh. Ako yung talaga yung ayaw ko... kapag nagaway tayo, gusto ko magkalayo tayo kasi... nafefeel ko siya na siya yung feelings or emotions or what kung ano man yung tawag na ayaw ko talaga.

Causesang er

ZAB AGA RAO (I1)

Arm-holding (aided) -JR to Greta

- Ayoko kasi di pa nga ako ready kausapin ka tapos hahawakan mo ako tapos parang kakasabi ko lang na lumayo ka muna sakin eh.

Annoyance Causes anger

ZAB AGA RAO (I1) GAB Y NOV ENA RIO (I3) ALE X MIR AND A (I4)

Arm-holding (aided) -JR to Greta

- kasi ganyan din yung mommy ko, kahit yung mga kapatid ko eh.

Seen from family

ALE

Arm-holding

Arm-holding (aided) -JR to Greta

Maybe, in this context, yeah, because that would mean that i like him too.

Arm-holding (aided) -JR to Greta

- Ako si Gretta? I guess sakin, okay lang kasi unang una may gusto rin ako sa kanya diba, so points ko yun na hinawakan niya ako. - Pero the fact na

- But in a normal fight, I wouldn't

Depends on the relational context Depends on the relational context Advantage Valid

Depends on a situational context

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

303

  X MIR AND A (I4)

(aided) -JR to Greta

hinawakan niya ako is that, siyempre may kilig eh, kasi hinawakan niya ako. Pero sa kabilang side, alam ko na may dahilan. Pero, I think okay lang sakin.

reason

APR IL DUR AN (I5 APR IL DUR AN (I5

Arm-holding (aided) -JR to Greta

- Siguro parang comforting siya?

Comfort

Arm-holding (aided) -JR to Greta

Affirmation

APR IL DUR AN (I5

Arm-holding (aided) -JR to Greta

- Yung action na to, yun yung nagpapakita na parang susupplement, icocompliment ni JR yung mga sacrifices na ginawa ni Gretta. Parang sinabi niya na susubukang bawian - Gusto rin. At least, kahit papano, may nagpagaan ng loob niya, despite ng kung ano yung ginawa niya.

PIA VIR AY (I2)

Armholding/grab bing (aided) -Marco to Emily Armholding/grab bing (aided) -Marco to Emily

- Hindi. Kasi mas napapatagal yung proseso ng pag-aaway namin.

Prolongs the argument

- Maiinis, kasi nga, alam mo yung oras ng pag ganun-ganon namin, mas nasuntok ko na sana si Eula. So parang napigilan.

Restrain

Armholding/grab bing (aided) -Marco to Emily

- Magugulat tapos maiinis.

Surprise Annoyance

PIA VIR AY (I2)

PIA VIR AY (I2)

Comfort

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

304

  PIA VIR AY (I2)

PIA VIR AY (I2)

Armholding/grab bing (aided) -Marco to Emily Armholding/grab bing (aided) -Marco to Emily Armgrabbing (unaided) -Marco to Jean

PIA VIR AY (I2)

Armgrabbing (unaided) -Marco to Jean

- Magagalit ako, kasi bakit mo ako kinaladkad, pwede naman tayong mag-usap nang maayos?

Talk not violence

PIA VIR AY (I2)

Armgrabbing (unaided) -Marco to Jean

- Kasi ako, as much as possible, mag-usap muna. Kung hindi na talaga kaya at hindi nila macontain yung sarili nila sa galit, tyaka lang kayo magsuntukan.

Talk not violence

PIA VIR AY (I2) PIA VIR AY (I2)

Armgrabbing (unaided) -Marco to Jean Armgrabbing (unaided) -Marco to Jean

Sa sarili ko…

Selfconcept

- Siguro depende na rin yan sa tao… Sa tao na gumawa sayo noon. Kung important siya or…sa relationship

Depends on the relational context

ALE X MIR AND A (I4)

Armgrabbing (unaided) -Marco to Jean

PIA VIR AY (I2)

- Kasi nga ang lakas ng loob niyang pigilan ako, eh sila nga yung may atraso sa akin?

Restrain No reason for prevention

- May mentality ako na kailangan, kung ano yung makukuha ko from the world, yun yung ibabalik ko.

Tit for tat

- tapos ipuprove mo na kwarto ko to kaya bawal ka dito, kaya kahit anong gawin ko sayo, basta nasa loob ng kwarto ko, okay lang. Dapat di ka magreklamo, tapos ininvade mo yung private space ko.

-Okay pala yung reaction sa akin ni Richard, as a person, normal na yun, for me it's okay. Galit siya, di ba?

Territory

Acceptable in the context

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

305

  ALE X MIR AND A (I4)

Armgrabbing (unaided) -Marco to Jean

- Siyempre masakit, yung feeling na hatakin ako ng asawa ko is parang, bakit? Diba, may right ako sayo, diba so parang masakit... I think pwedeng gawin ng asawa yun sa galit, pero the fact na... basta mahirap i-explain pero di siya okay. Hindi si good.

Gives pain Holds the right Depends on the relational context

ALE X MIR AND A (I4) ALE X MIR AND A (I4) ALE X MIR AND A (I4) PIA VIR AY (I2)

Armgrabbing (unaided) -Marco to Jean

- Siguro mararamdaman ko pain,

Gives pain

Armgrabbing (unaided) -Marco to Jean

- Pelikula na yan.

Film Influence

Armgrabbing (unaided) -Marco to Jean

- Sa sarili ko na yun. Sarili kong pananaw.

Selfconcept

Armholding (aided) -JR to Greta

- Okay lang kasi ibig sabihin noon, handa siyang tanggapin yung explanations ko, kahit konte lang.

Act of Affirmation

PIA VIR AY (I2)

Armholding (aided) -JR to Greta

- Okay lang. Parang narerelieve ng onte kasi yung gesture niya na yun means handa na siya ulit na makinig sa akin tyaka may onteng chance na magiging okay na lahat.

Act of Affirmation Relief

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

306

  PIA VIR AY (I2)

Going into bedroominvasion of personal space (unaided) -Jean to Marco

- Eh kasi, private space mo yun, tapos nirerespeto mo yung private space nila. Hindi ka naman pumupunta sa kwarto nila ng walang paalam, so ineexpect ko na irerespetuhin niya rin yung space ko tyaka kung ano yung binibigay sa akin ng tao, binabalik ko.

Territory Tit for tat

PIA VIR AY (I2)

Going into bedroominvasion of personal space (unaided) -Jean to Marco

- Kay mama

Parental example

ALE X MIR AND A (I4)

Going into bedroominvasion of personal space (unaided) -Jean to Marco

-. If ako si Richard, foul yun, for me, kasi that is the only space na I can do anything kasi room ko nga eh, tapos papasok ka nang di ko alam, and wearing a polo, my polo pa, akin yun, not yours.

Territory

APR IL DUR AN (I5)

Going into bedroominvasion of personal space (unaided) -Jean to Marco

- hindi pa rin appropriate since may fiance si Marco, si Richard, so hindi tama na pumunta siya dun sa room, kahit naman siyang, kahit walang nangyari, pero di magandang tingnan.

Society’s norm/perce ption Not acceptable

ZAB AGA RAO (I1)

Handgrabbin g/holding (aided) -Dave to Audrey

-Ako ayoko. Actually, hindi, ayoko na parang gusto kong umalis, ayaw na kitang makita, bitawan mo ako

Not allowed when I am angry

ZAB AGA

Handgrabbin g/holding

- Ayoko ko lang kasi ng lagi akong pinipigilan.

No reason

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

307

  RAO (I1)

(aided) -Dave to Audrey

PIA VIR AY (I2)

Handholding /grabbing (aided) -Dave to Audrey

- Hindi kasi nga ayaw kong maging malapit sa kanya at that moment tapos hinahawakan niya yung kamay ko.

Not allowed when I am angry

PIA VIR AY (I2)

Handholding /grabbing (aided) -Dave to Audrey

- Kasi gusto niya akong pilitin na makinig dun sa mga explanation niyang walang kwenta naman.

Forces oneself

PIA VIR AY (I2)

Handholding /grabbing (aided) -Dave to Audrey

- Maiinis kasi pinipilit niya akong makinig sa kanya eh ayaw ko ngang makinig sa kanya.

No respect Forces oneself

ZAB AGA RAO (I1)

Hitting-Slap (aided) -Celyn to Margaux

- sakin ayokong masampal, kaso wala tayong magagawa eh, I mean, sakin, wala ring magagawa.

No reason

ZAB AGA RAO (I1)

Hitting-Slap (aided) -Celyn to Margaux

- Magugulat ako. Bat mo ako sasampalin, diba mabait ka?

Surprise Depends on the communica tor characterist ics

ZAB AGA RAO (I1) ZAB AGA RAO (I1)

Hitting-slap (unaided) -Margaux to Celyn Hitting-slap (unaided) -Margaux to Celyn

-Nakita niya na sa behavior na hindi nagpapatalo

Fighter

- Siyempre hindi, I mean, pwede isang tabi lang, sakin lang, kung i-apply sakin, siguro hindi ok sakin na masampal mismo sa birthday ko, diba? Normally, kapag birthday dapat masaya ka,

Depends on the situational context

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

308

  ZAB AGA RAO (I1)

Hitting-slap (unaided) -Margaux to Celyn

-tayong mga Pilipino, meron tayong ugali na ayaw nating magpaapi, so tayo yung mga tao na lumalaban

Society’s norm/perc eption

ZAB AGA RAO (I1)

Hitting-slap (unaided) -Margaux to Celyn

-parang ako, sino ba namang tao diba na gustong masampal, masaktan sa mismong birthday pa, at the fact na kapatid mo pa yung sasampal sayo so masakit siya, so ayoko sakin mangyari.

Not allowed in any context Depends on the relational context

ZAB AGA RAO (I1)

Hitting-slap (unaided) -Margaux to Celyn

- di kasi siya normal sakin ah, hindi siya normal na sinasaktan mo yung kapatid mo

Depends on the relational context Not acceptable in any context

ZAB AGA RAO (I1)

Hitting-slap (unaided) -Margaux to Celyn

-kasi parang masakit sa feelings ng magulang

Gives pain

ZAB AGA RAO (I1)

Hitting-slap (unaided) -Margaux to Celyn

- normal na pinapakita sa teleserye na wag mo saktan, kapatid mo yan, mag-isip ka

Film influence

ZAB AGA RAO (I1)

Hugging (aided) -Dave to Audrey

- Hindi, same with Kim Chiu. Tutulak ako papalayo, kasi nga parang ayoko nung masyadong...

Rejection

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

309

  GAB Y NOV ENA RIO (I3)

Hugging (unaided) -Dave to Audrey

- She didn't want to be touched. Like you know, you're fighting with your boyfriend, tapos biglang hahawakan ka niya. When you're mad at somebody, you don't want to have anything to do with them. WHen they touch you... you don't touch them.

Not allowed when I am angry

GAB Y NOV ENA RIO (I3)

Hugging (unaided) -Dave to Audrey

- I'll be disgusted. Like I said, i wouldn't want to have anything to do with that person, and then that person goes up and hugs me. Don't touch me.

Not allowed when I am angry Revulsion

GAB Y NOV ENA RIO (I3)

Hugging (unaided) -Dave to Audrey

- Because i'm angry, I don't want anything to... it's either you're so angry you explode causing harm to a person, or you're so angry that you don't want a person to even get near you.

Not allowed when I am angry

GAB Y NOV ENA RIO (I3) ALE X MIR AND A (I4) ALE X MIR AND A (I4)

Hugging (unaided) -Dave to Audrey

- i think that's just how i am, especially when i don't like contact much.

Selfconcept

Hugging (unaided) -Dave to Audrey

- Si Kim pumapalag na wag siyang hawakan,

Violence

Hugging (unaided) -Dave to Audrey

- parang, disrespect sa babae yun, parang foul.

No respect Not the way to treat women

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

310

  ALE X MIR AND A (I4)

Hugging (unaided) -Dave to Audrey

ALE X MIR AND A (I4) APR IL DUR AN (I5) APR IL DUR AN (I5) APR IL DUR AN (I5)

Hugging (unaided) -Dave to Audrey

- Honestly, it's from personal experience

Experience

Hugging (unaided) -Dave to Audrey

- Parang medyo nagiging pagkapossessive na yung parang actions na ginagawa ni Dave, so parang di siya maganda na gawin. - parang ifoforce niya yung gusto niya nang hindi niya iniisip yung nararamdaman ni Kim Chiu,

Possessive

Hugging (unaided) -Dave to Audrey

- Parang sa ibang movies din, local, internation, meron naman na pag possessive, nagpapakitang possessive yung tao, isa yun sa actions na pwede niyang gawin, so yun.

Film Influence Possessive

APR IL DUR AN (I5)

Hugging (unaided) -Dave to Audrey

-Ako siguro, maiinis ako, kasi parang diba nga, kaya ayaw ni Kim Chiu kasi na-hurt siyaParang nasaktan siya, so sa parang, if bigyan na lang siya ng, kunwari ng time para magisip-isip or chance na mapagisa, imbis na pilitin siya, kasi parang mas lalong nakakasakal yung datin pag ganon.

Annoyance Gives pain Forces oneself

Hugging (unaided) -Dave to Audrey

- Pwede naman kasing magusap ng normal pero the fact na sobrang eager na yung guy na maayos, baliktad na yung nangyayari. Kung baga, nahaharass na niya yung girl, which is parang pangit tingnan na parang sa isang relasyon,

Talk not violence Not the way to treat women Not acceptable

Forces oneself

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

311

  APR IL DUR AN (I5) APR IL DUR AN (I5)

Hugging (unaided) -Dave to Audrey

- basta may freedom ka naman para piliin yung gusto mo, pero pinipilit sayo yung ibang bagay.

Holds the right Forces oneself

Hugging (unaided) -Dave to Audrey

- Parang gusto kong pumiglas, kasi parang yun nga, galit ka pa, so parang mas lalo kang magagalit kapag ginawa yun sayo, na imbis na mag-cooldown ka muna ng mag-isa or ganyan.

Not allowed when I am angry

APR IL DUR AN (I5)

RestrainingArmgrabbing (aided) -Marco to Emily

-maiinis ako - talaga magbibuild-up yung galit sayo -sa personal experiences tyaka sa movies din

ZAB AGA RAO (I1)

RestrainingArmgrabbing /holding -Marco to Emily RestrainingArmgrabbing /holding -Marco to Emily

-"Tigilan mo ako. Umalis ka diyan. Away na to."

Annoyance Causes anger Experience Film influence Anger

-Ayoko, away na nga to. Magagalit ako, makakapagsabi ako ng bagay-bagay para bitawan ako ni Marco at masaktan ko, kasi dun ko mabubuhos yung damdamin ko, yung feelings ko. Parang hangga't di ko nasasaktan yung babaeng, di ako magiging okay, so tigilan mo ako

Not allowed when I am angry

RestrainingArmgrabbing /holding -Marco to Emily

- No, because my purpose would be to harm her, and i'd be pissed off because i can't harm her? Um, and i'd hate for someone to just block me off like, you know... You see your plate of food right there, then suddenly, the waiter trips.

Annoyance

ZAB AGA RAO (I1)

GAB Y NOV ENA RIO (I3)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

312

  GAB Y NOV ENA RIO (I3)

RestrainingArmgrabbing /holding -Marco to Emily

GAB Y NOV ENA RIO (I3)

RestrainingArmgrabbing /holding -Marco to Emily

-But then, if you were the person who was trying to hurt someone else, then... and you don't wantyou wouldn't want somebody to try and stop you...

Restrain

GAB Y NOV ENA RIO (I3) ZAB AGA RAO (I1)

RestrainingArmgrabbing /holding -Marco to Emily

- I'd get pretty irritated.

Annoyance

ZAB AGA RAO (I1) PIA VIR AY (I2)

Slappinghitting (aided) -Audrey to Dave

- It's not that i think that people shouldn't stop you. I mean, if you were trying to hurt somebody, then someone should stop you.

- Sakin okay lang. I mean, kasi parang given na siya eh. Nature na siya na nasaktan ka, hinabol ka ng boyfriend mo, sasampalin ka eh, given na yun na parang kahit saan teleserye or movie, laging sinasabi na pag nag-cheat yung guy: "Saktan mo na ako! Sampalin mo na ako!"

Slappinghitting (aided) -Audrey to Dave Slappinghitting (aided) -Margaux to Celyn

Acceptable in the context

Tit for Tat From films

- First reaction ko siya pag nasampal. Haha. Sino ba namang gustong masampal... Masakit pa sa mukha haha. - Kasi naintindihan ko naman siya. Kasi siyempre, di naman sa... di ba di sila lumaki together. Nagkakilala lang sila nung matanda na sila.

It hurts

Depends on the relational context

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

313

 

PIA VIR AY (I2)

Slappinghitting (aided) -Margaux to Celyn

- Magugulat ako.

Surprise

PIA VIR AY (I2)

Slappinghitting (aided) -Margaux to Celyn

- Kasi, alam ko na ayaw niya sa akin. Pero, parang mas pinrove pa niya yung hatred niya na kahit alam niya na magkapatid kami, na magagawa niya yun, kahit na magkapatid kami.

Depends on the relational context

PIA VIR AY (I2)

Slappinghitting (aided) -Margaux to Celyn

-Sa family. Yung mga turo ng magulang na… wag kayo...like kunyare pag nag-away, nagsesermon yung mom, sasabihin, "Wag nga kayong mag-away, 'pag kayong dalawa na lang natira sa mundo, kayo na lang magdadamayan. Kasi nga, magkadugo nga kayo, magkapamilya kayo.

Education

PIA VIR AY (I2)

SlappingHitting (aided) -Celyn to Margaux SlappingHitting (aided) -Celyn to Margaux

- Hindi, magagalit ako.

Anger

- Since alam kong mas mabait siya sa akin, na hindi niya yun kayang gawing yon sa akin, pero ginawa niya.

SlappingHitting (aided) -Celyn to Margaux

- Diba pag binato ka ng bato, batuhin mo ng tinapay?

Depends on the communica tor characterist ics Tit for tat

PIA VIR AY (I2) PIA VIR AY (I2)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

314

  PIA VIR AY (I2)

SlappingHitting (aided) -Celyn to Margaux

- Sa school kasi pag kunwari yung kaklase mo tinusok mo ng ballpen ganon, tapos siyempre yung isang kaklase, lalaban siya or magpapakumbaba at magsusumbong sa teacher pa mahandle yung situation

PIA VIR AY (I2)

SlappingHitting (aided) -Audrey to Dave

- Oo kasi mas masakit yung ginawa ko sa kanya eh.

Tit for Tat

PIA VIR AY (I2)

SlappingHitting (aided) -Audrey to Dave

- Kasi parang... kung ikaw guilty ka dun sa ginawa mo, okay lang na saktan ka rin ng taong nasaktan mo para patas lang yung pain na dinanas niyo.

Tit for Tat

PIA VIR AY (I2)

SlappingHitting (aided) -Audrey to Dave

-... kunwari tinulak ka niya sa stairs, edi ikaw din, gusto mo iparanas kung ano yung dinanas mo, so itutulak mo rin siya sa stairs.

Tit for Tat

PIA VIR AY (I2)

SlappingHitting (aided) -Audrey to Dave

- Ah, iyon. It's about getting even. At the end of the day, yes.

Tit for Tat

PIA VIR AY (I2)

SlappingHitting (aided) -Audrey to Dave

- Okay lang. Kasi naiintindihan ko siya, galit siya eh.

Acceptable in the context

PIA VIR AY (I2)

SlappingHitting (aided) -Emily to Marco

- Hindi, kasi diba di nga niya alam yung sitwasyon, tapos biglang magagalit siya.

Education

No reason

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

315

  PIA VIR AY (I2) GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3)

SlappingHitting (aided) -Emily to Marco SlappingHitting (aided) -Audrey to Dave

- Kasi nga hindi niya alam, so dapat muna at least man lang humingi siya ng explanation galing sa amin. - But then, he slept with the call girl, so i'll kind of expect it, she'll slap me.

SlappingHitting (aided) -Audrey to Dave

No reason

Tit for tat

-i don't think society would accept you would harm somebody because they did something wrong.

Society’s norm/perce ption

SlappingHitting (aided) -Audrey to Dave

- i mean, well, he did something really bad. If i was the girlfriend, i would slap him. I'd probably kick him somewhere else

Tit for tat

GAB Y NOV ENA RIO (I3) ALE X MIR AND A (I4)

SlappingHitting (aided) -Audrey to Dave

Selfconcept Anger

ALE X MIR AND A (I4

SlappingHitting (aided) -Margaux to Celine

- with my personality, i would do that, just because i'd be so angry to the point of wanting to harm the person. - I guess yes, kung nasaktan ko siya. Dalawa yun eh, yung nasaktan ko siya ng di ko alam, nasaktan ko siya ng alam, pero wala akong pakialam. - Yeah. Kung sampalin niya ako, so? Pain lang yan, kung siya marerelease yung pain niya, go ahead. Baka makatulong pa ako sa kanya.

SlappingHitting (aided) -Margaux to Celine

Tit for Tat

Relief

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

316

  ALE X MIR AND A (I4) ALE X MIR AND A (I4) ALE X MIR AND A (I4) ALE X MIR AND A (I4)

SlappingHitting (aided) -Margaux to Celine

- Siyempre hindi, kasi unangunang wala akong ginawa sa kanya. Kung inggit siya sakin, gumawa ka ng sarili mong way to have kung ano meron ako.

No reason

SlappingHitting (aided) -Margaux to Celine

- Hindi siya normal, kung masasampal kang tao, may malalim siyang hugot kung bakit mo siya nasampal.

Valid reason

SlappingHitting (aided) -Margaux to Celine

- Siguro sa pelikula.

Film Influence

Slappinghitting (aided) -Audrey to Dave

- Yes. Kung may kasalanan ba naman akong ganon ka hard eh, ganong ka foul, I think yung girlfriend may right na sampalin ako.

Tit for Tat

ALE X MIR AND A (I4)

Slappinghitting (aided) -Audrey to Dave

- tatanggapin ko, kasi kasalanan ko siya at kung alam ko na kasalanan ko, tanggap, say sorry. Kung di niya ako mapatawad, I'll wait.

