Contents

The Korea Collection

10 60 192 131

Korean Culture 04 Korean Crafts: OLD AND NEW Sports and Arts 116 Korea’s Young Sports Heroes
12 Experiencing and Creating Korean Beauty 124 The Ups and Downs of a Five-time Skating Hero
14 A Modern Master of an Ancient Art 126 Reaching for the Stars:
16 Talking Past: The Ancient Art of Trade Korea’s New Wave of Sports Hopefuls
22 Pieces of the Past 128 Korea's Non-verbal Performance
24 History’s Home 136 Pioneers of Korean Non-verbal Performance
26 A Glimpse of Korea’s Past 138 For Korean Shows, All the World is a Stage
32 Penetrating Korea’s Art History 140 Baseball: Korea’s Favorite Game
34 Undervalued Paintings 146 Korea’s Baseball Ambassadors in the Global Spotlight
148 Jerry Royster: Korea’s First Foreign Manager
KOREAN Style 36 Korean Cuisine Makes Waves 150 The Progression of Korean Dance
45 A Cornucopia of Taste in Local Specialties 156 An Ideal Life
46 Makgeolli: A Traditional Drink that Tickles Modern Tastebuds 158 Dancing for Life
48 The Present and Future of Hangeul
56 Sejong the Great: A Leader of Language and Man of the People Korea’s Leading Industries 160 Computer Graphics: A New Star in Korean Movies
58 Indonesia’s Cia-Cia Language Preserved by Adoption of 168 Korean Artists to Lead CG Blockbusters
Korean Alphabet, Hangeul 170 Helping the CG Industry Gain Ground Worldwide
60 Hanok: Where Science Meets Art 172 Korea’s Motor Ways on the Fast Track to Success
68 The Meaningful Life of a Guardian of Hanok 180 Korean Cars: Making Inroads Overseas
70 Traditions of the Joseon Dynasty Live On 182 Eco-friendly: Cleaner and Greener
72 The Beauty of HAN 184 Korea’s Electronic Dreams
78 A Cove of Crafts 192 Korea Sets Sail on a Sea of Apps 97
80 A Costume of Culture 194 Korea’s Early Adopters Set the Tone for Electronics Giants
196 Korea’s Got Game
Korean Wave 82 The Korean Wave Ripples Around the World 204 Korea’s Big N’s: Nexon, NCsoft, NHN
90 Learning From the Past 206 Clash of the Gaming Titans
92 2010 Hallyu’s Big Bang 208 Ascent of Korean Shipbuilding
94 K-Pop and the New Korean Wave Shake the World 214 The new Transition to Premium Vessels
102 Stars and Fans Connected by SNS 216 Sailing Smooth on a Cruise
104 K-Pop Music Imagination 218 The Globalization of Korean Film
106 Korean Artists: Taking Classics to New Heights 224 Korean Cineastes Expanding their Horizons
112 Pioneering Classical Artists 226 An Industry Insider’s Insights
114 The Stars of KNUA

2 3
Ko r e a n C u ltu r e

Korean
crafts:
old
and
new
In the modern world, the element of traditional
culture that has remained closest to our daily
lives is crafts. As a form of traditional culture,
craft proves its value not by merely being handed
down through generations, but by reinventing
itself as something relevant in the lives of people
today. Times have changed enormously and
people’s desires vary more than ever, original but
by adapting while maintaining their spirit,
traditional crafts remain a living, breathing link
to Korea’s history. by Lee Se-mi

