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June 13, 2018 2:48 PM Updated 4 years ago
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By Rina Chandran , Thomson Reuters Foundation
CHIANG MAI, Thailand (Thomson Reuters Foundation) - Young boys walk in pairs late in the evening at Chiang Mai’s popular Tha Phae Gate, sauntering past tourists taking photos of the fort as locals hawk souvenirs.
No one would connect the boys to the older, white men - and a pair of Chinese 40-somethings - seated under a tree, or to the young man with the mobile phone leaning on a parked motorbike.
But for Alezandra Russell, founder of non-profit Urban Light, this scene - which unfolds every evening in one of the country’s most popular tourist stops - sums up everything that is wrong with Thailand’s approach to trafficking and slavery.
“The dialogue in Thailand - and around the world - is focused on women and girls, because the general perception is that boys are big and strong, and that they can take care of themselves,” said Russell, pointing out the deals being done.
The boys, aged from 14 to 24, walk in pairs for greater safety, making eye contact with the men, who then communicate their choices to the man with the mobile phone. Once the deal is done, the boys move to a side alley to wait for their clients.
If no one passes muster, the men head to one of dozens of bars and karaoke lounges that offer boys for sex. The rates range from 2,000 baht ($62) for an hour to 5,000 baht for longer, in a back room or in the client’s hotel, Russell said.
“Why does this not shock and enrage people as much as it does when it’s girls?” said Russell, whose drop-in center is for boys in Chiang Mai’s sex industry.
“They are no less vulnerable and abused than girls who are trafficked into sex work. Yet it is much more hidden, so there’s much less sympathy, and far fewer resources for boys,” she said.
Thailand is a source, transit, and destination country for children trafficked for sexual exploitation.
Thailand has more than 123,530 sex workers, according to a 2014 UNAIDS report. Of these, at least 40 percent are under 18, and a significant number are boys, according to rights groups.
Children are trafficked into Thailand from Cambodia, Laos, Myanmar and Vietnam. Victims from Bangladesh, Pakistan, North Korea and China also transit through Thailand en route to the United States, western Europe and Russia, activists say.
“We are aware that there are boys also in the sex trade,” said Krittat Uamson, deputy director of the justice ministry’s human trafficking division in Bangkok. “But the majority of sex workers is girls and women, so our main focus is women.”
Globally, as many as 2 million children are sexually exploited annually, according to the United Nations children’s agency UNICEF. A significant number are boys, campaigners say.
Boys in poorer countries are particularly vulnerable, as they are often forced to work to support their families, and end up being lured to popular tourist spots.
Thailand’s sandy beaches, gilded Buddhist temples and popular cuisine drew a record 35 million visitors in 2017, with that number expected to rise to nearly 38 million this year, according to government data.
Although prostitution is illegal, it is tolerated.
Go-go bars, karaoke lounges and parlors offering “soapy massages” - bubble baths that usually end with sex - can be found in most cities and beach towns such as Phuket and Pattaya.
Agents prey on boys at bus stations, or go to villages to recruit them. The boys quickly run up debts with bar owners for clothes, drugs and money sent to their families, forcing them to remain in the bars, Russell said.
Violence and abuse are common, as is substance abuse and sexually-transmitted infections including HIV and AIDS, according to a 2013 study on boys in Chiang Mai’s sex industry.
The boys also display self-harming and suicidal tendencies, said Russell, who pawned her engagement and wedding rings to set up Urban Light.
“They are exposed to so much abuse and violence: I have seen boys come in who cannot even sit down. No 15-year-old should go through that,” she said.
“But we shouldn’t focus just on getting boys off the street. We have to involve the families, the communities that are putting them at risk, and talk about child rights, and safe migration,” she told the Thomson Reuters Foundation.
A 2016 Global Slavery Index, compiled by the Walk Free Foundation, estimates that 425,500 people live in conditions of modern slavery - including sexual slavery - in Thailand.
To clean up the country’s image, the government recently partnered with airlines and charities to warn visitors about trafficking, urging them to report suspected cases.