Valid reason

GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO

SlappingHitting (unaided) -Margaux to Celyn

- Angry. She slapped me. I don't want to be slapped.

Anger

SlappingHitting (unaided) -Margaux to Celyn

- Angry and surprised.

Angry Surprised

SlappingHitting (unaided) -Margaux to Celyn

- Because I was just standing there?! I mean, you'd slapped me if I did something to you.

No reason

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

317

  (I3) GAB Y NOV ENA RIO (I3)

SlappingHitting (unaided) -Margaux to Celyn

APR IL DUR AN (I5)

SlappingHitting (unaided) -Celyn to Margaux/Ma rgaux to Celyn SlappingHitting (unaided) -Celyn to Margaux/Ma rgaux to Celyn SlappingHitting (unaided) -Celyn to Margaux/Ma rgaux to Celyn SlappingHitting (unaided) -Celyn to Margaux/Ma rgaux to Celyn SlappingHitting (unaided) -Celyn to Margaux/Ma rgaux to

APR IL DUR AN (I5) APR IL DUR AN (I5) APR IL DUR AN (I5) APR IL DUR AN (I5)

- I think it came from my family, I was never physically harmed, i was never spanked, i was never slapped. So, for someone, specially someone not related to me, or in this case, someone who i just realized was my sister, slapped me... I would really be surprised, cause i won't really expect her to slap me.

- hindi siya yung nagpatalo, parang lumaban siya kasi parang alam niya na tama siya.

Education

Fighter

- Siyempre masakit kasi parang magkapatid tayo, bakit kailangan mo akong saktan ng ganyan? Parang ganoon, pwede namang pag-usuapan ng maayos, mga ganyan.

Depends on the relational context Talk not violence

- Sa, ano... sa akin din, based sa akin, kasi may mga kapatid din ako, may ate rin ako, may brothers ako na youngest sa akin

Experience

- hindi necessary na magsasampalan

No reason

- mas lalong magalit, kasi

anger

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

318

  Celyn APR IL DUR AN (I5)

APR IL DUR AN (I5 APR IL DUR AN (I5)

SlappingHitting (unaided) -Celyn to Margaux/Ma rgaux to Celyn SlappingHitting (unaided) -Celyn to Margaux/Ma rgaux to Celyn SlappingHitting (unaided) -Audrey to Dave SlappingHitting (unaided) -Audrey to Dave

APR IL DUR AN (I5) APR IL DUR AN (I5) APR IL DUR AN (I5) APR IL DUR AN (I5)

SlappingHitting (unaided) -Audrey to Dave SlappingHitting (unaided) -Audrey to Dave SlappingHitting (unaided) -Emily to Marco SlappingHitting (unaided) -Emily to Marco

APR IL DUR AN (I5)

parang... parang magagalit rin na masasaktan

Anger Gives pain

- Siguro, sa akin din.

Selfconcept

- Di ko siya magugustuhan

Not acceptable

- pero parang tama lang, parang deserve mo kasi may ginawa kang mali

Tit for Tat

- naniniwala rin ako sa karma na pag may ginawa ka na masama, lalo na sa kapwa, parang babalik rin sayo yun, - kung ako rin yun, parang deserve ko or kulang pa nga yun dahil sa mga ginawa ko -Di ko siya masisisi

Tit for Tat

Tit for Tat

Acceptable in the context - pero mali pa rin yung ginawa niya

Not acceptable

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

319

  APR IL DUR AN (I5)

SlappingHitting (unaided) -Emily to Marco

- magagalit ka tapos sisisihin mo agad, kahit without knowing yung backstory, so ganon, parang ganon siya kasi parang nagalit siya agad eh. Hindi siya nagtanong muna, parang kung ano lang yung nakita niya, yun lang yung pinaniniwalaan niya na nangyari.

No reason

APR IL DUR AN (I5) APR IL DUR AN (I5 APR IL DUR AN (I5

SlappingHitting (unaided) -Emily to Marco SlappingHitting (unaided) -Emily to Marco SlappingHitting (unaided) -Emily to Marco

- maiinis ka na kasi hindi naman talaga niya alam yung totoong nangyari tapos sinisisi na siya agad

Annoyance No reason

- personal experiences

experience

-alam mo naman sa sarili mo na wala ka namang ginawang mali, pero inaaccuse ka na ganon yung ginawa mo, so parang nakakainis kasi alam mo sa sarili mo na wala talaga.

No reason Annoyance

ZAB AGA RAO (I1)

SlappingHitting (aided) -Emily to Marco

- Masakit, kasi physical, siyempre masakit na masampal or matulad diba? Masakit kasi kayang gawin yun ng taong mahal mo, ng someone na di mo expect na... Para siyempre diba, kung nasa isang relasyon kayo, parang ang iisip mo yung all the love, diba parang ansakit lang isipin na dahil lang sa ganitong pangyayari, nasasaktan ang isa't-isa.

Gives pain Depends on the relational context

ZAB AGA RAO (I1)

SlappingHitting (aided) -Emily to Marco

- Ako sure ako sa parents ko.

Education

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

320

  ZAB AGA RAO (I1)

SlappingHitting (aided) -Emily to Marco

- Paluin ka, after ilang minutes wala na eh, pero yung mas mabigat yung bakit ka pinalo, yung taong pumalo sayo

Valid reason

GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3)

Slapping/Wa lking out -Emily to Marco

- Because you were trying to talk to somebody, and aside from her walking out, she slaps you pa. Parang it's not enough that she walks away, she had to slap you pa. - you don't want to be slapped when you're trying to talk to somebody. I just don't think that when you're trying to talk to somebody, they'd go turn around and slap you.

Violence

GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3)

Slapping/Wa lking out -Emily to Marco

- Maybe family, again. But, me kasi. I prefer talking things through, and i'm not much of a harming type of person.

Education Talk not violence

Slapping/Wa lking out -Emily to Marco

- i'll be shocked, i'll be pissed and i'll be really irritated.

Surprised annoyance

SlappingHitting -Emily to Marco

- I wouldn't expect her to slap me.

Surprised

Slapping/Wa lking out -Emily to Marco

Slapping/Wa lking out -Emily to Marco

-Then again, if you were thinking about it, and you were the wife, i would probably slap my husband

Violence Not allowed in any context

Depend on the relational context

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

321

  ZAB AGA RAO (I1)

GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3) PIA VIR AY (I2)

PIA VIR AY (I2)

Sudden appearanceInvasion of personal space -Emily to Marco Sudden appearanceInvasion of personal space -Emily to Marco Sudden appearanceInvasion of personal space -Emily to Marco Sudden appearanceInvasion of personal space -Emily to Marco Sudden appearanceInvasion of personal space -Emily to Marco Sudden AppearanceInvasion of Personal space (aided) -Emily to Marco Sudden AppearanceInvasion of Personal space (aided) -Emily to

- Magugulat ako na hindi ko ineexpect na dadating ka tas ganito pa yung situation natin na may girl sa kw arto ko, fiance kita.

Surprised

- Yeah, it wouldn't be okay. It would surprise me, because the whole point of him driving her out was trying to hide it from her, and boom, she's there behind him.

Surprised

-By surprising me by being there? No, it wouldn't because i'm trying to hide a secret from her.

Surprised

Surprised - Surprised.

- And worried. IF it's because if i did something wrong.

Panic (Worried)

- Kinabahan na parang gusto mong magwala, na parang bakit ka pumasok?

Panic (Nervous)

- Hindi. Ayoko ng ganon. So parang pag nag-uusap, titingin ka muna sa likod.

Not acceptable

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

322

  Marco

ALE X MIR AND A (I4) ALE X MIR AND A (I4) ALE X MIR AND A (I4) APR IL DUR AN (I5

ZAB AGA RAO (I1)

ZAB AGA RAO (I1)

Sudden AppearanceInvasion of Personal space (aided) -Emily to Marco Sudden AppearanceInvasion of Personal space (aided) -Emily to Marco Sudden AppearanceInvasion of Personal space (aided) -Emily to Marco Sudden AppearanceInvasion of Personal space (aided) -Emily to Marco Sudden approachInvasion of personal space (aided) -Emily to Jean Sudden approachInvasion of personal space (aided)

- manner na lang na nasa iba kang bahay. Hindi mo kailangang mang-gera doon, diba? Hindi siya right.

Conduct

- Family. Pag nasa ibang bahay ka, be proper na kailangan magbigay ka ng good impression sa pinuntahan mo, na hindi ka pwedeng mag-leave ng mark dun

Education

- Good manners and right conduct.

Conduct

-Matatakot ka kasi yun yung naabutan, parang kakalabas niyo lang ng kwarto tapos ganyan yung mga suot, so matatakot ka kung ano yung iisipin kahit wala namang nangyari

Panic (Scared)

- Ayoko. Ayokong masaktan, masampal, masabunutan.

Not allowed in any context

- Hindi okay.

Not acceptable

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

323

  -Emily to Jean ZAB AGA RAO (I1)

PIA VIR AY (I2)

PIA VIR AY (I2)

PIA VIR AY (I2)

PIA VIR AY (I2)

PIA VIR AY (I2)

Sudden approachInvasion of personal space (aided) -Emily to Jean Sudden approachInvasion of personal space (aided) -Emily to Jean Sudden approachInvasion of personal space (aided) -Emily to Jean Sudden approachInvasion of personal space (aided) -Emily to Jean Sudden approachInvasion of personal space (aided) -Emily to Jean Sudden approachInvasion of personal space (aided) -Emily to

- Alam kong may mali ako, siguro may mali ako, pero pagusapan muna natin, idaan natin sa maayos na pag-uusap

Talk not violence

- Tyaka... ayaw kong masaktan, tyaka wala ako sa mood para makipag-away.

Not acceptable

- Kasi di niya alam yung sitwasyon, kung ano yung nangyari.

No reason

- Magagalit din.

Angry

-wala akong atraso sa iyo, don't touch me.

No reason

- Parang karma

Tit for tat

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

324

  PIA VIR AY (I2)

GAB Y NOV ENA RIO (I3) APR IL DUR AN (I5

APR IL DUR AN (I5

PIA VIR AY (I2) PIA VIR AY (I2) PIA VIR AY (I2)

Jean Sudden approachInvasion of personal space (aided) -Emily to Jean Sudden approachInvasion of personal space (aided) -Emily to Jean Sudden approachInvasion of personal space (aided) -Emily to Jean Sudden approachInvasion of personal space (aided) -Emily to Jean Hugging (unaided) -Dave to Audrey Hugging (unaided) -Dave to Audrey Hugging (unaided) -Dave to Audrey

- Sa bahay tyaka sa school.

Education

- If i were Jean, I'd be scared -...she could really harm me

Panic (Scared)

- maiinis ka kasi hindi mo napaglaban mo kung ano yung alam mo yung totoo eh, na siya yung totoong asawa. Parang ganon.

Annoyance

-bakit ka mahihiya kang ipaglaban or gawin yung tama, so iyon, kung nasa tama ka, kailangan wag kang matakot na ipakita yun na alam mo na nasa tama ka talaga, na wala kang aapakan na ibang tao, ganon.

Holds the right

-Ayoko nung niyakap ni Jake si Kim.

Not acceptable

- Kasi parang manyak.

Perverse nature

- Pinipilit niya yung sarili niya sa akin.

Forcing oneself

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

325

  PIA VIR AY (I2)

Hugging (unaided) -Dave to Audrey

-Parang since gusto niya na patawarin ko siya agad, dinadaan niya sa skinship na dati okay yun kasi ayos pa rin lahat tapos ngayon na may something wrong tapos skinship parang nakakairita lang na parang lapit ka nang lapit pero may something wrogn nga.

Annoyance

PIA VIR AY (I2)

Hugging (unaided) -Dave to Audrey

PIA VIR AY (I2)

Hugging (unaided) -Dave to Audrey

- So yun, ako, as much as possible kapag galit ako sa situation na iyon, ako na yung lumalayo, kasi baka may magawa pa akong…

Depends on situational context

ZAB AGA RAO (I1)

Walking outwithdrawal from personal space (aided) -Margaux to Celyn

-Yung magwawalk-out ako, tapos magagalit mommy ko, sasabihin niya: "Magwawalk-out ka na naman?! Kabastusan yan ah! Bastos yan pagtalikod mo! Habang kinakausap ka, humarap ka, makipag-usap ka!" So iyon, mommy ko din pag pinapagalitan niya ako.

Education no respect

GAB Y NOV ENA RIO (I3)

Walking outWithdrawal from personal space (unaided) -Marco to Jean

- She was trying to explain, and she ended up just crying.

No respect (Not listening)

No respect - Yung nga, respeto, tyaka wag saktan. So kung pinipilit pa rin niya yung sarili niya tapos ako pa naman...

-

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

326

  GAB Y NOV ENA RIO (I3) ZAB AGA RAO (I1)

Walking outWithdrawal from personal space (unaided) -Marco to Jean Walking outwithdrawal from personal space (aided) -Margaux to Celyn

ZAB AGA RAO (I1)

Walking outwithdrawal from personal space (aided) -Margaux to Celyn

PIA VIR AY (I2)

Walking OutWithdrawal from personal space (aided) -Margaux to Celyn Walking OutWithdrawal from personal space (aided) -Margaux to Celyn Walking OutWithdrawal from personal space (aided) -Margaux to

PIA VIR AY (I2)

PIA VIR AY (I2)

- but i get really sad and i wouldn't know what to do, and i'll get angry afterwards because i wasn't able to say what i wanted to say when that person walked away. -Para sakin oo, kasi ganon din ako, once na hindi ko na kaya yung feelings or emotions ko, gusto na tumakbo na lang, gusto ko ako muna, mag-isip.

Feels sad Angry

Can Identify

-Siyempre, ako mababastusan. Kinakausap pa kita eh, naguusap pa tayo tapos tatakbuhan mo ako?

No respect

- Kasi feel ko panalo ako.

Feels triumphant

- Kasi, parang you let your guard down.

Feels triumphant

-- Maguguilty.

Feel guilty

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

327

  Celyn

PIA VIR AY (I2)

Walking OutWithdrawal from personal space (aided) -Margaux to Celyn Walking outwithdrawal from personal space (aided) -Margaux to Celyn

- Kasi ibig-sabihin nun, nasaktan mo sila, so kung hindi mo naman sila nasaktan, makikipag-usap pa rin sila sayo. Or kunwari, may nasabi ka, napikon sila or nainis, so kaya sila aalis.

Gives pain

-Hindi, kasi parang kung magkausap kayo, kunwari may inaayos kayong away, tapos biglang aalis yung isa, so parang maiiwan dun yung away na imbis na pag-usapan niyo yung bagay, lalong siyang tatagal or lalaki.

Prolongs argument

APR IL DUR AN (I5)

Walking outwithdrawal from personal space (aided) -Margaux to Celyn

- Based talaga sa experience

Experience

ZAB AGA RAO (I1) ZAB AGA RAO (I1)

Walking-out (aided) -Emily to Marco Walking-outWithdrawal from personal space (aided) -Audrey to Dave

- Hindi. Siyempre parang magwawalk-out ka, diba nga pag-usapan natin to ng maayos.

Talk not violence

- Siguro kung ako yung nasa posisyon ni Dave, magagalit ako, mababad-trip ako.

Angry Annoyed

APR IL DUR AN (I5)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

328

  ZAB AGA RAO (I1)

Walking-outWithdrawal from personal space (aided) -Audrey to Dave

ZAB AGA RAO (I1)

Walking-outWithdrawal from personal space (aided) -Audrey to Dave Walking-outWithdrawal from personal space (aided) -Audrey to Dave Walking-outWithdrawal from personal space (aided) -Audrey to Dave

ZAB AGA RAO (I1)

GAB Y NOV ENA RIO (I3)

GAB Y NOV ENA RIO (I3) PIA VIR AY (I2)

Walking-outWithdrawal from personal space (aided) -Audrey to Dave Walking-outWithdrawal from personal space -Audrey to

- Masakit. Parang bastos na parang... medyo maiintindihan ko rin na parang may kasalanan ako eh, may ginawa akong something eh, pero siyempre, alam mo yung: "Halika na. Wag kang umalis. Mag-usap tayo!"

Gives pain No respect Talk not Violence

Gives pain Surprise

- Sakit, sobrang sakit. Parang normally ako yung gumagawa noon tapos parang ginawa sakin, parang sinampal ako. Yung parang sampal sakin yung ginawa niya. - nagulat ako, hindi ko nga ineexpect na kaya niyang gawin yun sakin eh, na magwalk-out sakin.

-Like, again, I don't want to have anything to do with you. Don't touch me and don't talk to me. Don't give me excuses because i'd walk away.

Surprise,

Acceptable in the context

- Again, like I said earlier, you're trying to have a conversation with somebody, you don't walk away from her.

No respect

Hindi kasi parang nabastos ako. Parang bumalik ka dito, magusap muna tayo.

No respect

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

329

  Dave

PIA VIR AY (I2)

PIA VIR AY (I2)

PIA VIR AY (I2)

PIA VIR AY (I2)

PIA VIR AY (I2)

GAB Y NOV ENA RIO (I3)

Walking-outWithdrawal from personal space -Audrey to Dave Walking-outWithdrawal from Personal Space (aided) -Audrey to Dave Walking-outWithdrawal from Personal Space (aided) -Audrey to Dave Walking-outWithdrawal from Personal Space (aided) -Audrey to Dave Walking-outWithdrawal from Personal Space (aided) -Audrey to Dave Walking-outWithdrawal from personal space (aided) -Marguax to Celyn

I wouldn't be surprised, because there is always that thing you don't want to talk about, and you'll just end up running away?

-Sa parents. Pag kunwari, pinapangaralan ka nilaTapos bigla kang aalis, tapos magagalit sila kasi nga nababastos sila.

Education

- Hindi, kasi hindi pa ako tapos mag-explain.

No reason

- Kasi parang mas napakita na ayaw siyang pakinggan tyaka wala na talagang pag-asa na patawarin siya.

Rejection

- Parang nawalan ng pag-asa.

No hope

- Parang tinanggal yung puso ko tapos tinapakan. Parang nawala lahat ng dugo sa katawan, ganon.

Panic (Nervous)

Can Identify

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

330

  GAB Y NOV ENA RIO (I3) GAB Y NOV ENA RIO (I3) APR IL DUR AN (I5

APR IL DUR AN (I5

ZAB AGA RAO (I1)

Walking-outWithdrawal from personal space (aided) -Marguax to Celyn Walking-outWithdrawal from personal space (aided) -Marguax to Celyn Walkingout/Withdra wal from Personal space (aided) -Audrey to Dave Walkingout/Withdra wal from Personal space (aided) -Audrey to Dave Withdrawal from Intimate Space (aided) -Marco to Jean

- But personally, if someone did that to me, I'm talking to you in the middle of something, then you start walking away, i'll be pissed.

Annoyance

- Because it's rude to just walk away from somebody who you're talking to? -From my family also.

No respect

- Kasi yun nga, parang kanina na parang imbis na pag-usapan yung bagay, parang mas lalo siya... parang nandun pa rin siya, may gulo pa rin, may lumot pa rin

Prolongs fights

- Pero kasi, sa part naman ni Kim Chiu, naiintindihan ko rin kasi parang wala pa sa sarili si Jake nung time na yun, so parang siguro hindi pa talaga time para mag-usap sila.

Education

Acceptable in the context

- Ako siguro, kung ako si Jane, ansakit sakin na layuan mo ako na parang may nakakahawa ba akong sakit, para layuan mo ako? Pwede naman ako sigawan mo ako, parang pwede naman tayong mag-usap ng maayos na di ganito na sisigawan mo ako, lalayuan mo ako na parang nagugulat ka or nandidiri ka sakin...

Gives pain

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

331

  ZAB AGA RAO (I1)

Withdrawal from Intimate Space (aided) -Marco to Jean

Parti cipa nt JES SIC A JEO N (I6) JES SIC A JEO N (I6) JES SIC A JEO N (I6)

Expectancy Violation

JES SIC A JEO N (I6) JES SIC A JEO N

- Siguro yung mga parents ko rin siyempre pag may tao, tapos di mo kakilala, wag kang lalayo agad-agad. Parang disrespectful naman na kakakilala lang natin, mag-hi, tapos kung ayaw mo sa kanya, wag ka naman na mambastos na ipakita mo agad na ayaw mo sa kanya parang sign siya na pambabastos at ayaw mo sa kanya.

Why like?

Education

Why not like?

-Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

-rude

- No respect

-Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- she got hurt and she was asking him to release her, but he didn't.

-Hurt physically -Not listening -No respect

-Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- And then, they basically don't know each other, and in that case grabbing is without information is very rude. It's not... shouldn't be accepted.

-Not acceptable -Depends on relational context -No respect

-Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- even more aggressive because it's a guy grabbing a girl's arm

-Not the right way to treat a woman -Threatening

-Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- Girls should be more protected; the guys should never ever touch the girl?

-Not the proper way to treat a woman

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

332

  (I6) JES SIC A JEO N (I6) JES SIC A JEO N (I6) KIM JI HYE (I8)

-Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- Because in Korea, basically if it's a guy or a girl, guys shouldn't touch a girl no matter ever what happens.

-Culture -Conduct -Depends on communicator

-Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- Eh, I would be...I don't think I would be able to think properly, probably just really scared for my situation.

-Threatening -Panic -Depends on the situational context

ApproachingInvasion of Space (aided) -Yoon Sung to Nana

- Because I dislike the guy.

-Depends on relational context -Not acceptable

KIM JI HYE (I8)

ApproachingInvasion of Space (aided) -Yoon Sung to Nana

- I... If I know that he's coming to me to talk to me, I will...I'll feel, I mean, not really good. But I won't really tell them to go away

-Not feel good Uncomfortabl e

KIM JI HYE (I8)

ApproachingInvasion of Space (aided) -Yoon Sung to Nana

-...Isn't it natural behavior that I want to be with somebody that doesn't...that I do like...

-Depends on relational context -Natural reaction

HEL EN JEO N (I9)

Arm Grabbing -Hwan Sun Woo to Go Eun Sung

- When he grabbed it, it hurt, right?

Causes physical pain

HEL EN JEO N (I9)

Arm Grabbing -Hwan Sun Woo to Go Eun Sung

- Because she said, 'It's hurt. Just let me go." But he was still grabbing the arm.

-Not listening -Causing Physical Pain -No respect

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

333

  HEL EN JEO N (I9)

Arm Grabbing -Hwan Sun Woo to Go Eun Sung

- It's not right thing to do

Not acceptable in any context

HEL EN JEO N (I9)

Arm Grabbing -Hwan Sun Woo to Go Eun Sung

- Because it's also kind of...Also, I think it's kind of bullying? Someone is hurt, but keep on doing.

-Bullying -Causes physical pain

HEL EN JEO N (I9)

Arm Grabbing -Hwan Sun Woo to Go Eun Sung

- Maybe my parents? Tell me to not hurt people.

-Parental advice -Family Influence -Education

HEL EN JEO N (I9)

Arm Grabbing -Hwan Sun Woo to Go Eun Sung

- I'll feel like...scared? Because it's very hurtful, if someone keeps on doing it. Yeah, I'll feel scared.

-Panic -Threatening

HEL EN JEO N (I9)

Arm Grabbing -Hwan Sun Woo to Go Eun Sung

-Guy (Scary), Woman (Scary)

-Scared -Does not depend on communicator characteristic

AUS TIN LEE (I7)

Arm Grabbing (aided) -Hwan Sun Woo to Go Eun Sung

- when he grabbed her too hard. I feel uncomfortable.

-Violence -Feels uncomfortabl e

AUS TIN LEE (I7)

Arm Grabbing (aided) -Hwan Sun Woo to Go Eun Sung

- It feels awkward when I see the guy grab her so hard or something. Even when she says "it's painful" in Korean.

AUS TIN LEE (I7) AUS TIN

Arm Grabbing (aided) -Hwan Sun Woo to Go Eun Sung Arm Grabbing (aided)

-I always think that guys should protect girls no matter what or something.

-Feels uncomfortabl e -Causes physical pain -Not listening -No respect -Self-concept

- In the school

-Education in School

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

334

  LEE (I7) AUS TIN LEE (I7)

-Hwan Sun Woo to Go Eun Sung Arm Grabbing (aided) -Hwan Sun Woo to Go Eun Sung

AUS TIN LEE (I7) KIM JI HYE (I8)

Arm Grabbing (aided) -Hwan Sun Woo to Go Eun Sung Arm Grabbing (aided) -Hwan Sun Woo to Go Eun Sung

KIM JI HYE (I8)

- When we were really young, we don't really care about girl or boy or something. We are all friends right? So sometimes if I am boy, I can have fight with the girl, right. Like when we were elementary student, and teacher will always say, "You should not fight with her." So i said, "Why?" Because she always said, "Because you're a boy." -It means, "let's fight". So, it's not good.

-Experience -Education in School -Conduct -Social Norm/Perspe ctive

- That's rude.

-No respect

Arm Grabbing (aided) -Hwan Sun Woo to Go Eun Sung

- Because he is yelling at me and I would be feeling physical pain.

-Causes physical pain

KIM JI HYE (I8)

Arm Grabbing (aided) -Hwan Sun Woo to Go Eun Sung

- she will feel uncomfortable and then scared

Uncomfortabl e -Panic

KIM JI HYE (I8)

Arm Grabbing (aided) -Hwan Sun Woo to Go Eun Sung

- Because he's taller and stronger than her. Maybe she'll feel scared.

-Threatening

KIM JI HYE (I8)

Arm Grabbing (aided) -Hwan Sun Woo to Go Eun Sung

- she feels offended.

-No respect

-Threatening

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

335

  CHO I JI WO O (I10)

Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- He trying to...forcing her...grabbing her, and the like...forcing her to like, leave. That was uncomfortable.

CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10) JES SIC A JEO N (I6) JES SIC A JEO N (I6)

Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- I'd feel sad, and also bad at the same time.

Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- Because she doesn't deserve that thing, and like he was doing that.

Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- Like forcing like this one is also like violence.

Arm Grabbing (unaided) -Hwan Sun Woo to Go Eun Sung

- Values lesson in…Korea

JES SIC A JEO N (I6)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

-I think it is fine, because from his point of view, i was kind of expecting that, what -... I would probably understand becase that's very natural reaction of a person.

-Forcing one to do something Uncomfortabl e -Not acceptable -Causes emotional pain -Feels sad -No right -No reason -Not the proper way to treat women -Violence -Forcing one to do something -Education

-Valid reason -Acceptable in situational context -Acceptable -Dependent on Situational Context - I think it matters about how serious topic you're talking about or for example…, if i said "I ate your candy" and she grabs me by the collar. It's like "Wow. What's that?" it's very rude and mean.

-Depends on situational context -No respect -Causes pain -No reason

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

336

  JES SIC A JEO N (I6)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

--My mind wouldn't be able to function well, so any actions i do, I think they'll be accepted by my friends.

-Acceptable when in not right state of mind -Acceptable in given situational contexts -Valid reason

JES SIC A JEO N (I6)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

JES SIC A JEO N (I6)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

JES SIC A JEO N (I6) JES SIC A JEO N

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

-Then, I'll be so disappointed. Get anger.

-Disappointed -Angry

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- it's mostly observation

-Personal knowledge -Social norm/percepti on

- everyone has a certain line of acceptance? Like, depends really... everything depends on the situation and on how one can accept the action of the others

-And, in the opposite situation, if my friend would do that to me, i'll be understanding becasue i know that i know she's not properly thinking. SHe didn't mean it. She's just acting in a way of expressing his/her anger.

-Depends on situational context -Level of Tolerance? -Depends on Communicato r characteristic s -Depends on Relational Context -Method of expressing emotions -Acceptable when one is not in his/her right mind -Valid reason

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

337

  (I6) JES SIC A JEO N (I6) AUS TIN LEE (I7)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

-I think it matters about how serious topic you're talking about or for example happened

-Depends on situational context

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- That will be better to express their emotional conflict by their gesture.

-Acceptable -Method of expressing emotions -Valid reason

AUS TIN LEE (I7)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- Since they grab their clothes and punch the friends something that they can't express. They are emotional conflict or something.

-Method of expressing emotions

AUS TIN LEE (I7)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

-Yeah, we can have that kind of situation, when I have conflict with my friends or something. Of course we can hit each other or something.

-Accepted in situational context -Accepted in fights -Depends on relational context

AUS TIN LEE (I7)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- Angry of course. Like it feels like my best friend betray me or something.

AUS TIN LEE

Grabbing collarInvasion of Space (aided)

- I will just angry, and will want to fight back because that's stranger right?

-Depends on relational context -Not the way to treat a friend -Angry -Feeling of Betrayal -Not acceptable with strangers

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

338

  (I7)

-Maru to Jae Gil

AUS TIN LEE (I7)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

AUS TIN LEE (I7) AUS TIN LEE (I7) AUS TIN LEE (I7)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil Grabbing collarInvasion of Space (aided) -Maru to Jae Gil Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

KIM JI HYE (I8)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

KIM JI HYE (I8)

KIM JI

-No right -Depends on relational context -Angry -Not acceptable -No reason

- I'm not kind of person who will hit people without a reason. So, when it's me. I can say it's okay. But I can say that it's better than if other people hit me. - You never hit the people without a reason

No reason

- Because whenever I hit people without reason, there's always bad result.

Consequence -No reason

- Experience.

Experience

-Social norm/perce ption -Acceptable only between friends -Acceptable given situational context --Gender

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

-I think I can understand the situation? Because I don't know for you guys, but in Korea, it's not really big deal. Like fighting or punching each other, if they are friends or if they really care each other? I think it could be happen -It is not normal for you, but the situation is understandable.

Grabbing collarInvasion of

- I think it's a difference

Culture -Social

-Acceptable -Depends on situational context -Valid reason

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

339

  HYE (I8)

Space (aided) -Maru to Jae Gil

between different cultures? - Yes, because they are boys and they can get into little trouble?

norm/perce ption -Acceptable -Gender -Acceptable between friends -Violence is acceptable

HEL EN JEO N (I9)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

HEL EN JEO N (I9)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- Because it's my best friend. It's like...it's acceptable.

-Acceptable between friends -Depends on relational context

HEL EN JEO N (I9)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- I think it's because it's like they both are angry so, maybe yeah, I think can be.

-Acceptable when angry -Method to express emotions

HEL EN JEO N (I9)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- Like maybe I get angry also?

Angry

HEL EN JEO N (I9)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- It's not polite thing, yeah.

No respect

HEL EN JEO N (I9)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- from my parents?

Parental Advise Education

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

340

  CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- I understand if I'm guy.

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- It will be uncomfortable.

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- The guy cannot do that to the girls. But if the girl did that to me, I would feel bad somehow, yeah.

CHO I JI WO O (I10)

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- Because that gesture is like threatening, that I'm gonna punch you if you say a words. So, if you don't want me to punch you, then shut your mouth - I think through the dramas.

Gender Depends on communicator characteristic s Uncomfortabl e

-Gender -Not the way to treat women -Depends on communicator characteristic s -Feel bad -Threatening

-Drama influence

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- Because usually in school, elementary school there involved fight.

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- I will be mad, aft first

-Experience -Violence -Societal norm/percepti on -Angry

Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- From my experience.

-Experience

Grabbing collarInvasion of Space (aided)

- it depends on the situation of course.

-Depends on situational context

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

341

  O (I10) CHO I JI WO O (I10)

-Maru to Jae Gil Grabbing collarInvasion of Space (aided) -Maru to Jae Gil

- Maybe a value lessons from parents, teachers, friends, and also through the tv shows.

KIM JI HYE (I8) KIM JI HYE (I8)

Punching-Hitting (aided) -Maru to Jae Gil

-Punching someone is not really right thing, but...

Punching-Hitting (aided) -Maru to Jae Gil

- Because it's not ethical.

Not acceptable

KIM JI HYE (I8)

Punching-Hitting (aided) -Maru to Jae Gil

- Everything can be resolved by talking each other, but sometimes there can be real fight?

-Talk not violence

KIM JI HYE (I8)

Punching-Hitting (aided) -Maru to Jae Gil

- I think I learned to not punch friends or something like that when I was in grade school or in kindergarten

Learned from school

KIM JI HYE (I8)

Punching-Hitting (aided) -Maru to Jae Gil

- Maybe I'll be hurt because he didn't really understand what I was doing.

HEL EN JEO N (I9)

Punching-Hitting (aided) -Maru to Jae Gil

- It's like kind of bullying?

-Does not understand -Causes pain emotional and physical pain -Causes pain -Bullying

HEL EN JEO N (I9)

Punching-Hitting (aided) -Maru to Jae Gil

-I...maybe I would be so sad? because, how can my best friend hit me?

-Education -Parental advise -Drama influence -TV Influence -Advise from friends -Culture Not acceptable

-Not acceptable between friends -Feel sad -Depends on relational

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

342

  context Learned from School -Education

HEL EN JEO N (I9)

Punching-Hitting (aided) -Maru to Jae Gil

- In the Brent in Philippines.

HEL EN JEO N (I9)

Punching-Hitting (aided) -Maru to Jae Gil

- Because like, best friends. That's like strong trust? And when my best friend hits me, maybe I would get...yeah-

HEL EN JEO N (I9)

Punching-Hitting (aided) -Maru to Jae Gil

- Just from my experience

CHO I JI WO O (I10)

Punching-Hitting (aided) -Maru to Jae Gil

- Yeah. Physically hurts and if he's a...like in this situation, physcially and mentally. Because, he don't seem to realize that it's bad.

CHO I JI WO O (I10) CHO I JI WO O (I10) JES SIC A JEO N (I6) JES SIC A JEO N

Punching-Hitting (aided) -Maru to Jae Gil

- I will be very mad

Punching-Hitting (aided) -Maru to Jae Gil

- But I was feeling so bad! And somehow also frightened.

-Threatened -Scared -Angry -Sad

Punching-Hitting (unaided) -Maru to Jae Gil

-It's very not acceptable for me, because it hurts! He's...the person is hurting me.

-Not acceptable -Causes physical pain

Punching-Hitting (unaided) -Maru to Jae Gil

- Because, it's your very best friend

-Not acceptable between friends -Depends on

-Not acceptable between friends -Causes emotional pain -Breaks trust -Experience

-Not acceptable between friends -Causes physical and emotional pain -Angry

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

343

  (I6) JES SIC A JEO N (I6) JES SIC A JEO N (I6) JES SIC A JEO N (I6)

Punching-Hitting (unaided) -Maru to Jae Gil

-I'll be so surprised at first, I think I will end up getting mad

Punching-Hitting (unaided) -Maru to Jae Gil

- from the education here

Punching-Hitting (unaided) -Maru to Jae Gil

- Because actually in Korea, like physical punishment or physical...you know what...gently hitting each other is quite acceptable in Korea…But here, if we hit each other, it becomes a totally different problem. It's like it's a very serious big problems. Yeah, like even for me... Since I was educated here, even more than i was in Korea, so I'm more used to non-violence

AUS TIN LEE (I7) AUS TIN LEE (I7)

Punching-Hitting (unaided) -Maru to Jae Gil Punching-Hitting (unaided) -Maru to Jae Gil

- Bestfriend is the person who I always trust and be with right? But, he tried to punch me. So, of course I would feel bad or something.

AUS TIN LEE (I7) AUS TIN LEE (I7) AUS TIN

Punching-Hitting (unaided) -Maru to Jae Gil Punching-Hitting (unaided) -Maru to Jae Gil

- Because I have experienced that in Korea. I have experienced that. I fought with my best friend. - If I punched my friend, that's okay. But when my friend punched me, it's not okay.

Punching-Hitting (unaided)

-- Angry of course. Like it feels like my best friend betray me

- Since I know the situation, I hoped that he hit him.

relational context Surprise Angry

Learned from the school in Philippines

-Violence is acceptable in Korea

-Cultural -Societal norm/percepti on -Education

-Violence is acceptable when angry -Not acceptable between friends -Causes emotional pain -Feels bad Experience

Not acceptable -Angry -Breaks trust

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

344

  LEE (I7)

-Maru to Jae Gil

or something.

AUS TIN LEE (I7)

Punching-Hitting (unaided) -Maru to Jae Gil

- I will just angry, and will want to fight back because that's stranger right?

AUS TIN LEE (I7)

Punching-Hitting (unaided) -Maru to Jae Gil

- I'm not kind of person who will hit people without a reason. So, when it's me. I can say it's okay. But I can say that it's better than if other people hit me.

AUS TIN LEE (I7) AUS TIN LEE (I7) JES SIC A JEO N (I6) JES SIC A JEO N (I6)

Punching-Hitting (unaided) -Maru to Jae Gil

- You never hit the people without a reason

Punching-Hitting (unaided) -Maru to Jae Gil

- Experience.

Pushing -Eun Sung to Hwan

- Of course, if you will ask me, if it's okay, it's not. Because it was just an accident, I didn't mean it? But she still pushed me?

JES SIC A JEO N (I6) JES SIC A JEO

Pushing -Eun Sung to Hwan

Pushing -Eun Sung to Hwan

Pushing -Eun Sung to Hwan

- But, it is true that I can't say anything about it, because even if it was an accident I did something wrong to the person. I broke her cellphone.

-Depends on relational context -Angry -Not acceptable between strangers -Violence with reason -Not acceptable if other people do it -Valid reason -No reason -Depends on situational context -Experience

-No reason -Not acceptable -Depends on situational context -Tit for tat

- if I can't find any reason why she did that to me, I will feel bad.

-I don't think I would really mind the action of push.

-No reason -Feel bad

-Tit for tat

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

345

  N (I6)

Because the only thing I would mind is, "Oh my God, I dropped that laptop. I broke that laptop. That's not mine."

HEL EN JEO N (I9)

Pushing -Eun Sung to Hwan

- I think that the guy...he'll get angry because he doesn't know. He'll misunderstand. Because pushing someone is not right things to do.

HEL EN JEO N (I9) HEL EN JEO N (I9) HEL EN JEO N (I9) HEL EN JEO N (I9) HEL EN JEO N (I9) AUS TIN LEE (I7) AUS TIN LEE (I7)

Pushing -Eun Sung to Hwan

- It's also kind of...it can be bullying right?

Pushing -Eun Sung to Hwan

- In the school... The teachers.

Taught in school

Pushing -Eun Sung to Hwan

- I'll feel surprised.

Surprise

Pushing -Eun Sung to Hwan

- Because it's not understandable for me.

Not acceptable

Pushing -Eun Sung to Hwan

- It's not the reason that needs to push.

No reason

Pushing (aided) -Eun Sung to Hwan

Of course, if she did that, it's not good

Not acceptable

Pushing (aided) -Eun Sung to Hwan

- But there was reason, they have a conflict, like kind of fight, right? So, since it's girl, we can

-Not acceptable -Angry -Causes misunderstan ding Bullying

-Gender -Acceptable in a fight -Depends on communica

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

346

  understand that was not so hard, so it's okay.

tor characterist ics -Depends on situational context -Acceptable if done by a female

AUS TIN LEE (I7) AUS TIN LEE (I7)

Pushing (aided) -Eun Sung to Hwan

- Of course, I would feel bad.

Feel bad

Pushing (aided) -Eun Sung to Hwan

KIM JI HYE (I8)

Pushing (aided) -Eun Sung to Hwan

-But since she's girl and she pushed me and that was not so hard. So, what can I do for that is understand her right? - Maybe I would feel bad, but acceptable because I stepped on your phone.

KIM JI HYE (I8) KIM JI HYE (I8)

Pushing (aided) -Eun Sung to Hwan

- I will feel angry, but at the same time, I will be sorry, because I did wrong thing.

Pushing (aided) -Eun Sung to Hwan

Not acceptable Not good intention

CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10) CHO

Pushing (aided) -Eun Sung to Hwan

- Enemy, stranger or sometimes friend? If someone pushes me in that situation it's not really accepted as good intention. - That's a violent reaction

Pushing (aided) -Eun Sung to Hwan

- Yeah, I will feel bad, by the reaction of the partner, because before I say sorry,

Feels bad Not listening

Pushing (aided) -Eun Sung to Hwan

- She's just reacting so bad. Pushed me, it's like the violent reaction

No reason Violence

Pushing (aided)

- For me, she's being rude,

No respect

-Acceptable if done by a female

Tit for tat

Feel bad

Tit for tat

Angry

Violence

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

347

  I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10)

-Eun Sung to Hwan

and then like.

Pushing (aided) -Eun Sung to Hwan

- in my situation, she can't act like that.

Not acceptable in given situation

Pushing (aided) -Eun Sung to Hwan

- But it depends on the parents' attitudes, how they raised their kids or how they tell them what is valuable or not.

Parental advice -Education Upbringing

CHO I JI WO O (I10) HEL EN JEO N (I9)

Pushing (aided) -Eun Sung to Hwan

-Yeah, I think I got it from my parents.

Parental advise

Shoulder grabbingArmgrabbing -Yoon Sung to Nana

-The girl was going to leave him, so he grabbed to not leave.

Acceptable -means to get attention

HEL EN JEO N (I9) HEL EN JEO N (I9) KIM JI HYE (I8)

Shoulder grabbingArmgrabbing -Yoon Sung to Nana Shoulder grabbingArmgrabbing -Yoon Sung to Nana Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana Shoulder grabbing-

- he wanted to solve the misunderstood

-Means to fix argument

- Grabbing the shoulder was just a process of grabbing her not to leave.

-Means to get attention

KIM JI HYE (I8) KIM JI

- That's rude.

- But if I know the person and just I dislike him, I can just understand.

No respect

-Acceptable -Depends on relational context - It's acceptable but if the girl feels...feels...uncomfortable if

Uncomfortabl e

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

348

  HYE (I8) KIM JI HYE (I8) KIM JI HYE (I8) KIM JI HYE (I8) KIM JI HYE (I8) KIM JI HYE (I8) KIM JI HYE (I8) CHO I JI WO O (I10)

Armgrabbing (aided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana

the other touches her body...

- There can be sexual harassment, if the girl or boy feels bad.

Sexual Harassment

- If he is stranger, if I put it in my shoes, in this case, I could sue him, because I feel offended.

No respect

- General idea.

Universal belief -Social norm/percepti on

- I don't...If it's in my case, maybe I won't like the stranger or the guy who I dislike...If he touches my something like here, here...

-Depends on the relational context

- skinship between friends is okay, but between someone else and me will be not comfortable.

Acceptable only between friends Uncomfortabl e

- The skinship is like between friends. So I didn't expect relationship between him-

Surprise No right

If I'm in a bad situation, no.

Depends on situational context

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

349

  CHO I JI WO O (I10)

Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana

- Because, she's trying to escape from this issues. But he's trying to...he wants to talk about it. So, if I'm her, I don't like it.

No right Forces one to do something Prevents me from doing what I want

CHO I JI WO O (I10)

Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana

- Because he's not even my boyfriend or something. We're not related to anything. He's just trying to explain for something I don't want to listen.

Depends on relational context -Not acceptable

CHO I JI WO O (I10)

Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana

- I'd feel disturbed

Disturbed

CHO I JI WO O (I10)

- Through my experiences

Experiences

JES SIC A JEO N (I6) JES SIC A JEO N (I6)

Shoulder grabbingArmgrabbing (aided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (unaided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (unaided) -Yoon Sung to Nana

- becomes very offensive

No respect

-Because i find it very private, it's like it's so close to my faceclose to like my main body. And if someone touched that, someone... the person who I don't...like allow, touches it, it's very, like, I find it very rude. Not respecting

JES SIC A JEO N

Shoulder grabbingArmgrabbing (unaided) -Yoon Sung to

- Because I don't like touching until we get close enough to touch each other.

No right No respect Not acceptable Depends on relational context Not comfortable Depends on relational context Only familiar people are

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

350

  (I6) JES SIC A JEO N (I6) JES SIC A JEO N (I6) JES SIC A JEO N (I6)

Nana Shoulder grabbingArmgrabbing (unaided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (unaided) -Yoon Sung to Nana Shoulder grabbingArmgrabbing (unaided) -Yoon Sung to Nana

HEL EN JEO N (I9)

Sudden appearanceInvasion of personal space -Hwan Sun Woo to Go Eun Sung

- Because someone called me, but if it's just surprising right?