It also runs vocational training for at-risk young people, and operates 24-hour hotlines, said Krittat.
But most of these efforts are focused on girls and women, leaving boys and young men vulnerable, activists say.
“There is greater stigma around sexual abuse of boys in some cultures, including in Thailand,” said Damian Kean at ECPAT International, a network of non-profits working to end sexual exploitation of children.
“Anecdotal evidence shows it’s under-reported to a far greater degree than sexual abuse of girls. And the offenders are not just Western tourists, but are just as likely to be locals and other Asian men,” he said.
Children worldwide are more likely to be preyed upon by residents of their own homeland than foreign tourists seeking illicit sex, anti-trafficking experts say.
Last year, Urban Light worked with more than 1,000 boys in Chiang Mai, which Russell said was a record.
Poverty drives thousands in rural Thailand and from neighboring countries to the bustling capital of Bangkok, too.
Boys and so-called “ladyboys”, or transgender women, are trafficked to the city, lured by promises of jobs in restaurants, then forced into sex work.
There are at least 10,000 ladyboys working in Bangkok’s sex industry, said Celeste McGee, founder of Dton Naam, a charity that focuses on boys and transgender women.
“There is more stigma around transgender women than even homosexual men,” said McGee.
“They are exposed to a lot of violence and abuse from clients, and need different interventions for rehabilitation.”
Urban Light and Dton Naam offer counseling, vocational guidance, funds to complete school, and job opportunities.
In Chiang Mai, many drive tuk-tuks with the help of loans or grants, Russell said.
One of them, who goes by the name Joe, entered the trade when he was 15 years old, and worked for seven years, contracting HIV along the way.
Today, he drives a tuk-tuk, his girlfriend sometimes accompanying him, with an Urban Light sticker that says ‘Boys cannot be baht’ displayed prominently on the vehicle.
“I like this job, and being my own master,” he said. “This makes me feel happy, confident.”
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Photographer Alexandra Leese has never forgotten Hong Kong; the city of her childhood and the locus of cherished memories. Though she left when she was 11, the London-based fashion and portrait photographer recently felt compelled to return with her camera. “This began as something very personal to me,” she says. “I was at a point in my life where I felt disconnected from my culture and my hometown and I had a strong desire to reconnect and rediscover what I felt I had neglected.”
In her new zine and film, titled Boys of Hong Kong , Leese not only depicts this new wave of less rigid gender identity among Hong Kong’s male youth culture, but also illustrates the diversities that exist amongst them by dismantling some of the misconceptions she’s encountered. “In western society, Asian men tend to be regarded as ‘less attractive’,” she says. “There is also a tendency to stereotype Chinese boys as 'all looking the same.’ I aim to show diversity within Asian masculinity and celebrate their beauty.” With Boys of Hong Kong, Leese not only reaffirms that these notions are fundamentally untrue but also illustrates just how diverse and unique these young men are.
Alongside the premiere of a film directed by Luke Casey that coincides with Leese’s just-released zine , we catch up with the photographer to talk about making Boys of Hong Kong and hanging out with the cool kids of her hometown.
Although you’ve spent most of your life in London, you still feel that Hong Kong is your home. Did you feel any sense of being an outsider when you returned to do this project?
Alexandra Leese: I was definitely aware while shooting this project that I no longer felt like a local, and that my time away had given me a new perspective on Hong Kong. Despite feeling like I was an outsider coming in, there was also still a sense that this was my home. There was familiarity in the culture and an understanding of how the city works. There were advantages and disadvantages to this, but overall, I discovered a new respect and love for a place I once took for granted. So I wanted to celebrate what makes Hong Kong unique and to concentrate on the positive. Coming back to Hong Kong probably pushed me to ask questions that I wouldn’t have, had I always lived there.
Can you tell us about the preconceptions about Asian masculinity?
Alexandra Leese: Very often, in the west, Asian men are not seen as ‘‘attractive”. They are seen as effeminate, homogenous, or “all looking the same”. It’s way past time to counter these prejudices, and I wanted to do so in a positive way by creating and showing a set of portraits that celebrates a diversity of masculine beauty and character.