Surprise

HEL EN JEO N (I9)

Sudden appearanceInvasion of personal space -Hwan Sun Woo to Go Eun Sung Sudden appearanceInvasion of personal space -Hwan Sun Woo to Go Eun Sung

- It doesn't matter to me.

Not affected

- Because it's just calling me? Even thought it's suddenly, I think it doesn't matter.

Sudden Not affected

Sudden appearanceInvasion of personal space -Hwan Sun Woo to Go Eun Sung

- Well, it would be okay but I won't be answering nicely.

Not acceptable if enemy or disliked person -Depends

HEL EN JEO N (I9) HEL EN JEO N (I9)

allowed Not comfortable

- Because I feel so uncomfortable. Like, I become oversensitive to the per...to the area that the person is touching, but I can't say, "Please do not touch me!" -It's really based on my experience.

Experience

-. I don't like them saying that they have a right to touch the other people just because they are older. And then specially the guys, when the guys touch girls. Like they're thinking that they can...that they have right to get close to the girls. Like girls don't have any right to reject the skinship.

-No right -Not acceptable -Guys don’t have right to touch girls anytime they want -Older people don’t have a right

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

351

  on relational context AUS TIN LEE (I7)

Sudden appearanceInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung

- He's the person who you have a conflict with, right? Of course I would want to avoid him. But if he appear in front of me, of course I would feel embarassed or avoid him.

Uncomfortabl e Wants to avoid Embarassing

AUS TIN LEE (I7)

Sudden appearanceInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung

-- To fight is bad, right. If you have a person you have a conflict with, you better avoid him or she, instead of like encounter those people.

Avoid violence

AUS TIN LEE (I7)

Sudden appearanceInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung

- When I kicked out from my Korean high school, I learned that.

Experiences Education

KIM JI HYE (I8)

Sudden appearanceInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung

- it's not comfortable with...to be with the person whom I dislike, in the same place. I won't really be happy.

Not comfortable Depends on the relational context

CHO I JI WO O (I10)

Sudden appearanceInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung

- then I wouldn't be enjoying anymore, seeing that person that I don't like.

CHO I JI WO O (I10)

Sudden appearanceInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung

- I feel I want to go out of this restaurant as soon as possible.

Makes me unhappy Depends on relational context Not allowed for people I dislike Avoidance

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

352

  JES SIC A JEO N (I6)

JES SIC A JEO N (I6) JES SIC A JEO N (I6)

Sudden appearanceInvasion of personal space (unaided) -Hwan Sun Woo to Go Eun Sung Sudden appearanceInvasion of personal space (unaided) -Hwan Sun Woo to Go Eun Sung Sudden appearanceInvasion of personal space (unaided) -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung

JES SIC A JEO N (I6)

Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung

JES SIC A JEO N (I6)

Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung

But, like if a person I'm not really close to jumped into me like that, i'll be surprised and feel offended.

JES

Sudden

- Because she is really

JES SIC A JEO N (I6) JES SIC A JEO N (I6)

-: It's just that I would want to leave.

Avoidance

- Because that only makes a situation worse?

Worsens situations

- the first thought I have was I don't want to stay in the same area or place with her? I wanted to leave?

Avoidance

- I'd be just surprised, and I wouldn't feel any offense from that action. Like like-

Surprise

- It's a matter of personal thing? As I keep saying, I believe that each individual has our own boundary. And she just jumping into my boundary, before I'm actually prepared to stop that.

Crossed personal boundaires -No respect -No right

- But I won't be so offended because they are the people whom I love or automatically love.

Acceptable for familiar people and loved ones

Surprise No respect Not acceptable for strangers Depends on relational contexts No respect

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

353

  SIC A JEO N (I6) JES SIC A JEO N (I6)

approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung

crossing the line...of my acceptance zone.

No right

- If It's a stranger, I don't go close to the person..Because the word "different" or "strange" or "familiar" means very big to the Koreans.

JES SIC A JEO N (I6) JES SIC A JEO N (I6) HEL EN JEO N (I9)

Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung

- If the person is not part of our group, there's no reason that I should go close to the person.

Not acceptable between strangers Not allowed if stranger Culture Societal norm No reason

HEL EN JEO N (I9)

Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space -Hwan Sun Woo to Go Eun Sung

HEL EN JEO N (I9) HEL EN JEO N (I9)

- It's like by practice of Koreans?

- I think it will be okay, but I'll be like surprised.

Culture Societal norm

Surprise

- So, it can get...I don't know what to do.

Panic

- I angry?

Angry

- Uh, it's like because it wasn't expected? But, I don't like that person, but he just came and walked to me.

Not expected

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

354

  AUS TIN LEE (I7)

AUS TIN LEE (I7)

AUS TIN LEE (I7)

KIM JI HYE (I8)

CHO I JI WO O (I10)

CHO I JI WO O (I10)

Sudden approachInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung

Sudden approachInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung

-Of course, I'll feel afraid.

Scared

- We had a conflict before, but that person come to me. It feels like, "Will he hit me for doing something?" Like, of course, I will afraid.

Depends on situational context Threatening Scared

- Because if you don't want to fight, he will just ignore me or avoid me. Since he come to me, it means, he wants to say something, and that will begin another conflict between us.

No reason Threatening

- Feel... curious but not comfortable.

Not comfortable Curious

- Yeah. She might be just greeting me, or like trying to tell me, "How are you?" It's like you...you're meeting unexpected person you know. "Oh, hi!" or something like that. So, it's okay.

Surprise

- If I don't like the person, it's not okay

Not acceptable Depends on relational context Not allowed if I dislike the

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

355

  CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10) AUS TIN LEE (I7)

KIM JI HYE (I8)

KIM JI HYE (I8)

Sudden approachInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung Sudden approachInvasion of personal space (aided) -Hwan Sun Woo to Go Eun Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung

person Nervous

- i'll feel nervous at the same time.

-Nothing happened but she approaches me, because I dislike her!

Annoyance No reason

- I think it's based on my experience

Experience

- Annoyed

Annoyed

-, it's okay for me, I already experienced those kinds of situations.

Acceptable Depends on situational context Experience Acceptable for family members

- Yeah family, but if not family, just sharing house, no.

-Yeah family, but if not family, just sharing house, no.

Not acceptable for non-family members

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

356

  KIM JI HYE (I8)

KIM JI HYE (I8)

HEL EN JEO N (I9) HEL EN JEO N (I9) HEL EN JEO N (I9) CHO I JI WO O (I10) CHO I JI WO O (I10) CHO

Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry

- I think it's personal-

Not acceptable Territory No right

-Female friend, “Okay”, Guy friend “Not okay”

Gender -Depends on communicator characteristic

- It's not respectful?

No respect

- I don't feel good when somoeone just opens the door without knocking or just permission.

No right No respect Uncomfortabl e

-Experience

Experience

- Because room, the personal room, is like the personal privacy.

Privacy

Disturbed - He's distrubed!

Culture

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

357

  I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10) JES SIC A JEO N (I6) JES SIC A JEO N (I6) JES SIC A JEO N (I6) JES SIC A JEO N

into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Sudden entry into bedroomInvasion of Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space -Nana to Yoon Sung

- It's culture.

Societal norm

- But it's like an understandig between each other, that the room...I have this room because I want to be alone in this...my space.

Understandin g Territory

- Through my experiences in my house and my friends' house and other shows.

Experiences at home and other people’s homes

- Very surprised!

Surprise

- I would be so so sad.

Sad

Walking-outWithdrawal from Personal Space -Nana to Yoon Sung

-It's a very obvious sign of rejection

Rejection

Walking-outWithdrawal from Personal Space -Nana to Yoon Sung

-Leaving the person is really a strong rejection?

Rejection

Walking-outWithdrawal from Personal Space -Nana to Yoon Sung

-I don't think I learned to give an excuse when you have to leave. I wasn't taught that in school, however, I knew it. Because I have experienced it.

Experience

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

358

  (I6) AUS TIN LEE (I7)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

That's okay. In Korea, if he's older than her, that's really rude action. Like, walk away while older people is saying something. But since they are kind of friends, or something, it's okay.

AUS TIN LEE (I7)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

AUS TIN LEE (I7)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

-When my father was talking, I just walked in my room and closed the door. Yeah, so at that time, my father get really mad at me - Yeah. That's how they express their feelings, like "I'm get mad now, don't talk to me" or something.

AUS TIN LEE (I7)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon

AUS TIN LEE (I7) AUS TIN LEE (I7)

Respect for elders Societal norm Acceptable if done by friends Not acceptable if done by younger person No respect Parental example Experience

Method of expressing feelings

- Of course I will feel bad, because somebody go away while I'm talking, right.

Feels bad

-I'm trying to express something, but the person doesn't listen to the things that I say. Of course I will feel bad. It feels like she or he ignored me. - when I fight with my brother, or sister, when I'm trying to saying something, they just go to their room and lock the door. At this time I will feel

No respect Feel bad

No respect Feel bad

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

359

  AUS TIN LEE (I7) AUS TIN LEE (I7) AUS TIN LEE (I7) AUS TIN LEE (I7) AUS TIN LEE (I7) AUS TIN LEE (I7)

AUS TIN LEE (I7)

Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

Walking-outWithdrawal from Personal Space (aided)

bad. - Yeah, get mad

Angry

Not even touch. If he even touch my clothes. I would feel bad. Because I hate that person. - Like, when I'm just chilling by myself, like listening to music in my room. It's okay.

Not acceptable if I dislike the person Feel bad Depends on situational context

- It depends on situation.

Depends on situational context

-So, whenever they wake me up, like disturb my sleep, I wanna throw them out of the window.

Disturb No reason

- Yeah, it's okay. I'm not the person who likes to be in the room all along or something. I always want to be with other people or something. So feel free to visit my room whenever they want. It's okay.

Acceptable

- Shy. Ashamed. Shame.

Embarrassed

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

360

  AUS TIN LEE (I7) KIM JI HYE (I8)

-Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

- I guess, it's not okay for him. Because he liked her, right. So, he lied down, just chilling by himself. So, before she entered, he should arrange his hair or something. - I'd say that he will feel bad, while the girl go away while he was talking?

Depends on relational context No respect Feel bad

KIM JI HYE (I8)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

- Because like...Turning around and walk to another place is that he shows he doesn't want to talk with me, and then he doesn't really want to listen to what I'm talking.

Not listening No respect Rejection

KIM JI HYE (I8)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

- Because in general, we...when we talk, it's a norm to see each other's face. But, the meaning of showing back, is that I want to draw line between you and me, and I don't want to really-

Rejection

KIM JI HYE (I8)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

- But that's rude, to turn around while on is talking to me. That's rude.

No respect

KIM JI HYE (I8)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

- Because he didn't really show he respect me.

No respect

KIM JI

Walking-outWithdrawal from

- Yeah, in Korean cullture, Confucius is really deeply

Cultural values

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

361

  HYE (I8)

Personal Space (aided) -Nana to Yoon Sung

HEL EN JEO N (I9)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

HEL EN JEO N (I9)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

-I want to have the conversation. But some people don't want to talk, right? They just want to go. I don't like that thing. I don't like some person go away, while talking?

Not acceptable No respect Prolongs the argument

HEL EN JEO N (I9)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung Walking-outWithdrawal from Personal Space (aided)

- my characteristics

Self-concept

- Like nervous

Nervous

- we'll get far from each other because of this problem

Cause rift in relationship

- Feels not good. Also uncomfortable.

Feel bad Uncomfortabl e

HEL EN JEO N (I9) HEL EN JEO N (I9) HEL EN JEO N (I9) CHO I JI WO O

affected? One of his theories "Yi", which is respect others. Yeah, it's really important. That's what we've learned from my parents and teachers. - Because she's pissed off, so maybe I can understand.

- I would do the same, if I were this girl.

Education Parental Advice

Acceptable when one is angry

Can identify

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

362

  (I10)

-Nana to Yoon Sung

CHO I JI WO O (I10)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

- But I would be...feel uncomfortable, if I was the guy

Uncomfortabl e

CHO I JI WO O (I10)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

-...won't even listen to me.

No respect Not listening

CHO I JI WO O (I10)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

- Because that's ignoring me.

Rejection

CHO I JI WO O (I10)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

- I can sometimes see the parents fighting and all. So friends fighting. I fight. So, basically experiences

Parental example Personal knowledge Experiences

CHO I JI WO O (I10)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

- I'll feels so extremely bad…because I don’t want to be cut!

Feel bad No respect

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

363

  CHO I JI WO O (I10)

Walking-outWithdrawal from Personal Space (aided) -Nana to Yoon Sung

- Dramas and experiences.

Drama influence Experiences

JES SIC A JEO N (I6)

WristgrabbingHandgrabbing -Yoon Sung to Nana

- i think it's okay to grab the arm, because he was trying to have a conversation, and she rejected. And grabbing arm is kind of an accepted way of you know, effort to continuing the conversation.

-Method of getting attention -Acceptable

JES SIC A JEO N (I6) JES SIC A JEO N (I6) JES SIC A JEO N (I6) JES SIC A JEO N (I6)

WristgrabbingHandgrabbing -Yoon Sung to Nana

-Irritation by being stopped. But not by being grabbed, by my arm.

Irritation

AUS

Wristgrabbing-

WristgrabbingHandgrabbing -Yoon Sung to Nana

-I would be kind of irritated, because I was trying to leave and he stopped me. It means like the person stopped what I was about to do.

Annoyance Prevented me from doing what I want to do

WristgrabbingHandgrabbing -Yoon Sung to Nana

- There were some cases that about me, mentioning why are you caring about that person's actions. You should respect that.

Respect privacy No right

WristgrabbingHandgrabbing -Yoon Sung to Nana

- Because for me, it's like...It's the person's right to do whatever he wants to do, and he...like, especially if it doesn't directly affect me. It should be...I have no right to tell the person to stop doing it.

No right

- Lee Min Ho

Method of

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  TIN LEE (I7)

Handgrabbing -Yoon Sung to Nana

expressed his feelings by grabbing her wrist or something.

expressing emotions or feelings

AUS TIN LEE (I7)

WristgrabbingHandgrabbing -Yoon Sung to Nana

-...skinship by grabbing the wrist or something,

Method of expressing emotions or feelings

AUS TIN LEE (I7)

WristgrabbingHandgrabbing -Yoon Sung to Nana

-. One example of skinship is when you like someone or love someone, you can express that feeling by skinship right?

Method of expressing emotions of feelings

AUS TIN LEE (I7) AUS TIN LEE (I7)

WristgrabbingHandgrabbing -Yoon Sung to Nana WristgrabbingHandgrabbing -Yoon Sung to Nana

AUS TIN LEE (I7)

WristgrabbingHandgrabbing -Yoon Sung to Nana

AUS TIN LEE (I7)

WristgrabbingHandgrabbing -Yoon Sung to Nana

Experience -...of course this is experience - while she's walking, maybe secretly she hopes that he grabs her.

Acceptable if I like the person Depends on relational context

- the person whom you like grabs your wrist. Isn't it okay? It's okay right?

Acceptable if I like the person

- And when boyfriend or girlfriend grab your wrist, it's feel okay, right?

Depends on relational context

Depends on relational context

Acceptable when done by boyfriend or girlfriend

364

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

365

  AUS TIN LEE (I7)

WristgrabbingHandgrabbing -Yoon Sung to Nana

- Okay. Since I'm performer, I have many experience about those kinds of things.

Acceptable Experience

AUS TIN LEE (I7)

WristgrabbingHandgrabbing -Yoon Sung to Nana

- I would hate that. If that is not writst, whatever is that part of my body. If the person who I hate , if that person touch me.

AUS TIN LEE (I7) HEL EN JEO N (I9) HEL EN JEO N (I9) HEL EN JEO N (I9) HEL EN JEO N (I9)

WristgrabbingHandgrabbing -Yoon Sung to Nana WristgrabbingHandgrabbing -Yoon Sung to Nana

- Like, it feels like something like a bothering insect is on my fist or something.

HEL EN JEO N (I9) HEL EN JEO N (I9) KIM JI HYE (I8)

WristgrabbingHandgrabbing -Yoon Sung to Nana

-Because on the second time, it's okay, but for the third time, maybe it won't be...be more angry.

WristgrabbingHandgrabbing -Yoon Sung to Nana

- He's not respect to me, he doesn't respect me. Yeah, because I said that I don't want to talk and go, but keep on grabbing my wrist and...

Not acceptable Hate Not comfortable Disgust Revulsion Not acceptable

- The girl was going to leave him, so he grabbed to not leave. - he wanted to solve the misunderstood

Method of getting attention

WristgrabbingHandgrabbing -Yoon Sung to Nana

- From my parents?

Parental advice

WristgrabbingHandgrabbing -Yoon Sung to Nana

- Yes, I think. When they grab it? I feel like...like...I'll talk a litle more with them, yeah.

-Method of getting attention -Means of solving argument

WristgrabbingHandgrabbing -Yoon Sung to Nana

WristgrabbingHandgrabbing (aided) -Yoon Sung to

- I think it's okay

-Means of solving problem

-Angry -No respect -Forces oneself on anotehr -No respect -Forces oneself on another Acceptable

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

366

 

CHO I JI WO O (I10)

Nana WristgrabbingHandgrabbing (aided) -Yoon Sung to Nana WristgrabbingHandgrabbing (aided) -Yoon Sung to Nana

CHO I JI WO O (I10)

WristgrabbingHandgrabbing (aided) -Yoon Sung to Nana

CHO I JI WO O (I10)

WristgrabbingHandgrabbing (aided) -Yoon Sung to Nana

CHO I JI WO O (I10)

WristgrabbingHandgrabbing (aided) -Yoon Sung to Nana

CHO I JI WO O (I10)

WristgrabbingHandgrabbing (aided) -Yoon Sung to Nana

- But if it's like big deal, I don't know what's big deal, but maybe big issues, for myself. Maybe I will try to ignore.

CHO I JI WO

WristgrabbingHandgrabbing (aided)

- Dislike?

KIM JI HYE (I8)

- the girl grab the boy, it's...I think it's not really common in Korean culture

Acceptable if male does it -Gender

-Because he's just trying to talk to me, because if I'm her, he's trying to talk to me, but I'm ignoring him - It's like when you call somebody's attention, you touch because if somebody can't hear you, you touch to get an attention - I think I see some actions through the tv show, or my friends, parents, other people, yeah.

Method of getting attention

- Depends on the situation, actually. If it's like, slight misunderstandi ng like that, I would listen.

-Depends on situational context

Method of getting attention

Education Personal knowledge Parental advice Drama influence

-Depends on situational context -Not allowed in some situations Dislike

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

367

  O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10) CHO I JI WO O (I10)

CHO I JI WO O (I10)

-Yoon Sung to Nana WristgrabbingHandgrabbing (aided) -Yoon Sung to Nana WristgrabbingHandgrabbing (aided) -Yoon Sung to Nana WristgrabbingHandgrabbing (aided) -Yoon Sung to Nana

WristgrabbingHandgrabbing (aided) -Yoon Sung to Nana

- Feel bad, basically. Not

Feel bad

-Not good emotions.

Not good emotions?

- I, for myself, dislike somebody to touch me, if I don't know the person.

Self- concept

- I feel so irritated

Not allowed if stranger Depends on relational context Annoyance

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

368

  Appendix L Constructs Matrix How do you define "Expectancy Violation"? Education (Family/School Influence) 16

1. Pag sinasabi nila wag papayag na masasaktan ako ng walang dahilan tyaka sabi rin ng parents ko, "wag kang papayag na nasasaktan ka, sa kahit anong dahilan kung kaya idaan sa pag-uusap sa matinong pag-uusap. Doon. Pero wag kang papayag na hinihila-hila ka, sinasampal ka or something." 2. Kasi ganyan din yung mommy ko, kahit yung mga kapatid ko eh. 3. Kay mama 4. Sa family. Yung mga turo ng magulang na… wag kayo...like kunyare pag nag-away, nagsesermon yung mom, sasabihin, "Wag nga kayong mag-away, 'pag kayong dalawa na lang natira sa mundo, kayo na lang magdadamayan. Kasi nga, magkadugo nga kayo, magkapamilya kayo 5. Sa school kasi pag kunwari yung kaklase mo tinusok mo ng ballpen ganon, tapos siyempre yung isang kaklase, lalaban siya or magpapakumbaba at magsusumbong sa teacher pa mahandle yung situation 6. I think it came from my family, I was never physically harmed, i was never spanked, i was never slapped. So, for someone, specially someone not related to me, or in this case, someone who i just realized was my sister, slapped me... I would really be surprised, cause i won't really expect her to slap me. 7. Ako sure ako sa parents ko 8. Maybe family, again. But, me kasi. I prefer talking things through, and i'm not much of a harming type of person. 9. Family. Pag nasa ibang bahay ka, be proper na kailangan magbigay ka ng good impression sa pinuntahan mo, na hindi ka pwedeng mag-leave ng mark dun 10. Sa bahay tyaka sa school. 11. Yung magwawalk-out ako, tapos magagalit mommy ko, sasabihin niya: "Magwawalk-out ka na naman?! Kabastusan yan ah! Bastos yan pagtalikod mo! Habang kinakausap ka, humarap ka, makipag-usap ka!" So iyon, mommy ko din pag pinapagalitan niya ako. 12. Sa parents. Pag kunwari, pinapangaralan ka nila- Tapos bigla kang aalis, tapos magagalit sila kasi nga nababastos sila. 13. Because it's rude to just walk away from somebody who you're talking to? 14. From my family also. 15. Siguro yung mga parents ko rin siyempre pag may tao,

I1

F3

I1

F16

I2 I2

F1 F17

I2

F18

I3

F17

I1 I3

F8 F9

I4

F4

I2 I1

F5 F19

I2

F15

I3

F19

I3 I1

F19 F10

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Society’s norm/perception 4

16. 1. 2.

3. 4. No reason (no right)16

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

12. 13.

14. 15. 16.

tapos di mo kakilala, wag kang lalayo agad-agad. Parang disrespectful naman na kakakilala lang natin, mag-hi, tapos kung ayaw mo sa kanya, wag ka naman na mambastos na ipakita mo agad na ayaw mo sa kanya parang sign siya na pambabastos at ayaw mo sa kanya. Diba pag binato ka ng bato, batuhin mo ng tinapay? Society probably. You don't... I think I learned early on that... Yeah, sexism aside, you just don't treat women, i'm sorry, but you just don't treat women like that. Hindi pa rin appropriate since may fiance si Marco, si Richard, so hindi tama na pumunta siya dun sa room, kahit naman siyang, kahit walang nangyari, pero di magandang tingnan. Tayong mga Pilipino, meron tayong ugali na ayaw nating magpaapi, so tayo yung mga tao na lumalaban I don't think society would accept you would harm somebody because they did something wrong. Hindi. Yung hihilahin ako palabas? Parang di pa nga ako nakakapag-explain, diba? Parang wala karapatan hilahin akong ganon Simple lang. Wala ka pang alam para hawakan at saktan mo ako nang ganyan, at hilahin ako ng parang hayop Ayoko ko lang kasi ng lagi akong pinipigilan. Sakin ayokong masampal, kaso wala tayong magagawa eh, I mean, sakin, wala ring magagawa. Hindi, kasi diba di nga niya alam yung sitwasyon, tapos biglang magagalit siya. Kasi nga hindi niya alam, so dapat muna at least man lang humingi siya ng explanation galing sa amin. Siyempre hindi, kasi unang-unang wala akong ginawa sa kanya. Kung inggit siya sakin, gumawa ka ng sarili mong way to have kung ano meron ako. Because I was just standing there?! I mean, you'd slapped me if I did something to you. Hindi necessary na magsasampalan Magagalit ka tapos sisisihin mo agad, kahit without knowing yung backstory, so ganon, parang ganon siya kasi parang nagalit siya agad eh. Hindi siya nagtanong muna, parang kung ano lang yung nakita niya, yun lang yung pinaniniwalaan niya na nangyari. Maiinis ka na kasi hindi naman talaga niya alam yung totoong nangyari tapos sinisisi na siya agad Alam mo naman sa sarili mo na wala ka namang ginawang mali, pero inaaccuse ka na ganon yung ginawa mo, so parang nakakainis kasi alam mo sa sarili mo na wala talaga. Kasi di niya alam yung sitwasyon, kung ano yung nangyari. Wala akong atraso sa iyo, don't touch me. Hindi, kasi hindi pa ako tapos mag-explain.

369

I2 I3

F18 F3

I5

F1

I1

F17

I3

12

I1

F3

I1 I1

I1 F3

I1 I1

F11 F18

I2

F8

I2

F8

I4

F17

I3

F17

I5 I5

F18 F8

I5

F8

I5

F8

I2

F5

I2 I2

F5 F15

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

370

 

Gives pain 11

No respect (Not listening) 10

1. Di ko gusto, kasi diba sinasaktan, hinihila mo na ako, sinasaktan sa pagkapit mo ako, hinihila mo na ako na parang walang respeto, yung parang bara-bara lang 2. Siyempre masakit, yung feeling na hatakin ako ng asawa ko is parang, bakit? Diba, may right ako sayo, diba so parang masakit... I think pwedeng gawin ng asawa yun sa galit, pero the fact na... Basta mahirap i-explain pero di siya okay. Hindi si good. 3. Siguro mararamdaman ko pain, 4. Kasi parang masakit sa feelings ng magulang 5. Ako siguro, maiinis ako, kasi parang diba nga, kaya ayaw ni Kim Chiu kasi na-hurt siya Parang nasaktan siya, so sa parang, if bigyan na lang siya ng, kunwari ng time para mag-isip-isip or chance na mapag-isa, imbis na pilitin siya, kasi parang mas lalong nakakasakal yung datin pag ganon. 6. First reaction ko siya pag nasampal. Haha. Sino ba namang gustong masampal... Masakit pa sa mukha haha. 7. Parang... Parang magagalit rin na masasaktan 8. Masakit, kasi physical, siyempre masakit na masampal or matulad diba? Masakit kasi kayang gawin yun ng taong mahal mo, ng someone na di mo expect na... Para siyempre diba, kung nasa isang relasyon kayo, parang ang iisip mo yung all the love, diba parang ansakit lang isipin na dahil lang sa ganitong pangyayari, nasasaktan ang isa't-isa. 9. Kasi ibig-sabihin nun, nasaktan mo sila, so kung hindi mo naman sila nasaktan, makikipag-usap pa rin sila sayo. Or kunwari, may nasabi ka, napikon sila or nainis, so kaya sila aalis. 10. Masakit. Parang bastos na parang... Medyo maiintindihan ko rin na parang may kasalanan ako eh, may ginawa akong something eh, pero siyempre, alam mo yung: "Halika na. Wag kang umalis. Mag-usap tayo!" 11. Sakit, sobrang sakit. Parang normally ako yung gumagawa noon tapos parang ginawa sakin, parang sinampal ako. Yung parang sampal sakin yung ginawa niya.

I1

F3

I4

F3

I4 I1 I1

F3 F17 F10

I1

F12

I5 I1

F18 F8

I2

F19

I1

F8

I1

F15

1. Di ko gusto, kasi diba sinasaktan, hinihila mo na ako, sinasaktan sa pagkapit mo ako, hinihila mo na ako na parang walang respeto, yung parang bara-bara lang 2. Maiinis kasi pinipilit niya akong makinig sa kanya eh ayaw ko ngang makinig sa kanya. 3. Parang, disrespect sa babae yun, parang foul. 4. Yung nga, respeto, tyaka wag saktan. So kung pinipilit pa rin niya yung sarili niya tapos ako pa naman… 5. Yung magwawalk-out ako, tapos magagalit mommy ko,

I1

F3

I2

F11

I4 I2

F14 F4

I1

F19

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

6. 7. 8.

9. 10. Not allowed in any context 4

1. 2.

3.

Feels sad 2

4. 1.

2. Not the way to treat women 5

1.

2. 3. 4. 5.

Not the way to treat the vulnerable 1

1.

sasabihin niya: "Magwawalk-out ka na naman?! Kabastusan yan ah! Bastos yan pagtalikod mo! Habang kinakausap ka, humarap ka, makipag-usap ka!" So iyon, mommy ko din pag pinapagalitan niya ako. She was trying to explain, and she ended up just crying. Siyempre, ako mababastusan. Kinakausap pa kita eh, nag-uusap pa tayo tapos tatakbuhan mo ako? Masakit. Parang bastos na parang... Medyo maiintindihan ko rin na parang may kasalanan ako eh, may ginawa akong something eh, pero siyempre, alam mo yung: "Halika na. Wag kang umalis. Mag-usap tayo!" Again, like I said earlier, you're trying to have a conversation with somebody, you don't walk away from her. Hindi kasi parang nabastos ako. Parang bumalik ka dito, mag-usap muna tayo. No. Because, again, you're trying to explain something, and suddenly he pulls you out of the room, and not just pulls you, drags you out of the room. Parang ako, sino ba namang tao diba na gustong masampal, masaktan sa mismong birthday pa, at the fact na kapatid mo pa yung sasampal sayo so masakit siya, so ayoko sakin mangyari. You don't want to be slapped when you're trying to talk to somebody. I just don't think that when you're trying to talk to somebody, they'd go turn around and slap you. Ayoko. Ayokong masaktan, masampal, masabunutan. I'd feel like a rag doll being dragged in that way. I would feel sad. For somebody especially, a guy to treat me like that. Like you don't treat women like that, especially someone who looks that vulnerable. But i get really sad and i wouldn't know what to do, and i'll get angry afterwards because i wasn't able to say what i wanted to say when that person walked away. I'd feel like a rag doll being dragged in that way. I would feel sad. For somebody especially, a guy to treat me like that. Like you don't treat women like that, especially someone who looks that vulnerable. Society probably. You don't... I think I learned early on that... Yeah, sexism aside, you just don't treat women, i'm sorry, but you just don't treat women like that. You don't harm women Parang, disrespect sa babae yun, parang foul. Pwede naman kasing mag-usap ng normal pero the fact na sobrang eager na yung guy na maayos, baliktad na yung nangyayari. Kung baga, nahaharass na niya yung girl, which is parang pangit tingnan na parang sa isang relasyon, I'd feel like a rag doll being dragged in that way. I would feel sad. For somebody especially, a guy to treat me like

371

I3 I1

F10 F19

I1

F15

I3

F15

I2

F15

I3

F3

I1

F17

I3

F9

I1 I3

F5 F3

I3

F19

I3

F3

I3

F3

I3 I4 I4

F3 F14 F14

I3

F3

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

372

that. Like you don't treat women like that, especially someone who looks that vulnerable. Personal knowledge 1

1. Aunt who was a battered wife

I3

F3

Causes anger 24

1. Ayoko. Parang gusto ko, malayo muna tayo, kasi baka ano lang yung magawa ko, masaktan ka din or kunwari, masampal nga kita or something pero siyempre given na naman yun 2. Lahat ng tao. Ayoko talaga yun, yung parang: "Wag kang lalapit sakin baka..." Parang may ganun ako na parang pag may kaaway ako, lumayo ka sakin baka may mangyari lang na hindi mo magustuhan. 3. Minsan... Depende, minsan maiinis ako. Parang ayaw ko pag... Lalo na pag hindi ako kalma, magagalit ako. 4. Ayoko kasi di pa nga ako ready kausapin ka tapos hahawakan mo ako tapos parang kakasabi ko lang na lumayo ka muna sakin eh. 5. Ako ayoko. Actually, hindi, ayoko na parang gusto kong umalis, ayaw na kitang makita, bitawan mo ako 6. Hindi kasi nga ayaw kong maging malapit sa kanya at that moment tapos hinahawakan niya yung kamay ko. 7. She didn't want to be touched. Like you know, you're fighting with your boyfriend, tapos biglang hahawakan ka niya. When you're mad at somebody, you don't want to have anything to do with them. When they touch you... You don't touch them. 8. I'll be disgusted. Like I said, i wouldn't want to have anything to do with that person, and then that person goes up and hugs me. Don't touch me. 9. Because i'm angry, I don't want anything to... It's either you're so angry you explode causing harm to a person, or you're so angry that you don't want a person to even get near you. 10. Parang gusto kong pumiglas, kasi parang yun nga, galit ka pa, so parang mas lalo kang magagalit kapag ginawa yun sayo, na imbis na mag-cool-down ka muna ng magisa or ganyan. 11. Ayoko, away na nga to. Magagalit ako, makakapagsabi ako ng bagay-bagay para bitawan ako ni Marco at masaktan ko, kasi dun ko mabubuhos yung damdamin ko, yung feelings ko. Parang hangga't di ko nasasaktan yung babaeng, di ako magiging okay, so tigilan mo ako 12. Magagalit ako. Parang, magagalit ako na: "Ayoko! Lumayo ka muna sakin." Alam mo yung ganon? Ayoko na. 13. Wala, sakin lang. Yun yung nafefeel ko eh. Ako yung talaga yung ayaw ko... Kapag nag-away tayo, gusto ko magkalayo tayo kasi... Nafefeel ko siya na siya yung feelings or emotions or what kung ano man yung tawag

I1

F13

I1

F13

I1

F13

I1

F16

I1

F11

I2

F11

I3

F14

I3

F14

I3

F14

I5

F14

I1

F6

I1

F13

I1

F13

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. Annoyance 14

1. 2. 3. 4. 5.

6.

7. 8. 9. 10. 11. 12. 13.

na ayaw ko talaga Talaga magbibuild-up yung galit sayo. Tigilan mo ako. Umalis ka diyan. Away na to." Hindi, magagalit ako. With my personality, i would do that, just because i'd be so angry to the point of wanting to harm the person. Angry. She slapped me. I don't want to be slapped. Angry and surprised. Mas lalong magalit, kasi Parang... Parang magagalit rin na masasaktan Magagalit din. But i get really sad and i wouldn't know what to do, and i'll get angry afterwards because i wasn't able to say what i wanted to say when that person walked away. Siguro kung ako yung nasa posisyon ni Dave, magagalit ako, mababad-trip ako. Minsan... Depende, minsan maiinis ako. Parang ayaw ko pag... Lalo na pag hindi ako kalma, magagalit ako. Ayoko kasi di pa nga ako ready kausapin ka tapos hahawakan mo ako tapos parang kakasabi ko lang na lumayo ka muna sakin eh. Magugulat tapos maiinis. Maiinis ako Ako siguro, maiinis ako, kasi parang diba nga, kaya ayaw ni Kim Chiu kasi na-hurt siya-Parang nasaktan siya, so sa parang, if bigyan na lang siya ng, kunwari ng time para mag-isip-isip or chance na mapag-isa, imbis na pilitin siya, kasi parang mas lalong nakakasakal yung datin pag ganon. No, because my purpose would be to harm her, and i'd be pissed off because i can't harm her? Um, and i'd hate for someone to just block me off like, you know... You see your plate of food right there, then suddenly, the waiter trips. I'd get pretty irritated. Maiinis ka na kasi hindi naman talaga niya alam yung totoong nangyari tapos sinisisi na siya agad Alam mo naman sa sarili mo na wala ka namang ginawang mali, pero inaaccuse ka na ganon yung ginawa mo, so parang nakakainis kasi alam mo sa sarili mo na wala talaga. I'll be shocked, i'll be pissed and i'll be really irritated. Maiinis ka kasi hindi mo napaglaban mo kung ano yung alam mo yung totoo eh, na siya yung totoong asawa. Parang ganon. Parang since gusto niya na patawarin ko siya agad, dinadaan niya saskinship na dati okay yun kasi ayos pa rin lahat tapos ngayon na may something wrong tapos skinship parang nakakairita lang na parang lapit ka nang lapit pero may something wrogn nga.

373

I5 I1 I2 I3

F6 F6 F18 F12

I3 I3 I5 I5 I2 I3

F17 F17 I18 I18 F5 F10

I1

F15

I1

F13

I1

F16

I2 I5 I3

F7 F6 F6

I3

F6

I5 I5

F8 F8

I3

F9

I5 I2

F8 F14

I1

F15

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Depends on the relational context 12

Advantage 1 Valid reason 4

14. Siguro kung ako yung nasa posisyon ni Dave, magagalit ako, mababad-trip ako. 15. But personally, if someone did that to me, I'm talking to you in the middle of something, then you start walking away, i'll be pissed. 1. Maybe, in this context, yeah, because that would mean that i like him too. 2. Ako si Gretta? I guess sakin, okay lang kasi unang una may gusto rin ako sa kanya diba, so points ko yun na hinawakan niya ako. 3. Siguro depende na rin yan sa tao… Sa tao na gumawa sayo noon. Kung important siya or…sa relationship 4. Siyempre masakit, yung feeling na hatakin ako ng asawa ko is parang, bakit? Diba, may right ako sayo, diba so parang masakit... I think pwedeng gawin ng asawa yun sa galit, pero the fact na... Basta mahirap i-explain pero di siya okay. Hindi si good. 5. Parang ako, sino ba namang tao diba na gustong masampal, masaktan sa mismong birthday pa, at the fact na kapatid mo pa yung sasampal sayo so masakit siya, so ayoko sakin mangyari. 6. Di kasi siya normal sakin ah, hindi siya normal na sinasaktan mo yung kapatid mo 7. Maiinis ako 8. Kasi naintindihan ko naman siya. Kasi siyempre, di naman sa... Di ba di sila lumaki together. Nagkakilala lang sila nung matanda na sila. 9. Kasi, alam ko na ayaw niya sa akin. Pero, parang mas pinrove pa niya yung hatred niya na kahit alam niya na magkapatid kami, na magagawa niya yun, kahit na magkapatid kami. 10. Siyempre masakit kasi parang magkapatid tayo, bakit kailangan mo akong saktan ng ganyan? Parang ganoon, pwede namang pag-usuapan ng maayos, mga ganyan. 11. Masakit, kasi physical, siyempre masakit na masampal or matulad diba? Masakit kasi kayang gawin yun ng taong mahal mo, ng someone na di mo expect na... Para siyempre diba, kung nasa isang relasyon kayo, parang ang iisip mo yung all the love, diba parang ansakit lang isipin na dahil lang sa ganitong pangyayari, nasasaktan ang isa't-isa. 12. Then again, if you were thinking about it, and you were the wife, i would probably slap my husband 1. Ako si Gretta? I guess sakin, okay lang kasi unang una may gusto rin ako sa kanya diba, so points ko yun na hinawakan niya ako. 1. Pero the fact na hinawakan niya ako is that, siyempre may kilig eh, kasi hinawakan niya ako. Pero sa kabilang side, alam ko na may dahilan. Pero, I think okay lang sakin.

374 I3

F19

I3

F9

I3

F16

I4

F16

I2

F3

I4

F3

I1

F17

I1

F17

I2 I2

F17 F17

I5

F18

I1

F8

I1

F9

I3

F9

I4

F16

I4

F16

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Means of Expresing Emotions (Comfort in gestures/ Act of affirmation) 5

Prolongs the argument 3

Restrain 3

Surprise 12

2. Hindi siya normal, kung masasampal kang tao, may malalim siyang hugot kung bakit mo siya nasampal. 3. Tatanggapin ko, kasi kasalanan ko siya at kung alam ko na kasalanan ko, tanggap, say sorry. Kung di niya ako mapatawad, i'll wait. 4. Paluin ka, after ilang minutes wala na eh, pero yung mas mabigat yung bakit ka pinalo, yung taong pumalo sayo 1. Siguro parang comforting siya? 2. Gusto rin. At least, kahit papano, may nagpagaan ng loob niya, despite ng kung ano yung ginawa niya. 3. Yung action na to, yun yung nagpapakita na parang susupplement, icocompliment ni JR yung mga sacrifices na ginawa ni Gretta. Parang sinabi niya na susubukang bawian 4. Okay lang kasi ibig sabihin noon, handa siyang tanggapin yung explanations ko, kahit konte lang. 5. Okay lang. Parang narerelieve ng onte kasi yung gesture niya na yun means handa na siya ulit na makinig sa akin tyaka may onteng chance na magiging okay na lahat. 1. Hindi. Kasi mas napapatagal yung proseso ng pag-aaway namin. 2. Hindi, kasi parang kung magka-usap kayo, kunwari may inaayos kayong away, tapos biglang aalis yung isa, so parang maiiwan dun yung away na imbis na pag-usapan niyo yung bagay, lalong siyang tatagal or lalaki. 3. Kasi yun nga, parang kanina na parang imbis na pagusapan yung bagay, parang mas lalo siya... Parang nandun pa rin siya, may gulo pa rin, may lumot pa rin 1. Maiinis, kasi nga, alam mo yung oras ng pag ganunganon namin, mas nasuntok ko na sana si Eula. So parang napigilan. 2. Kasi nga ang lakas ng loob niyang pigilan ako, eh sila nga yung may atraso sa akin? 3. But then, if you were the person who was trying to hurt someone else, then... And you don't want-you wouldn't want somebody to try and stop you... 1. Magugulat tapos maiinis. 2. Magugulat ako. Bat mo ako sasampalin, diba mabait ka? 3. Magugulat ako. 4. Angry and surprised. 5. I'll be shocked, i'll be pissed and i'll be really irritated. 6. I wouldn't expect her to slap me. 7. Magugulat ako na hindi ko ineexpect na dadating ka tas ganito pa yung situation natin na may girl sa kwarto ko, fiance kita. 8. Yeah, it wouldn't be okay. It would surprise me, because the whole point of him driving her out was trying to hide it from her, and boom, she's there behind him. 9. By surprising me by being there? No, it wouldn't because i'm trying to hide a secret from her. 10. Surprised.

375 I4

F17

I4

F12

I1

F8

I5 I5

F16 F16

I5

F16

I2

F16

I2

F16

I2

F7

I5

F19

I5

F15

I2

F7

I2

F7

I3

F6

I2 I1 I2 I3 I3 I3 I1

F7 F18 F17 F17 F9 F8 F4

I3

F4

I3

F4

I3

F4

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Tit for Tat 15

Territory 3

11. Sakit, sobrang sakit. Parang normally ako yung gumagawa noon tapos parang ginawa sakin, parang sinampal ako. Yung parang sampal sakin yung ginawa niya. 12. Nagulat ako, hindi ko nga ineexpect na kaya niyang gawin yun sakin eh, na magwalk-out sakin. 1. May mentality ako na kailangan, kung ano yung makukuha ko from the world, yun yung ibabalik ko. 2. Eh kasi, private space mo yun, tapos nirerespeto mo yung private space nila. Hindi ka naman pumupunta sa kwarto nila ng walang paalam, so ineexpect ko na irerespetuhin niya rin yung space ko tyaka kung ano yung binibigay sa akin ng tao, binabalik ko. 3. Sakin okay lang. I mean, kasi parang given na siya eh. Nature na siya na nasaktan ka, hinabol ka ng boyfriend mo, sasampalin ka eh, given na yun na parang kahit saan teleserye or movie, laging sinasabi na pag nag-cheat yung guy: "Saktan mo na ako! Sampalin mo na ako!" 4. Oo kasi mas masakit yung ginawa ko sa kanya eh. 5. Kasi parang... Kung ikaw guilty ka dun sa ginawa mo, okay lang na saktan ka rin ng taong nasaktan mo para patas lang yung pain na dinanas niyo. 6. Kunwari tinulak ka niya sa stairs, edi ikaw din, gusto mo iparanas kung ano yung dinanas mo, so itutulak mo rin siya sa stairs. 7. Ah, iyon. It's about getting even. At the end of the day, yes. 8. But then, he slept with the call girl, so i'll kind of expect it, she'll slap me. 9. I mean, well, he did something really bad. If i was the girlfriend, i would slap him. I'd probably kick him somewhere else 10. I guess yes, kung nasaktan ko siya. Dalawa yun eh, yung nasaktan ko siya ng di ko alam, nasaktan ko siya ng alam, pero wala akong pakialam. 11. Yes. Kung may kasalanan ba naman akong ganon ka hard eh, ganong ka foul, I think yung girlfriend may right na sampalin ako. 12. Pero parang tama lang, parang deserve mo kasi may ginawa kang mali 13. Naniniwala rin ako sa karma na pag may ginawa ka na masama, lalo na sa kapwa, parang babalik rin sayo yun, 14. Kung ako rin yun, parang deserve ko or kulang pa nga yun dahil sa mga ginawa ko 15. Parang karma 1. Tapos ipuprove mo na kwarto ko to kaya bawal ka dito, kaya kahit anong gawin ko sayo, basta nasa loob ng kwarto ko, okay lang. Dapat di ka magreklamo, tapos ininvade mo yung private space ko. 2. Eh kasi, private space mo yun, tapos nirerespeto mo yung

376 I1

F15

I1

F15

I2

F7

I2

F1

I1

F12

I2 I2

F12 F12

I2

F12

I2

F12

I3

F12

I3

F12

I4

F17

I4

F12

I5

F12

I5

F12

I5

F12

I2 I2

F5 F3

I2

F1

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

3.