“I was not expecting teenage schoolboys from Hong Kong to have such profound and progressive ideas about gender” – Alexandra Leese
What do you think that your images reveal about emerging youth culture in Hong Kong?
Alexandra Leese: The series focuses on a diversity of men within Hong Kong’s youth culture, from schoolboys to artists, and illustrators, skaters, bikers, and tattoo artists. They represent a range of sexualities and backgrounds. I can’t speak for Hong Kong men as a whole, but I observed throughout my project that this generation of young men is particularly self-aware. They are aware of the common stereotypes that Hong Kong or Asian men face, and many of them are consciously or unconsciously moving away from those ideas with a strong desire to find a unique identity and to not be defined by other people’s expectations. With a British colonial past and a communist Chinese future, ‘Hong Kong-ers’ do feel like they have their own cultural identity. They tend to have grown up aware of both eastern and western ideals, and I think this must affect their-slash-our collective mindset. Even though Hong Kong is a busy international city, the options available – especially to young, creative people – are very limited. I feel like this has created a desire among its youth to look beyond the bubble, to be adventurous, curious and open-minded.
Tell us about the process of getting into the intimate world of these boys?
Alexandra Leese: Getting inside their world was very organic – we would really just hang out. For the portraits, we would arrange to go to their homes or meet somewhere familiar to them. It was important for me to shoot them in an authentic and comfortable place, in order to make sure they were most themselves.
There’s a lot of interest and discussion at the moment about challenging and dismantling the male gaze. As a woman taking pictures of boys, what do you think your images bring to that discussion?
Alexandra Leese: The problem with the male gaze is that it typically uses a hetero-normative idea of femininity to create or prop up a superior masculinity. So, by challenging that notion of masculinity, I also hope to contribute to dismantling the male gaze. I aimed to be curious, truthful, and inclusive. It was revealed to me again and again just how universal the human condition is, and that more should be done to bring us together as people than to divide us as men and women.
Can you tell us about some of the ideas that characterise these boys’ relationships with masculinity? And how do they differ from their more conservative parents?
Alexandra Leese: This generation is simply more willing than their parents were to question masculinity as a construct. Jackie and Kenneth really stood out for me as an example of how I believe the youth of Hong Kong are moving forward. They were the youngest of the boys I photographed and even challenged my own preconceptions because I was not expecting teenage schoolboys from Hong Kong to have such profound and progressive ideas about gender. They were extremely affectionate with each other and had their arms around each other the whole time. I was surprised to learn that they were straight since I had just assumed they were dating, but it was refreshing to be challenged that way! They asked me a great question, “Why can girls be affectionate and boys can’t?”
What factors do you think have brought about this cultural shift?
Alexandra Leese: I don’t think you can overestimate the power of the internet in conservative societies like Hong Kong. It gives young people an outlet where they would not have previously had one: an outlet to express themselves, to find like minds, and to experience what is happening in other parts of the world. And when their freedom of expression is being threatened in real life, they still have somewhere to go online.
This project focuses on masculinity – but did you notice any changes in the way that young Asian women relate to female identity?
Alexandra Leese: I went into this project wanting to learn more about masculinity in Hong Kong. I didn’t know much at first about how young men here related to the concept, but I did learn a huge amount. I didn’t focus on young women, as you say, so I can only draw from my personal perspective and experiences, and I do believe change is happening. Having said that, I would love to see a more open dialogue about what it means to be a woman today in Hong Kong. There is a tendency to go along with the norm and to not question that identity as fiercely as we might in less traditional societies. But I believe it is very much a matter of time before the momentum of that conversation reaches us, and I am excited to see (and be!) that change.
Boys of Hong Kong by Alexandra Leese was originally displayed at Red Gallery , 1 Rivington Street, EC2A 3DT on March 15, 2018, but the images are now available in the zine, which you can buy here
Film directed by Luke Casey; Creative direction Alexandra Leese & Luke Casey; Produced by Ocean Pine Studio; Colour by Jamie Noble at Studio RM

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