Talk not Violence 8

1. 2. 3.

4. 5. 6. 7. 8.

Self-concept 5

1. 2. 3. 4.

Acceptable in the context (situation) 6

5. 1. 2. 3. 4. 5. 6.

private space nila. Hindi ka naman pumupunta sa kwarto nila ng walang paalam, so ineexpect ko na irerespetuhin niya rin yung space ko tyaka kung ano yung binibigay sa akin ng tao, binabalik ko. If ako si Richard, foul yun, for me, kasi that is the only space na I can do anything kasi room ko nga eh, tapos papasok ka nang di ko alam, and wearing a polo, my polo pa, akin yun, not yours. Magagalit ako, kasi bakit mo ako kinaladkad, pwede naman tayong mag-usap nang maayos? Kasi ako, as much as possible, mag-usap muna. Kung hindi na talaga kaya at hindi nila ma-contain yung sarili nila sa galit, tyaka lang kayo magsuntukan. Pwede naman kasing mag-usap ng normal pero the fact na sobrang eager na yung guy na maayos, baliktad na yung nangyayari. Kung baga, nahaharass na niya yung girl, which is parang pangit tingnan na parang sa isang relasyon, Siyempre masakit kasi parang magkapatid tayo, bakit kailangan mo akong saktan ng ganyan? Parang ganoon, pwede namang pag-usuapan ng maayos, mga ganyan. Maybe family, again. But, me kasi. I prefer talking things through, and i'm not much of a harming type of person. Alam kong may mali ako, siguro may mali ako, pero pagusapan muna natin, idaan natin sa maayos na pag-uusap Hindi. Siyempre parang magwawalk-out ka, diba nga pagusapan natin to ng maayos. Masakit. Parang bastos na parang... Medyo maiintindihan ko rin na parang may kasalanan ako eh, may ginawa akong something eh, pero siyempre, alam mo yung: "Halika na. Wag kang umalis. Mag-usap tayo!" Sa sarili ko… Sa sarili ko na yun. Sarili kong pananaw. I think that's just how i am, especially when i don't like contact much. With my personality, i would do that, just because i'd be so angry to the point of wanting to harm the person. Siguro, sa akin din. Okay pala yung reaction sa akin ni Richard, as a person, normal na yun, for me it's okay. Galit siya, di ba? It's not that i think that people shouldn't stop you. I mean, if you were trying to hurt somebody, then someone should stop you. Okay lang. Kasi naiintindihan ko siya, galit siya eh. Di ko siya masisisi Like, again, I don't want to have anything to do with you. Don't touch me and don't talk to me. Don't give me excuses because i'd walk away. Pero kasi, sa part naman ni Kim Chiu, naiintindihan ko rin kasi parang wala pa sa sarili si Jake nung time na yun, so

377

I4

F1

I2

F3

I2

F3

I4

F14

I5

F18

I3

F9

I1

F5

I1

F10

I1

F15

I2 I4 I3

F3 F3 F14

I3

F12

I5 I4

F18 F3

I3

F6

I2 I5 I3

F12 F8 F15

I5

F15

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

378

parang siguro hindi pa talaga time para mag-usap sila. Holds the right 3

Not acceptable in any context 11

Film Influence 6

1. Siyempre masakit, yung feeling na hatakin ako ng asawa ko is parang, bakit? Diba, may right ako sayo, diba so parang masakit... I think pwedeng gawin ng asawa yun sa galit, pero the fact na... Basta mahirap i-explain pero di siya okay. Hindi si good. 2. Basta may freedom ka naman para piliin yung gusto mo, pero pinipilit sayo yung ibang bagay. 3. Bakit ka mahihiya kang ipaglaban or gawin yung tama, so iyon, kung nasa tama ka, kailangan wag kang matakot na ipakita yun na alam mo na nasa tama ka talaga, na wala kang aapakan na ibang tao, ganon. 1. Hindi pa rin appropriate since may fiance si Marco, si Richard, so hindi tama na pumunta siya dun sa room, kahit naman siyang, kahit walang nangyari, pero di magandang tingnan. 2. Di kasi siya normal sakin ah, hindi siya normal na sinasaktan mo yung kapatid mo 3. Pwede naman kasing mag-usap ng normal pero the fact na sobrang eager na yung guy na maayos, baliktad na yung nangyayari. Kung baga, nahaharass na niya yung girl, which is parang pangit tingnan na parang sa isang relasyon, 4. Parang medyo nagiging pagka-possessive na yung parang actions na ginagawa ni Dave, so parang di siya maganda na gawin. 5. Di ko siya magugustuhan 6. Pero mali pa rin yung ginawa niya 7. Hindi. Ayoko ng ganon. So parang pag nag-uusap, titingin ka muna sa likod. 8. Ayoko. Ayokong masaktan, masampal, masabunutan. 9. Hindi okay. 10. Tyaka... Ayaw kong masaktan, tyaka wala ako sa mood para makipag-away. 11. Ayoko nung niyakap ni Jake si Kim.

I4

F3

I5

F14

I5

F5

I5

F1

I1

F17

I4

F14

I5

F12

I5 I2 I1

F8 F4 F5

I1 I2 I2

F5 F5 F14

I2

F14

1. Pelikula na yan. 2. Normal na pinapakita sa teleserye na wag mo saktan, kapatid mo yan, mag-isip ka 3. Parang sa ibang movies din, local, internation, meron naman na pag possessive, nagpapakitang possessive yung tao, isa yun sa actions na pwede niyang gawin, so yun. 4. Sa personal experiences tyaka sa movies din 5. Sakin okay lang. I mean, kasi parang given na siya eh. Nature na siya na nasaktan ka, hinabol ka ng boyfriend mo, sasampalin ka eh, given na yun na parang kahit saan teleserye or movie, laging sinasabi na pag nag-cheat

I4 I5

F3 F14

I5

F6

I1 I4

F12 F17

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

yung guy: "Saktan mo na ako! Sampalin mo na ako!" 6. Siguro sa pelikula. Relief 2

Forcing oneself 6

Depends on the communicator characteristics 2 Fighter 2 Revulsion 1 Violence 3

Experience 5

Possessive 2

1. Okay lang. Parang narerelieve ng onte kasi yung gesture niya na yun means handa na siya ulit na makinig sa akin tyaka may onteng chance na magiging okay na lahat. 2. Yeah. Kung sampalin niya ako, so? Pain lang yan, kung siya marerelease yung pain niya, go ahead. Baka makatulong pa ako sa kanya. 1. Kasi gusto niya akong pilitin na makinig dun sa mga explanation niyang walang kwenta naman. 2. Maiinis kasi pinipilit niya akong makinig sa kanya eh ayaw ko ngang makinig sa kanya. 3. Parang ifoforce niya yung gusto niya nang hindi niya iniisip yung nararamdaman ni Kim Chiu, 4. Ako siguro, maiinis ako, kasi parang diba nga, kaya ayaw ni Kim Chiu kasi na-hurt siya-Parang nasaktan siya, so sa parang, if bigyan na lang siya ng, kunwari ng time para mag-isip-isip or chance na mapag-isa, imbis na pilitin siya, kasi parang mas lalong nakakasakal yung datin pag ganon. 5. Basta may freedom ka naman para piliin yung gusto mo, pero pinipilit sayo yung ibang bagay 6. Pinipilit niya yung sarili niya sa akin. 1. Magugulat ako. Bat mo ako sasampalin, diba mabait ka? 2. Since alam kong mas mabait siya sa akin, na hindi niya yun kayang gawing yon sa akin, pero ginawa niya. 1. Nakita niya na sa behavior na hindi nagpapatalo 2. Hindi siya yung nagpatalo, parang lumaban siya kasi parang alam niya na tama siya. 1. I'll be disgusted. Like I said, i wouldn't want to have anything to do with that person, and then that person goes up and hugs me. Don't touch me. 1. Si Kim pumapalag na wag siyang hawakan, 2. Because you were trying to talk to somebody, and aside from her walking out, she slaps you pa. Parang it's not enough that she walks away, she had to slap you pa. 3. You don't want to be slapped when you're trying to talk to somebody. I just don't think that when you're trying to talk to somebody, they'd go turn around and slap you. 1. Honestly, it's from personal experience 2. Sa personal experiences tyaka sa movies din 3. Sa, ano... Sa akin din, based sa akin, kasi may mga kapatid din ako, may ate rin ako, may brothers ako na youngest sa akin 4. Personal experiences 5. Based talaga sa experience 1. Parang medyo nagiging pagka-possessive na yung parang actions na ginagawa ni Dave, so parang di siya maganda na gawin. 2. Parang sa ibang movies din, local, internation, meron

379

I4

F17

I2

F16

I4

F17

I2

F11

I2

F11

I5

F14

I5

F14

I5

F14

I2 I1 I2

F14 F18 F18

I1

F17

I5 I3

F18 F14

I4 I3

F14 F9

I3

F9

I4 I5 I5

F14 F6 F18

I5 I5 I5

F8 F19 F14

I5

F14

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Conduct 2

1.

Panic (Scared/ Nervous) 5

2. 1. 2. 3.

4. 5.

naman na pag possessive, nagpapakitang possessive yung tao, isa yun sa actions na pwede niyang gawin, so yun. Manner na lang na nasa iba kang bahay. Hindi mo kailangang mang-gera doon, diba? Hindi siya right. Good manners and right conduct. And worried. IF it's because if i did something wrong. Kinabahan na parang gusto mong magwala, na parang bakit ka pumasok? Matatakot ka kasi yun yung naabutan, parang kakalabas niyo lang ng kwarto tapos ganyan yung mga suot, so matatakot ka kung ano yung iisipin kahit wala namang nangyari If i were Jean, I'd be scared...she could really harm me Parang tinanggal yung puso ko tapos tinapakan. Parang nawala lahat ng dugo sa katawan, ganon. Kasi parang manyak.

380

I4

F4

I4 I3 I2

F4 F4 F4

I5

F4

I5 I2

F5 F15

I2

F14

Perverse nature 1

1.

Depends on the situational context 4

1. But in a normal fight, I wouldn't 2. Siyempre hindi, I mean, pwede isang tabi lang, sakin lang, kung i-apply sakin, siguro hindi ok sakin na masampal mismo sa birthday ko, diba? Normally, kapag birthday dapat masaya ka, 3. With my personality, i would do that, just because i'd be so angry to the point of wanting to harm the person. 4. So yun, ako, as much as possible kapag galit ako sa situation na iyon, ako na yung lumalayo, kasi baka may magawa pa akong… 1. Maguguilty.

I3 I1

F16 F17

I3

F12

I2

F14

I2

F19

Feels triumphant 2

1. Kasi feel ko panalo ako. 2. Kasi, parang you let your guard down.

I2 I2

F19 F19

Rejection 2

1. Hindi, same with Kim Chiu. Tutulak ako papalayo, kasi nga parang ayoko nung masyadong... 2. Kasi parang mas napakita na ayaw siyang pakinggan tyaka wala na talagang pag-asa na patawarin siya. Parang nawalan ng pag-asa.

I1

F4

I2

F15

I2

F15

1. Para sakin oo, kasi ganon din ako, once na hindi ko na kaya yung feelings or emotions ko, gusto na tumakbo na lang, gusto ko ako muna, mag-isip. 2. I wouldn't be surprised, because there is always that thing you don't want to talk about, and you'll just end up running away?

I1

F19

I3

F19

Feel guilty 1

No hope 1 Can identify 2

1.

How do you define "Expectancy Violation"?

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Education (Family/School Influence/Advice from friends) 18

Society’s norm/perception/culture 14

1. Maybe my parents? Tell me to not hurt people. 2. In the school 3. When we were really young, we don't really care about girl or boy or something. We are all friends right? So sometimes if I am boy, I can have fight with the girl, right. Like when we were elementary student, and teacher will always say, "You should not fight with her." So i said, "Why?" Because she always said, "Because you're a boy." 4. Values lesson in…Korea 5. From my parents? 6. Maybe a value lessons from parents, teachers, friends, and also through the tv shows. 7. I think I learned to not punch friends or something like that when I was in grade school or in kindergarten 8. In the Brent in Philippines. 9. Because actually in Korea, like physical punishment or physical...you know what...gently hitting each other is quite acceptable in Korea…But here, if we hit each other, it becomes a totally different problem. It's like it's a very serious big problems. Yeah, like even for me... Since I was educated here, even more than i was in Korea, so I'm more used to nonviolence 10. In the school... The teachers. 11. But it depends on the parents' attitudes, how they raised their kids or how they tell them what is valuable or not. 12. Yeah, I think I got it from my parents. 13. When I kicked out from my Korean high school, I learned that. 14. When my father was talking, I just walked in my room and closed the door. Yeah, so at that time, my father get really mad at me 15. Yeah, in Korean cullture, Confucius is really deeply affected? One of his theories "Yi", which is respect others. Yeah, it's really important. That's what we've learned from my parents and teachers. 16. I can sometimes see the parents fighting and all. So friends fighting. I fight. So, basically experiences 17. From my parents? 18. I think I see some actions through the tv show, or my friends, parents, other people, yeah. 1. Because in Korea, basically if it's a guy or a girl, guys shouldn't touch a girl no matter ever what happens. 2. When we were really young, we don't really care about girl or boy or something. We are all friends right? So sometimes if I am boy, I can have fight with the girl, right. Like when we were elementary student, and teacher will always say, "You should not fight with her." So i said, "Why?" Because she always said, "Because you're a boy." 3. It's mostly observation 4. I think I can understand the situation? Because I don't know for you guys, but in Korea, it's not really big deal. Like fighting or

381 I9 I7 I7

K5 K5 K5

I10 I9 I10

K5 K1 K1

I8

K2

I9 I6

K2 K2

I9 I10

K6 K6

I10 I7 I7

K6 K3 K8

I8

K8

I10

K8

I9 I10

K10 K10

I6

K5

I7

K5

I6 I8

K1 K1

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  5. 6. 7. 8.

9. 10. 11. 12. 13. 14.

No reason (no right) 24

punching each other, if they are friends or if they really care each other? I think it could be happen I think it's a difference between different cultures? Because usually in school, elementary school there involved fight. Maybe a value lessons from parents, teachers, friends, and also through the tv shows. Because actually in Korea, like physical punishment or physical...you know what...gently hitting each other is quite acceptable in Korea…But here, if we hit each other, it becomes a totally different problem. It's like it's a very serious big problems. Yeah, like even for me... Since I was educated here, even more than i was in Korea, so I'm more used to nonviolence General idea. If It's a stranger, I don't go close to the person..Because the word "different" or "strange" or "familiar" means very big to the Koreans. It's like by practice of Koreans? It's culture. That's okay. In Korea, if he's older than her, that's really rude action. Like, walk away while older people is saying something. But since they are kind of friends, or something, it's okay. Yeah, in Korean cullture, Confucius is really deeply affected? One of his theories "Yi", which is respect others. Yeah, it's really important. That's what we've learned from my parents and teachers.

1. Because she doesn't deserve that thing, and like he was doing that. 2. I think it matters about how serious topic you're talking about or for example…, if i said "I ate your candy" and she grabs me by the collar. It's like "Wow. What's that?" it's very rude and mean. 3. I will just angry, and will want to fight back because that's stranger right? 4. I'm not kind of person who will hit people without a reason. So, when it's me. I can say it's okay. But I can say that it's better than if other people hit me. 5. You never hit the people without a reason 6. Because whenever I hit people without reason, there's always bad result. 7. You never hit the people without a reason 8. Of course, if you will ask me, if it's okay, it's not. Because it was just an accident, I didn't mean it? But she still pushed me? 9. If I can't find any reason why she did that to me, I will feel bad. 10. It's not the reason that needs to push. 11. She's just reacting so bad. Pushed me, it's like the violent reaction. 12. The skinship is like between friends. So I didn't expect relationship between him-

382

I8 I10

K1 K1

I10

K1

I6

K2

I8 I6

K9 K4

I6 I10 I7

K4 K11 K8

I9

K8

I10

K5

I6

K1

I7

K1

I7

K1

I7 I7

K1 K1

I7 I6

K2 K6

I6 I9 I10

K6 K6 K6

I8

K9

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Gives pain 15

13. Because, she's trying to escape from this issues. But he's trying to...he wants to talk about it. So, if I'm her, I don't like it. 14. Because i find it very private, it's like it's so close to my faceclose to like my main body. And if someone touched that, someone... The person who I don't...like allow, touches it, it's very, like, I find it very rude. Not respecting 15. I don't like them saying that they have a right to touch the other people just because they are older. And then specially the guys, when the guys touch girls. Like they're thinking that they can...that they have right to get close to the girls. Like girls don't have any right to reject the skinship. 16. It's a matter of personal thing? As I keep saying, I believe that each individual has our own boundary. And she just jumping into my boundary, before I'm actually prepared to stop that. 17. Because she is really crossing the line...of my acceptance zone. 18. If the person is not part of our group, there's no reason that I should go close to the person. 19. Because if you don't want to fight, he will just ignore me or avoid me. Since he come to me, it means, he wants to say something, and that will begin another conflict between us. 20. Nothing happened but she approaches me, because I dislike her! 21. I don't feel good when somoeone just opens the door without knocking or just permission. 22. So, whenever they wake me up, like disturb my sleep, I wanna throw them out of the window. 23. There were some cases that about me, mentioning why are you caring about that person's actions. You should respect that. 24. Because for me, it's like...It's the person's right to do whatever he wants to do, and he...like, especially if it doesn't directly affect me. It should be...I have no right to tell the person to stop doing it. 1. She got hurt and she was asking him to release her, but he didn't. 2. When he grabbed it, it hurt, right? 3. Because she said, 'It's hurt. Just let me go." But he was still grabbing the arm. 4. Because it's also kind of...Also, I think it's kind of bullying? Someone is hurt, but keep on doing. 5. It feels awkward when I see the guy grab her so hard or something. Even when she says "it's painful" in Korean. 6. Because he is yelling at me and I would be feeling physical pain. 7. I'd feel sad, and also bad at the same time. 8. I think it matters about how serious topic you're talking about or for example…, if i said "I ate your candy" and she grabs me by the collar. It's like "Wow. What's that?" it's very rude and mean. 9. The guy cannot do that to the girls. But if the girl did that to me, I would feel bad somehow, yeah. 10. Maybe i'll be hurt because he didn't really understand what I

383 I10

K9

I6

K9

I6

K9

I6

K4

I6 I6

K4 K4

I7

K4

I10

K4

I9

K11

I7

K8

I6

K10

I6

K10

I6

K5

I9 I9

K5 K5

I9

K5

I7

K5

I8

K5

I10 I6

K5 K1

I10

K1

I8

K2

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

was doing. 11. It's like kind of bullying? 12. Because like, best friends. That's like strong trust? And when my best friend hits me, maybe I would get...yeah13. Yeah. Physically hurts and if he's a...like in this situation, physcially and mentally. Because, he don't seem to realize that it's bad. 14. It's very not acceptable for me, because it hurts! He's...the person is hurting me. 15. Bestfriend is the person who I always trust and be with right? But, he tried to punch me. So, of course I would feel bad or something. No respect (Not listening) 34

1. Rude 2. She got hurt and she was asking him to release her, but he didn't. 3. And then, they basically don't know each other, and in that case grabbing is without information is very rude. It's not... Shouldn't be accepted. 4. Because she said, 'It's hurt. Just let me go." But he was still grabbing the arm. 5. It feels awkward when I see the guy grab her so hard or something. Even when she says "it's painful" in Korean. 6. That's rude. 7. She feels offended. 8. I think it matters about how serious topic you're talking about or for example…, if i said "I ate your candy" and she grabs me by the collar. It's like "Wow. What's that?" it's very rude and mean. 9. It's not polite thing, yeah 10. Yeah, I will feel bad, by the reaction of the partner, because before I say sorry, 11. For me, she's being rude, and then like. 12. That's rude. 13. If he is stranger, if I put it in my shoes, in this case, I could sue him, because I feel offended. 14. Becomes very offensive 15. Because i find it very private, it's like it's so close to my faceclose to like my main body. And if someone touched that, someone... The person who I don't...like allow, touches it, it's very, like, I find it very rude. Not respecting 16. It's a matter of personal thing? As I keep saying, I believe that each individual has our own boundary. And she just jumping into my boundary, before I'm actually prepared to stop that. 17. But, like if a person I'm not really close to jumped into me like that, i'll be surprised and feel offended. 18. Because she is really crossing the line...of my acceptance zone. 19. I think it's personal20. It's not respectful? 21. I don't feel good when somoeone just opens the door without knocking or just permission.

384

I9 I9

K2 K2

I10

K2

I6

K2

I7

K2

I6 I6

K5 K5

I6

K5

I9

K5

I7

K5

I8 I8 I6

K5 K5 K1

I9 I10

K1 K6

I10 I8 I8

K6 K9 K9

I6 I6

K9 K9

I6

K4

I6

K4

I6 I8 I9 I9

K4 K11 K11 K11

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Feels sad (Disappointed) 17

22. That's okay. In Korea, if he's older than her, that's really rude action. Like, walk away while older people is saying something. But since they are kind of friends, or something, it's okay. 23. I'm trying to express something, but the person doesn't listen to the things that I say. Of course I will feel bad. It feels like she or he ignored me. 24. When I fight with my brother, or sister, when I'm trying to saying something, they just go to their room and lock the door. At this time I will feel bad. 25. Not even touch. If he even touch my clothes. I would feel bad. Because I hate that person. 26. I guess, it's not okay for him. Because he liked her, right. So, he lied down, just chilling by himself. So, before she entered, he should arrange his hair or something. 27. Because like...Turning around and walk to another place is that he shows he doesn't want to talk with me, and then he doesn't really want to listen to what I'm talking. 28. But that's rude, to turn around while on is talking to me. That's rude. 29. Because he didn't really show he respect me. 30. I want to have the conversation. But some people don't want to talk, right? They just want to go. I don't like that thing. I don't like some person go away, while talking? 31. Won't even listen to me. 32. I'll feels so extremely bad…because I don’t want to be cut! 33. Because on the second time, it's okay, but for the third time, maybe it won't be...be more angry. 34. He's not respect to me, he doesn't respect me. Yeah, because I said that I don't want to talk and go, but keep on grabbing my wrist and... 1. I'd feel sad, and also bad at the same time. 2. Then, i'll be so disappointed. Get anger. 3. I...maybe I would be so sad? because, how can my best friend hit me? 4. But I was feeling so bad! And somehow also frightened. 5. Bestfriend is the person who I always trust and be with right? But, he tried to punch me. So, of course I would feel bad or something. 6. If I can't find any reason why she did that to me, I will feel bad. 7. Of course, I would feel bad. 8. Maybe I would feel bad, but acceptable because I stepped on your phone. 9. Yeah, I will feel bad, by the reaction of the partner, because before I say sorry, 10. It's acceptable but if the girl feels...feels...uncomfortable if the other touches her body... 11. Skinship between friends is okay, but between someone else and me will be not comfortable. 12. Then I wouldn't be enjoying anymore, seeing that person that I don't like.

385 I7

K8

I7

K8

I7

K8

I7

K8

I7

K8

I8

K8

I8

K8

I8 I9

K8 K8

I10 I10 I9

K8 K8 K10

I9

K10

I10 I6 I9

K5 K1 K2

I10 I7

K2 K2

I6 I7 I8

K6 K6 K6

I10

K6

I8

K9

I8

K9

I10

K3

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Not the way to treat women 4

Not the way to treat a friend 1 Personal knowledge 3

Annoyance (uncomfortable) 26

386

13. I would be so so sad. 14. Of course I will feel bad, because somebody go away while I'm talking, right. 15. I'm trying to express something, but the person doesn't listen to the things that I say. Of course I will feel bad. It feels like she or he ignored me. 16. When I fight with my brother, or sister, when I'm trying to saying something, they just go to their room and lock the door. At this time I will feel bad. 17. I'd say that he will feel bad, while the girl go away while he was talking? 6. Even more aggressive because it's a guy grabbing a girl's arm 7. Girls should be more protected; the guys should never ever touch the girl? 8. Because she doesn't deserve that thing, and like he was doing that. 9. The guy cannot do that to the girls. But if the girl did that to me, I would feel bad somehow, yeah. 1. Angry of course. Like it feels like my best friend betray me or something.

I6 I7

K8 K8

I7

K8

I7

K8

I7

K8

I6 I6

K5 K5

I10

K5

I10

K1

I7

K1

1. It's mostly observation 2. I can sometimes see the parents fighting and all. So friends fighting. I fight. So, basically experiences 3. I think I see some actions through the tv show, or my friends, parents, other people, yeah. 1. I... If I know that he's coming to me to talk to me, I will...i'll feel, I mean, not really good. But I won't really tell them to go away 2. When he grabbed her too hard. I feel uncomfortable. 3. It feels awkward when I see the guy grab her so hard or something. Even when she says "it's painful" in Korean. 4. She will feel uncomfortable and then scared 5. He trying to...forcing her...grabbing her, and the like...forcing her to like, leave. That was uncomfortable. 6. It will be uncomfortable. 7. Because i find it very private, it's like it's so close to my faceclose to like my main body. And if someone touched that, someone... The person who I don't...like allow, touches it, it's very, like, I find it very rude. Not respecting 8. Because I feel so uncomfortable. Like, I become oversensitive to the per...to the area that the person is touching, but I can't say, "Please do not touch me!" 9. He's the person who you have a conflict with, right? Of course I would want to avoid him. But if he appear in front of me, of course I would feel embarassed or avoid him. 10. It's not comfortable with...to be with the person whom I dislike, in the same place. I won't really be happy. 11. Feel... Curious but not comfortable. 12. Nothing happened but she approaches me, because I dislike her! 13. I don't feel good when somoeone just opens the door without

I6 I10

K1 K8

I10

K10

I8

K7

I7 I7

K5 K5

I8 I10

K5 K5

I10 I6

K1 K9

I6

K9

I7

K3

I8

K3

I8 I10

K4 K4

I9

K11

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Feeling of betrayal 3

Depends on the relational context 26

knocking or just permission. 14. He's distrubed! 15. Not even touch. If he even touch my clothes. I would feel bad. Because I hate that person. 16. Feels not good. Also uncomfortable. 17. But I would be...feel uncomfortable, if I was the guy 18. I'll feels so extremely bad…because I don’t want to be cut! 19. I would be kind of irritated, because I was trying to leave and he stopped me. It means like the person stopped what I was about to do. 20. I would hate that. If that is not writst, whatever is that part of my body. If the person who I hate , if that person touch me. 21. Irritation by being stopped. But not by being grabbed, by my arm. 22. I would hate that. If that is not writst, whatever is that part of my body. If the person who I hate , if that person touch me. 23. Dislike? 24. Feel bad, basically. Not 25. Not good emotions. 26. I feel so irritated 1. Angry of course. Like it feels like my best friend betray me or something. 2. Because like, best friends. That's like strong trust? And when my best friend hits me, maybe I would get...yeah3. Angry of course. Like it feels like my best friend betray me or something. 1. And then, they basically don't know each other, and in that case grabbing is without information is very rude. It's not... Shouldn't be accepted. 2. Because I dislike the guy. 3. Isn't it natural behavior that I want to be with somebody that doesn't...that I do like... 4. Everyone has a certain line of acceptance? Like, depends really... Everything depends on the situation and on how one can accept the action of the others 5. Yeah, we can have that kind of situation, when I have conflict with my friends or something. Of course we can hit each other or something. 6. Angry of course. Like it feels like my best friend betray me or something. 7. I will just angry, and will want to fight back because that's stranger right? 8. Because it's my best friend. It's like...it's acceptable. 9. I...maybe I would be so sad? Because, how can my best friend hit me? 10. Because, it's your very best friend 11. Angry of course. Like it feels like my best friend betray me or something. 12. But if I know the person and just I dislike him, I can just understand.

387

I10 I7

K11 K8

I10 I10 I10 I6

K8 K8 K8 K10

I7

K10

I6

K10

I7

K10

I10 I10 I10 I10 I7

K10 K10 K10 K10 K1

I9

K2

I7

K2

I6

K5

I8 I8

K7 K7

I6

K1

I1

K1

I7

K1

I7

K1

I9 I9

K1 K2

I6 I7

K2 K2

I8

K9

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Valid reason 6

Method of Expressing emotions (Comfort in gestures/ Act of affirmation) 8

13. I don't...If it's in my case, maybe I won't like the stranger or the guy who I dislike...If he touches my something like here, here... 14. Because he's not even my boyfriend or something. We're not related to anything. He's just trying to explain for something I don't want to listen. 15. Because i find it very private, it's like it's so close to my faceclose to like my main body. And if someone touched that, someone... The person who I don't...like allow, touches it, it's very, like, I find it very rude. Not respecting 16. Because I don't like touching until we get close enough to touch each other. 17. Well, it would be okay but I won't be answering nicely. 18. It's not comfortable with...to be with the person whom I dislike, in the same place. I won't really be happy. 19. Then I wouldn't be enjoying anymore, seeing that person that I don't like. 20. But, like if a person I'm not really close to jumped into me like that, i'll be surprised and feel offended. 21. If I don't like the person, it's not okay 22. I guess, it's not okay for him. Because he liked her, right. So, he lied down, just chilling by himself. So, before she entered, he should arrange his hair or something. 23. While she's walking, maybe secretly she hopes that he grabs her. 24. The person whom you like grabs your wrist. Isn't it okay? It's okay right? 25. And when boyfriend or girlfriend grab your wrist, it's feel okay, right? 26. I, for myself, dislike somebody to touch me, if I don't know the person. 1. I think it is fine, because from his point of view, i was kind of expecting that, what 2. My mind wouldn't be able to function well, so any actions i do, I think they'll be accepted by my friends. 3. And, in the opposite situation, if my friend would do that to me, i'll be understanding becasue i know that i know she's not properly thinking. She didn't mean it. She's just acting in a way of expressing his/her anger. 4. That will be better to express their emotional conflict by their gesture. 5. It is not normal for you, but the situation is understandable. 6. I'm not kind of person who will hit people without a reason. So, when it's me. I can say it's okay. But I can say that it's better than if other people hit me. 1. And, in the opposite situation, if my friend would do that to me, i'll be understanding becasue i know that i know she's not properly thinking. She didn't mean it. She's just acting in a way of expressing his/her anger. 2. That will be better to express their emotional conflict by their gesture.

388 I8

K9

I10

K9

I6

K9

I6

K9

I9 I8

K3 K3

I10

K3

I6

K4

I10 I7

K4 K8

I7

K10

I7

K10

I7

K10

I10

K10

I6

K1

I6

K1

I6

K1

I7

K1

I8 I7

K1 K2

I6

K1

I7

K1

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Prolongs the argument 2

Restrain 1 Surprise 10

Tit for Tat (Consequence) 5

Territory 4

3. Since they grab their clothes and punch the friends something that they can't express. They are emotional conflict or something. 4. I think it's because it's like they both are angry so, maybe yeah, I think can be 5. Yeah. That's how they express their feelings, like "I'm get mad now, don't talk to me" or something. 6. Lee Min Ho expressed his feelings by grabbing her wrist or something. 7. ..skinship by grabbing the wrist or something, 8. One example of skinship is when you like someone or love someone, you can express that feeling by skinship right? 1. Because that only makes a situation worse? 2. I want to have the conversation. But some people don't want to talk, right? They just want to go. I don't like that thing. I don't like some person go away, while talking? 1. I would be kind of irritated, because I was trying to leave and he stopped me. It means like the person stopped what I was about to do. 1. I'll be so surprised at first, I think I will end up getting mad 2. I'll feel surprised. 3. The skinship is like between friends. So I didn't expect relationship between him4. Because, she's trying to escape from this issues. But he's trying to...he wants to talk about it. So, if I'm her, I don't like it. 5. Because someone called me, but if it's just surprising right? 6. I'd be just surprised, and I wouldn't feel any offense from that action. Like like7. But, like if a person I'm not really close to jumped into me like that, i'll be surprised and feel offended. 8. I think it will be okay, but i'll be like surprised. 9. Yeah. She might be just greeting me, or like trying to tell me, "How are you?" It's like you...you're meeting unexpected person you know. "Oh, hi!" or something like that. So, it's okay 10. Very surprised! 1. Because whenever I hit people without reason, there's always bad result. 2. But, it is true that I can't say anything about it, because even if it was an accident I did something wrong to the person. I broke her cellphone. 3. I don't think I would really mind the action of push. Because the only thing I would mind is, "Oh my God, I dropped that laptop. I broke that laptop. That's not mine." 4. Maybe I would feel bad, but acceptable because I stepped on your phone. 5. I will feel angry, but at the same time, I will be sorry, because I did wrong thing. 1. I think it's personal2. Because room, the personal room, is like the personal privacy. 3. But it's like an understandig between each other, that the

389 I7

K1

I9

K1

I7

K8

I7

K10

I7 I7

K10 K10

I6 I9

K3 K8

I6

K10

I6 I9 I8

K2 K6 K9

I10

K9

I9 I6

K3 K4

I6

K4

I9 I10

K4 K4

I10 I7

K11 K1

I6

K6

I6

K6

I8

K6

I8

K6

I8 I10 I10

K11 K11 K11

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Talk not Violence 1 Self-concept 3

Acceptable in the situational context 17

room...I have this room because I want to be alone in this...my space. 4. There were some cases that about me, mentioning why are you caring about that person's actions. You should respect that. 1. Everything can be resolved by talking each other, but sometimes there can be real fight? 1. I always think that guys should protect girls no matter what or something. 2. My characteristics 3. I, for myself, dislike somebody to touch me, if I don't know the person. 1. I think it is fine, because from his point of view, i was kind of expecting that, what 2. I would probably understand becase that's very natural reaction of a person. 3. My mind wouldn't be able to function well, so any actions i do, I think they'll be accepted by my friends. 4. And, in the opposite situation, if my friend would do that to me, i'll be understanding becasue i know that i know she's not properly thinking. She didn't mean it. She's just acting in a way of expressing his/her anger. 5. That will be better to express their emotional conflict by their gesture. 6. Yeah, we can have that kind of situation, when I have conflict with my friends or something. Of course we can hit each other or something. 7. I think I can understand the situation? Because I don't know for you guys, but in Korea, it's not really big deal. Like fighting or punching each other, if they are friends or if they really care each other? I think it could be happen 8. It is not normal for you, but the situation is understandable. 9. I think it's a difference between different cultures? 10. I think it's because it's like they both are angry so, maybe yeah, I think can be 11. The girl was going to leave him, so he grabbed to not leave. 12. But if I know the person and just I dislike him, I can just understand. 13. Yeah, it's okay. I'm not the person who likes to be in the room all along or something. I always want to be with other people or something. So feel free to visit my room whenever they want. It's okay. 14. Because she's pissed off, so maybe I can understand. 15. Okay. Since I'm performer, I have many experience about those kinds of things. 16. I think it's okay to grab the arm, because he was trying to have a conversation, and she rejected. And grabbing arm is kind of an accepted way of you know, effort to continuing the conversation. 17. I think it's okay

390

I6

K10

I8

K2

I7

K5

I9 I10

K8 K10

I6

K1

I6

K1

I6

K1

I6

K1

I7

K1

I7

K1

I8

K1

I8 I8 I9

K1 K1 K1

I9 I8

K9 K9

I7

K8

I9 I7

K8 K10

I6

K10

I8

K10

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

Not acceptable in any context 23

Film Influence 3

1. And then, they basically don't know each other, and in that case grabbing is without information is very rude. It's not... Shouldn't be accepted. 2. Because I dislike the guy. 3. It's not right thing to do 4. He trying to...forcing her...grabbing her, and the like...forcing her to like, leave. That was uncomfortable. 5. I'm not kind of person who will hit people without a reason. So, when it's me. I can say it's okay. But I can say that it's better than if other people hit me. 6. Punching someone is not really right thing, but... 7. Because it's not ethical. 8. It's very not acceptable for me, because it hurts! He's...the person is hurting me. 9. If I punched my friend, that's okay. But when my friend punched me, it's not okay. 10. Of course, if you will ask me, if it's okay, it's not. Because it was just an accident, I didn't mean it? But she still pushed me? 11. I think that the guy...he'll get angry because he doesn't know. He'll misunderstand. Because pushing someone is not right things to do. 12. Because it's not understandable for me. 13. Of course, if she did that, it's not good 14. Enemy, stranger or sometimes friend? If someone pushes me in that situation it's not really accepted as good intention 15. In my situation, she can't act like that. 16. Because he's not even my boyfriend or something. We're not related to anything. He's just trying to explain for something I don't want to listen. 17. Because i find it very private, it's like it's so close to my faceclose to like my main body. And if someone touched that, someone... The person who I don't...like allow, touches it, it's very, like, I find it very rude. Not respecting 18. I don't like them saying that they have a right to touch the other people just because they are older. And then specially the guys, when the guys touch girls. Like they're thinking that they can...that they have right to get close to the girls. Like girls don't have any right to reject the skinship. 19. If I don't like the person, it's not okay 20. I think it's personal21. I want to have the conversation. But some people don't want to talk, right? They just want to go. I don't like that thing. I don't like some person go away, while talking? 22. I would hate that. If that is not writst, whatever is that part of my body. If the person who I hate , if that person touch me. 23. Like, it feels like something like a bothering insect is on my fist or something. 1. I think through the dramas. 2. Dramas and experiences. 3. I think I see some actions through the tv show, or my friends,

391 I6

K5

I8 I9 I0

K7 K5 K5

I7

K1

I8 I8 I6

K2 K2 K2

I7

K2

I6

K6

I9

K6

I9 I7 I8

K6 K6 K6

I10 I10

K6 K9

I6

K9

I6

K9

I10 I8 I9

K4 K1 K8

I7

K10

I7

K10

I10 I10 I10

K1 K8 K10

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

392

parents, other people, yeah. Forcing oneself 5

Depends on the communicator characteristics 6

Revulsion 1 Violence (Bullying) 7

Experience 20

1. He trying to...forcing her...grabbing her, and the like...forcing her to like, leave. That was uncomfortable. 2. Like forcing like this one is also like violence. 3. Because, she's trying to escape from this issues. But he's trying to...he wants to talk about it. So, if I'm her, I don't like it. 4. Because on the second time, it's okay, but for the third time, maybe it won't be...be more angry. 5. He's not respect to me, he doesn't respect me. Yeah, because I said that I don't want to talk and go, but keep on grabbing my wrist and... 1. Because in Korea, basically if it's a guy or a girl, guys shouldn't touch a girl no matter ever what happens. 2. Everyone has a certain line of acceptance? Like, depends really... Everything depends on the situation and on how one can accept the action of the others 3. I understand if I'm guy. 4. The guy cannot do that to the girls. But if the girl did that to me, I would feel bad somehow, yeah. 5. The girl grab the boy, it's...I think it's not really common in Korean culture 6. Female friend, “Okay”, Guy friend “Not okay” 1. Like, it feels like something like a bothering insect is on my fist or something.

I10

K5

I10 I10

K5 K9

I9

K10

I9

K10

I6

K5

I6

K1

I10 I10

K1 K1

I8 I8

K10 K11

I7

K10

1. Because it's also kind of...Also, I think it's kind of bullying? Someone is hurt, but keep on doing. 2. When he grabbed her too hard. I feel uncomfortable. 3. Like forcing like this one is also like violence. 4. Because usually in school, elementary school there involved fight. 5. It's also kind of...it can be bullying right? 6. That's a violent reaction 7. She's just reacting so bad. Pushed me, it's like the violent reaction

I9

K5

I7 I10 I10

K5 K5 K1

I9 I10 I10

K6 K6 K6

1. When we were really young, we don't really care about girl or boy or something. We are all friends right? So sometimes if I am boy, I can have fight with the girl, right. Like when we were elementary student, and teacher will always say, "You should not fight with her." So i said, "Why?" Because she always said, "Because you're a boy." 2. Experience. 3. Because usually in school, elementary school there involved fight. 4. From my experience. 5. Just from my experience 6. Because I have experienced that in Korea. I have experienced that. I fought with my best friend.

I7

K5

I7 I10

K1 K1

I10 I9 I7

K1 K2 K2

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. Cases anger 16

1.

2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Experience. Through my experiences It's really based on my experience. When I kicked out from my Korean high school, I learned that. I think it's based on my experience It's okay for me, I already experienced those kinds of situations. Through my experiences in my house and my friends' house and other shows. I don't think I learned to give an excuse when you have to leave. I wasn't taught that in school, however, I knew it. Because I have experienced it. When my father was talking, I just walked in my room and closed the door. Yeah, so at that time, my father get really mad at me Experience I can sometimes see the parents fighting and all. So friends fighting. I fight. So, basically experiences Dramas and experiences. Of course this is experience Okay. Since I'm performer, I have many experience about those kinds of things. When we were really young, we don't really care about girl or boy or something. We are all friends right? So sometimes if I am boy, I can have fight with the girl, right. Like when we were elementary student, and teacher will always say, "You should not fight with her." So i said, "Why?" Because she always said, "Because you're a boy." Then, i'll be so disappointed. Get anger. Angry of course. Like it feels like my best friend betray me or something. I will just angry, and will want to fight back because that's stranger right? Like maybe I get angry also? I will be mad, aft first I will be very mad But I was feeling so bad! And somehow also frightened. I'll be so surprised at first, I think I will end up getting mad Angry of course. Like it feels like my best friend betray me or something. I will just angry, and will want to fight back because that's stranger right? I think that the guy...he'll get angry because he doesn't know. He'll misunderstand. Because pushing someone is not right things to do. I will feel angry, but at the same time, I will be sorry, because I did wrong thing. I angry? Yeah, get mad Because on the second time, it's okay, but for the third time, maybe it won't be...be more angry.

393 I7 I10 I6 I7 I10 I7 I10

K2 K9 K9 K3 K4 K4 K1

I6

K8

I7

K8

I9 I10

K11 K8

I10 I7 I7

K8 K10 K10

I7

K5

I6 I7

K1 K1

I7

K1

I9 I10 I10 I10 I6 I7

K1 K1 K2 K2 K2 K2

I7

K2

I9

K6

I8

K6

I9 I7 I9

K4 K8 K10

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

394

Conduct 1

1. Because in Korea, basically if it's a guy or a girl, guys shouldn't touch a girl no matter ever what happens.

I6

K5

Panic (Scared/ Nervous/Threatening) 15

1. Even more aggressive because it's a guy grabbing a girl's arm 2. Eh, I would be...I don't think I would be able to think properly, probably just really scared for my situation. 3. I'll feel like...scared? Because it's very hurtful, if someone keeps on doing it. Yeah, i'll feel scared. 4. Guy (Scary), Woman (Scary) 5. It means, "let's fight". So, it's not good. 6. She will feel uncomfortable and then scared 7. Because he's taller and stronger than her. Maybe she'll feel scared. 8. But I was feeling so bad! And somehow also frightened. 9. Because that gesture is like threatening, that I'm gonna punch you if you say a words. So, if you don't want me to punch you, then shut your mouth 10. So, it can get...I don't know what to do. 11. Of course, i'll feel afraid. 12. We had a conflict before, but that person come to me. It feels like, "Will he hit me for doing something?" Like, of course, I will afraid. 13. Because if you don't want to fight, he will just ignore me or avoid me. Since he come to me, it means, he wants to say something, and that will begin another conflict between us. 14. I'll feel nervous at the same time. 15. Like nervous 1. There can be sexual harassment, if the girl or boy feels bad.

I6 I6

K5 K5

I9

K5

I9 I7 I8 I8

K5 K5 K5 K5

I10 I10

K2 K1

I9 I7 I7

K4 K4 K4

I7

K4

I10 I9 I8

K4 K8 K9

1. Eh, I would be...I don't think I would be able to think properly, probably just really scared for my situation. 2. I would probably understand becase that's very natural reaction of a person. 3. I think it matters about how serious topic you're talking about or for example…, if i said "I ate your candy" and she grabs me by the collar. It's like "Wow. What's that?" it's very rude and mean. 4. Everyone has a certain line of acceptance? Like, depends really... Everything depends on the situation and on how one can accept the action of the others 5. I think it matters about how serious topic you're talking about or for example happened 6. It is not normal for you, but the situation is understandable. 7. It depends on the situation of course. 8. You never hit the people without a reason 9. Of course, if you will ask me, if it's okay, it's not. Because it was just an accident, I didn't mean it? But she still pushed me? 10. But there was reason, they have a conflict, like kind of fight, right? So, since it's girl, we can understand that was not so hard, so it's okay. 11. If I'm in a bad situation, no

I6

K5

I6

K1

I6

K1

I6

K1

I6

K1

I8 I10 I7 I6

K1 K1 K2 K6

I7

K6

I10

K9

Perverse nature (Sexual harassment) 1 Depends on the situational context 17

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

 

395

12. We had a conflict before, but that person come to me. It feels like, "Will he hit me for doing something?" Like, of course, I will afraid. 13. It's okay for me, I already experienced those kinds of situations. 14. Like, when I'm just chilling by myself, like listening to music in my room. It's okay. 15. It depends on situation. 16. Depends on the situation, actually. If it's like, slight misunderstanding like that, I would listen. 17. But if it's like big deal, I don't know what's big deal, but maybe big issues, for myself. Maybe I will try to ignore. 1. It's a very obvious sign of rejection 2. Leaving the person is really a strong rejection? 3. Because like...Turning around and walk to another place is that he shows he doesn't want to talk with me, and then he doesn't really want to listen to what I'm talking. 4. Because in general, we...when we talk, it's a norm to see each other's face. But, the meaning of showing back, is that I want to draw line between you and me, and I don't want to really5. Because that's ignoring me. 1. I would do the same, if I were this girl.

I7

K4

I7 I7

K4 K8

I7 I10

K8 K10

I10

K10

I6 I6 I8

K8 K8 K8

I8

K8

I10 I10

K8 K8

Natural Reaction 1

1. Isn't it natural behavior that I want to be with somebody that doesn't...that I do like...

I8

K7

Does not depend on communicator characteristics 2

1. Guy (Scary), Woman (Scary) 2. But there was reason, they have a conflict, like kind of fight, right? So, since it's girl, we can understand that was not so hard, so it's okay. 1. Everyone has a certain line of acceptance? Like, depends really... Everything depends on the situation and on how one can accept the action of the others 1. I will just angry, and will want to fight back because that's stranger right? 2. I will just angry, and will want to fight back because that's stranger right? 3. I'm not kind of person who will hit people without a reason. So, when it's me. I can say it's okay. But I can say that it's better than if other people hit me. 4. But, like if a person I'm not really close to jumped into me like that, i'll be surprised and feel offended. 1. I think I can understand the situation? Because I don't know for you guys, but in Korea, it's not really big deal. Like fighting or punching each other, if they are friends or if they really care each other? I think it could be happen 2. Yes, because they are boys and they can get into little trouble? 3. Because it's my best friend. It's like...it's acceptable. 4. Skinship between friends is okay, but between someone else and me will be not comfortable.

I9 I7

K5 K6

I6

K1

I7

K1

I7

K2

I7

K2

I6

K4

I8

K1

I9 I9 I8

K1 K1 K9

Rejection 5

Can identify 1

Level of Tolerance 1 Not acceptable to strangers 4

Acceptable only between friends 4

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

396

  Gender 9

Violence is acceptable 4

Does not understand 1 Not acceptable between friends 5

Causes misunderstanding 2

Not a good intention 1

1. I think I can understand the situation? Because I don't know for you guys, but in Korea, it's not really big deal. Like fighting or punching each other, if they are friends or if they really care each other? I think it could be happen 2. Yes, because they are boys and they can get into little trouble? 3. I understand if I'm guy. 4. The guy cannot do that to the girls. But if the girl did that to me, I would feel bad somehow, yeah. 5. But there was reason, they have a conflict, like kind of fight, right? So, since it's girl, we can understand that was not so hard, so it's okay. 6. Of course, I would feel bad. 7. But since she's girl and she pushed me and that was not so hard. So, what can I do for that is understand her right? 8. Female friend, “Okay”, Guy friend “Not okay” 9. The girl grab the boy, it's...I think it's not really common in Korean culture 1. Yes, because they are boys and they can get into little trouble? 2. Because actually in Korea, like physical punishment or physical...you know what...gently hitting each other is quite acceptable in Korea…But here, if we hit each other, it becomes a totally different problem. It's like it's a very serious big problems. Yeah, like even for me... Since I was educated here, even more than i was in Korea, so I'm more used to nonviolence 3. Since I know the situation, I hoped that he hit him. 4. I'm not kind of person who will hit people without a reason. So, when it's me. I can say it's okay. But I can say that it's better than if other people hit me. 1. Maybe i'll be hurt because he didn't really understand what I was doing.

I8

K1

I9 I10 I10

K1 K1 K1

I7

K6

I7 I7

K6 K6

I8 I8

K11 K10

I9 I6

K1 K2

I7 I7

K2 K2

I8

K2

1. I...maybe I would be so sad? Because, how can my best friend hit me? 2. Because like, best friends. That's like strong trust? And when my best friend hits me, maybe I would get...yeah3. Yeah. Physically hurts and if he's a...like in this situation, physcially and mentally. Because, he don't seem to realize that it's bad. 4. Because, it's your very best friend 5. Bestfriend is the person who I always trust and be with right? But, he tried to punch me. So, of course I would feel bad or something. 1. I think that the guy...he'll get angry because he doesn't know. He'll misunderstand. Because pushing someone is not right things to do. 2. We'll get far from each other because of this problem 1. Enemy, stranger or sometimes friend? If someone pushes me in that situation it's not really accepted as good intention

I9

K2

I9

K2

I10

K2

I6 I7

K2 K2

I9

K6

I9 I8

K8 K6

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

397

  Means to fix argument (attention) 9

Disturbed 2 Not affected 2 Sudden 2

Embarrassing 2

Avoidance 6

Acceptable for familiar people (loved ones) 6

1. He wanted to solve the misunderstood 2. Grabbing the shoulder was just a process of grabbing her not to leave. 3. The girl was going to leave him, so he grabbed to not leave. 4. I think it's okay to grab the arm, because he was trying to have a conversation, and she rejected. And grabbing arm is kind of an accepted way of you know, effort to continuing the conversation. 5. The girl was going to leave him, so he grabbed to not leave. 6. He wanted to solve the misunderstood 7. Yes, I think. When they grab it? I feel like...like...i'll talk a litle more with them, yeah. 8. Because he's just trying to talk to me, because if I'm her, he's trying to talk to me, but I'm ignoring him 9. It's like when you call somebody's attention, you touch because if somebody can't hear you, you touch to get an attention 1. I'd feel disturbed 2. So, whenever they wake me up, like disturb my sleep, I wanna throw them out of the window. 1. It doesn't matter to me. 2. Because it's just calling me? Even thought it's suddenly, I think it doesn't matter. 1. Because it's just calling me? Even thought it's suddenly, I think it doesn't matter. 2. Uh, it's like because it wasn't expected? But, I don't like that person, but he just came and walked to me. 1. He's the person who you have a conflict with, right? Of course I would want to avoid him. But if he appear in front of me, of course I would feel embarassed or avoid him. 2. Shy. Ashamed. Shame. 1. He's the person who you have a conflict with, right? Of course I would want to avoid him. But if he appear in front of me, of course I would feel embarassed or avoid him. 2. To fight is bad, right. If you have a person you have a conflict with, you better avoid him or she, instead of like encounter those people. 3. I feel I want to go out of this restaurant as soon as possible. 4. It's just that I would want to leave. 5. The first thought I have was I don't want to stay in the same area or place with her? I wanted to leave? 6. Annoyed 1. Because I don't like touching until we get close enough to touch each other. 2. But I won't be so offended because they are the people whom I love or automatically love. 3. Yeah family, but if not family, just sharing house, no. 4. While she's walking, maybe secretly she hopes that he grabs her. 5. The person whom you like grabs your wrist. Isn't it okay? It's okay right?

I9 I9

K9 K9

I9 I6

K9 K10

I9 I9 I9

K10 K10 K10

I10

K10

I10

K10

I10 I7

K9 K8

I9 I9

K3 K3

I9

K3

I9

K4

I7

K3

I7 I7

K8 K3

I7

K3

I10 I6 I6

K3 K3 K3

I10 I6

K4 K9

I6

K4

I8 I7

K11 K10

I7

K10

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

398

 

Not allowed between strangers 3

Curious 1 Respect for Elders 1 Not acceptable if done by younger person 1

6. And when boyfriend or girlfriend grab your wrist, it's feel okay, right?

I7

K10

1. If It's a stranger, I don't go close to the person..Because the word "different" or "strange" or "familiar" means very big to the Koreans. 2. Yeah family, but if not family, just sharing house, no. 3. I, for myself, dislike somebody to touch me, if I don't know the person. 1. Feel... Curious but not comfortable.

I6

K4

I8 I10

K11 K10

I8

K4

1. That's okay. In Korea, if he's older than her, that's really rude action. Like, walk away while older people is saying something. But since they are kind of friends, or some thing, it's okay. 1. That's okay. In Korea, if he's older than her, that's really rude action. Like, walk away while older people is saying something. But since they are kind of friends, or something, it's okay.

I7

K8

I7

K8

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Appendix M Production Script VISUAL Fade in from black

AUDIO BGM “Mellow Music”

Romantic clips from Korean and Filipino dramas

VO Drama series has become part of our lives. They never fail to make us laugh, hate and cry. Remember that one drama where the handsome leading guy suddenly grabs the wrist of the girl?

Handgrabbing clip from Korean or Filipino dramas

VO Handgrabbing clip from Korean or Filipino dramas

This one?

VO Handgrabbing clip from Korean or Filipino dramas

How bout this one?

VO This?

Transition to Title

BGM

399

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

400

  “Cheerful Music” Text and Clips

VO Those were examples of expectancy violations in dramas, particularly in Korean Drama and Filipino Teleserye, and these gestures are sometimes overused.

But, what is an expectancy violation?

First, let’s begin with expectancies. EXPECTANCIES according to, Judee Burgoon, are enduring patterns of anticipated verbal and nonverbal behaviour. In this video we will be focusing on nonverbal behaviour, Proxemic (the variable use of space) Haptic (tactile communication or the use of touch).

Expectancies are influenced by three factors:

Communicator Characteristics- these refer to the salient characteristics of the violator (gender, age, appearance, background, reputation)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

401

  Relational Characteristics- these pertain to the relationship between the violator and the recipient of the violation. Context- this refers the situation or location in which the violation takes place

An expectancy violation occurs when a communicator's behaviour falls outside a recipient’s range of expectancies, and is sufficiently deviant to be noticed by the receiver.

Simply put, an expectancy violation takes place if the communicator deviates from the receiver’s expectations, eliciting a form of response or reaction (arousal) from the receiver, in turn. For example.

There are three most commonly found expectancy violations in both Korean dramas and Filipino Teleseryes: Invasion of personal Space, Hitting and Handgrabbing. Clips of invasion of space (Walang Hanggan/Shining Inheritance) from dramas with

Or sometimes, the characters just want to cross the

text and markers

other’s boundaries.

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

402

  Clips of hitting (Tayong Dalawa/Nice Guy) from dramas with text and markers

But sometimes… it’s not so sweet. It could even be

Clips of handgrabbing (City Hunte/Tayong

violent. Tsk tsk tsk.

Dalawa) with text and markers

These have been used so much in dramas that we can already sense that the character would do this or that to the other.

So what could filmmakers or drama producers do to try and make scenes more climactic and less predictable? Clips of unusual drama scenes (Nice Guy and Walang Hanggan)

Simple. They could “play” with the audience’s expectations, like utilise different forms of expectancy violations or gestures that the audience would not expect to see in a scene.

Also, in confrontational scenes, maybe it would be better to exemplify “restraint” or other methods of conflict management. Text and graphics Filipinos and Koreans have rich cultures, thus their dramas should also reflect that culture that they

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

403

  have and inculcate the values they have as a people. Simply put, drama series or films should show the positive aspect of being a Korean and Filipinos.

“Proxemic and Haptic Expectancy Violations and Viewer Perception in Korean Drama and Filipino Teleserye (Robles & Tolisora, 2014)”

Many thanks to: Prof. Clarice Bartolome Prof. Joy Villaluz Atty. Javellana Ms. Florian Garcia Gaby Novenario Katrina Torrefranca Ms. Manilyn Miranda Mrs. Editha Tolisora Mrs. Bettina Zialcita-Araneta Katlyn Sadural Nicole Inocentes-Ruiz Mark Tolisora Pia Viray Alex Miranda April Duran Elizaben Agarao

Clip of Researchers

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  Jeon Eun Jung Jeon Hyun Jung Kim Ji Hye Choi Ji Woo Lee Gwan Uk Robles Family Tolisora Family

Video Clips: Nice Guy Shining Inheritance City Hunter Tayong Dalawa Ina, Kapatid, Anak Walang Hanggan

404

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

405

  CHRISTELLE I. TOLISORA Block 1 Lot 1A Villa Cecilia Casimiro Westville Ligas 3, Bacoor, Cavite, 4102 Phone #: (046) 417-00-64 Cell #: (928)863-0730 Email: [email protected]

OBJECTIVE: To work in a broadcasting network, where I can apply my media production and communication skills. EDUCATION ASSUMPTION COLLEGE, SAN LORENZO Bachelor of Communication Major in Media Production Expected Graduation: March 2015 Current GPA: 1.2060 (Highest being 1.0)

Significant Coursework: Audio Arts, Audio Visual Production 1 and 2, Introduction to Photography, Scriptwriting, Introduction to Video Production, Introduction to Broadcasting, Broadcast Production and Direction, Film 3As, Media Planning and Strategies HONORS

• • • • • •

Dean’s Lister 1st Honors (A.Y. 2013-2014) Dean’s Lister 2nd Honors (A.Y. 2012-2013) Dean’s Lister 1st Honors (A.Y. 2011-2012) Most Comprehensive AFP PR Plan: BAYANI (A.Y. 2012-2013) St. Paul AV Faith Awards 7th Place: SMILE (A.Y. 2012-2013) Assumption College Beauty and Brains: Bida Award (A.Y. 2012-2013)

EXPERIENCE Summer 2014 PLDT – Media Services, Intern

• • • • •

Was assigned at PLDT’s Public Affairs department specifically in Media Services Was assigned in photo and video coverage of company events such as, contract signings, press briefings, etc. Was assigned to design collaterals for press briefings Was assigned to edit photo and video coverages Published a photo in the official PLDT Publication: ACCESS

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

406

  August 2014 Habitat for Humanity Philippines (NGO) – Social Programs Intern

• •

Was assigned to develop a comparative research Was assigned to formulate a survey questionnaire for the comparative research

SKILLS COMMUNICATION

• • • • • • • •

Hosted for the annual Integrated Marketing Campaign Inter-block Competition in Assumption College Voice talent for official school audio visual production and course requirements Hosted for a course requirement live broadcast Hosted for school related events Fluent in Filipino and English Knowledgeable in Basic Korean (Level 1 in Berlitz Language Center) Knowledgeable in Basic French Presenter for Marketing and Public Relations Inter-block Competitions Volunteer for Assumption College Open House A.Y 2011-2012

•

Excellent communication skill, both in written and in oral

•

TECHNICAL

• •

Highly proficient in Microsoft Office Programs (MS Word, PowerPoint, Excel, Publisher) Highly proficient in Basic Adobe Photoshop and Illustrator

MANAGEMENT/LEADERSHIP

• • •

Has been the team leader for the Most Comprehensive Armed Forces of the Philippines (AFP) Public Relations Plan: BAYANI Has been a member of the core group in several public relations and marketing interblock competitions Has been assigned several leadership positions in subject-related projects

CREATIVE

• • • •

Edited Audio Visual Productions and Short Films Knowledgeable in Basic Photography Wrote various materials in different genres (video/radio scripts, short stories, etc.) Highly skilled in Broadcast Production and Direction (With a grade of 1.0)

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

407

  •

Highly skilled in Introduction to Photography and Video Production (With a grade of 1.0)

MEMBERSHIP STUDIO Member Mother Rosa’s Honors Society Voices Member

2011-present 2013-2014 2011-2012

SEMINARS ATTENDED

• • • • •

Social Justice by Sen. Miriam Defensor-Santiago (March, 2014) Social Responsibility by Mr. Atom Araullo (March, 2014) Consortium Women of the Philippines (January, 2014) Graphika Manila: International Multimedia Design Conference (August, 2012) Graphika Manila: International Multimedia Design Conference (July, 2011)

REFERENCE Available upon request

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

408

  JOELLE EILA A. ROBLES Room 302 Continental Plaza, 45 Annapolis St.,Greenhills, San Juan Phone #: (02) 726-6766 Cell #: (917) 700-4303 Email: [email protected] OBJECTIVE: To seek employment in an established television network or production house, where my media production skills such as writing, photography, video and photo editing skills would be honed and practiced. EDUCATION ASSUMPTION COLLEGE, Makati City Bachelor of Communication, Major in Media Production Expected Graduation: 2015 Current GPA: 1.1403 Significant Coursework: Audio Visual Production 1 and 2, Audio Arts, Visual Arts, Journalism, Photography, Creative Writing, Scriptwriting, Broadcasting, Video Production, Women and Media, Broadcast Production and Direction, Intercultural Communication, Development Communication HONORS • Dean’s List for Academic Performance First and Second Semesters 2011-2014 • Top 1 Dean’s Lister 2011-2012 • Top 3 Dean’s Lister 2012-2013 ACTIVITIES • Assumption Student Council 3rd Year Level Representative 2013-2014 • STUDIO Member 2011-2015 EXPERIENCE Summer 2014 Documentary Division-News and Current Affairs Dept., ABS-CBN. • Transcribed and translated sound bits from interviews for “Tinawon” documentary, and ANC’s “Mukha” episodes • Pitched stories for possible episodes for “Mukha” • Researched and helped develop news stories for “Bandila” • Served as the production assistant for the “Mukha” episode, “Tisoy” August 2014 Habitat for Humanity Philippines (NGO) – Volunteer Program Intern

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

409

  SKILLS/ABILITIES: COMMUNICATION • Fluent in English and Filipino • Hosted for the annual Integrated Marketing Campaign Inter-block Competition in Assumption College (A.Y. 2014-2015) • Hosted the Annual Assumption College Vigil (A.Y. 2013-2014) • Delegate at the 16th UNESCO-APEID Conference at Bangkok, Thailand (A.Y. 2012-2013) • Presenter, PRSP (Inter-block Competition) (A.Y. 2013-2014) • Presenter, Integrated Marketing Competition (Inter-block Competition) (A.Y. 2013-2014) • Presenter, AFP PR Competition (Inter-block Competition) (A.Y. 2013-2014) • Volunteer, AC Open House (A.Y. 2011-2013) • Completed Level 1 Korean at Berlitz Language Center LEADERSHIP • Was elected as the Third Year Level Representative for the Assumption Student Council (A.Y. 2013-2014) • Frequently assigned several leadership positions in academic related projects, and college-wide events. TECHNICAL • Highly proficient in Microsoft Office programs (MS Word, MS Powerpoint, MS Excel), • Highly-skilled in Adobe Photoshop and Premiere Pro • Possesses basic skills in Adobe Illustrator, Audition, and After Effects • Knows how to drive a vehicle ARTISTIC • "Got Gas?" App Logo Design • Posters and Brand Design • Skilled in News and Creative Writing (with a grade of 1.0 in Journalism, Creative Writing and Scriptwriting class) • Photography, Video and Video Editing ORGANIZATION • Served as the Project Manager for "Third Time's the Charm": Junior's General Assembly (A.Y. 2013-2014) • Served as the Project Manager for "Junior's Day Out": Third Year Batch Week • Served as the Project Manager for Assumption College's English Week 2013 • PANA Dream Team

  PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA

  LEADERSHIP POSITIONS HELD AND MEMBERSHIPS • Assumption Student Council: Third Year Level Representative (A.Y. 2013-2014) • Social Development Formation Cluster, TATAK AC Batch 11 (A.Y. 2013-2014) • Mother Rosa Honor's Society (A.Y. 2013-2014) • Militant and Responsible Involvement of Assumption Student (MARIAS) (A.Y. 2013-2013) • STUDIO (A.Y. 2012-2014) • Assumption VOICES (A.Y. 2012-2013) SEMINARS ATTENDED (MOST RECENT) • Consortium of Women Colleges (January, 2014) • GoNegosyo Entrepreneurship Summit: Creativity and Innovation (November 2013) • Social Development Formation Cluster (Tatak AC!) Module 3: Solidarity and Social Responsibility (February, 2014) • Social Development Formation Cluster (Tatak AC!) Module 2: Women Empowerment (November, 2013) • Social Development Formation Cluster (Tatak AC!) Module 1: Self-Empowerment (September, 2013) • Philippine Center for Creative Imaging: Adobe After Effects CS6 Basics (May, 2013) • Kaya Natin! “Lead Like Jesse” Youth Leadership Training Program (April, 2013) • 16th UNESCO-APEID International Conference - UNESCO Bangkok (November, 2012) • Philippine Center for Creative Imaging: Adobe Premiere Pro CS6 Basics (October, 2012) • Graphika Manila: International Multimedia Design Conference (August, 2012) • Graphika Manila: International Multimedia Design Conference (July, 2011)

REFERENCE Available upon request.

410