4 5
Ko r e a n C u ltu r e
C rafts mirror the times they are
created in. If you want to know more
about any given period, all you need to do
is look at work produced from that era. If
crafts refer to the skills from which objects
are made, tradition can be thought of as
the cultural body of work created from
such skills.
Traditional crafts develop according to
each historical environment. In the
prehistoric age, crafts developed out of
necessity, with our ancestors using natural
materials to make most of the tools they
needed in their everyday lives. They used
clay to make plates, knitted grass to make
clothes, and cut wood to build homes.
During Korea’s Bronze and Iron ages,
with metal readily available, people
started making accessories and weapons,
too. Weapons were for hunting, but they
also served to symbolize the holder’s
status. It was during this era that crafts
began to assume true artistic value.
Crafts blossomed during Korea’s
dynastic times, as nations emerged and
governments assumed more power.
Buddhist culture started to take root in
people’s lives as well, exerting a great
influence on the development of crafts.
Crowns, earrings and other accessories
that represented the authority of the royal
6 7
palace were developed. Buddhist temple
bells and other religious artifacts, as well
as architectural techniques learned
through building temples, also laid the
groundwork for traditional crafts.
Crafts became important instruments
of statehood, so governments established
institutions that created masters. Crafts
centered around the needs of nobility
flourished during the Goryeo Dynasty
(918-1392), when highly artistic ceramic
crafts and Najeonchilgi (lacquerwork inlaid
with mother-of-pearl) came to the fore.
When the Joseon Dynasty took power,
pragmatism became more important.
Decorative items took a back seat to white
porcelain, Buncheongsagi celadon and
other straightforward and practical goods.
Art for Life Today, Korea has 50
designated traditional crafts in seven
broader categories, with experts in those
fields recognized as jangin or “masters.”
However, the term jangin doesn’t simply
imply a high degree of skill at building
things: it also suggests admiration for
someone who has made it to an artistic
level unreachable by others. A master is an
artist who breathes life into craftworks.
In Korea, artistic activities or skills that
have great historical, artistic or
academic value have since
the 1960s been designated
as intangible cultural
properties. Such are
divided into state-
designated “important
intangible cultural
properties” and
“intangible cultural
properties,” which are
decided by municipal or
provincial governments.
Sometimes, they are also called
“human cultural assets.”
The seven state-designated traditional
crafts are ceramic craft (earthenware and
roof tiles); metal craft (using gold, silver and
other metals to produce tools and decorate
surfaces); woodcraft (the construction of
buildings, furniture and instruments); stone
craft; textile craft (weaving fabric or making
clothes and accessories); leather craft (using
animal skins or feathers); and paper craft,
which either produces paper or decorates
objects with paper.
Each niche craft has its masters,
including sculptors who decorate the
surface of metallic objects, woodwork
masters who make large frames for
construction, cobblers who craft traditional
shoes, and masters in the art of making
works of jade.
People we now call “masters” are the
first generation of intangible cultural
Cho Chung-ik, a master fan
properties in craftwork. Even throughout
maker, demonstrates his
craft (above left). One of Korea’s tumultuous modern history, they
Cho’s work were able to keep their crafts alive.
Hwangchildanseon fan,
also known as
During Japan’s colonial rule and in the
Banggubuchae , is made of aftermath of the liberation in August 1945,
bamboo and Hanji paper
Korea’s traditional crafts and craftspeople
(left). Cho’s Taegeukseon
fan includes the traditional faced constant upheaval. Rapid
Korean symbol, yin and industrialization brought Western
yang (top). Cho’s
Mugunghwaseon fan technologies and fashions, which often
imitates Korea’s national threatened to overwhelm traditional crafts
flower, Mugunghwa
completely. Through it all, the old masters
(above).
dedicated their lives to continuing their
craft and passing it down to younger
generations. They faced enormous
hardship, and many simply gave up or
turned their hand to more commercial
pursuits. And even now, decades later, just
making a living remains a major challenge
for many traditional craftspeople.
Cho Chung-ik, a master of traditional
fan making, became an intangible cultural
property of Jeollabuk-do Province in 1998.
He began making his fans, adorned with
Cho’s work Yunseon fan, a
wheel-like shape made of taegeuk (the yin-yang) patterns similar to
bamboo on display. those on the Korean flag, in the 1970s.
Today, the fans are renowned for their
beauty and unfailing practicality, and are a
Ko r e a n C u ltu r e
constant presence at major events
promoting Korean culture.
Cho says his fans are “the roots of
our people and the faces of Korea.” The
fans gained their first international
exposure at the 1982 Asian Games in
New Delhi, then again at the 1986 Asian
Games and the 1988 Olympic Games,
both in Seoul. To some extent a victim of
his own success, Cho today finds
himself having to balance the competing
interests of commercial gain and
maintaining the true spirit of his artistry.
Bamboo and Hanji (traditional paper)
are the main materials for fan making,
though silk can be used as well. About
80 to 90 bamboo ribs are used in creating
a taegeuk pattern, and the peacock fan,
which uses an astonishing 8,000 bamboo
ribs, takes anywhere between one and
six months to make.
Despite his own success, Cho is
worried that no one will follow him into
the taegeuk fan craft after he dies. Pay
can be very low and the future is always
uncertain, so government support is
often needed to keep crafts such as
Cho’s alive. For Cho, making fans
8 9
Jang Ju-won, a master of jade artwork is well
known his exquisite and elaborate technique of
carving the stone (above). Korean knot full of
layered patterns and and beautiful color by Kim
Hee-jin, a master of Korean knot (below).
requires dedication to a notion of eternal
beauty, even at the cost of tremendous
personal hardship. This is an outlook
that, in itself, is highly at odds with what
we consider a work ethic today.
“To become a master requires
character. It’s important how you make
things and in what sort of mindset,” Cho
says. “After you’re done learning
physical techniques, you have to instill
your heart and soul into your work.
There’s hardly any young people who
want to learn traditional crafts. Those
who do come don’t last more than a
couple of months. They have to be
determined to learn traditional culture
but since this doesn’t pay well, they
can’t stay on for too long. Craft is art.
You can’t apply economic theories to
that.”
In the past, fans were indispensable
during summer. But with air
conditioners and electric fans around,
traditional fans are now recognized
primarily for their aesthetic value. So in
order to preserve the tradition of fan-
making, Cho says, creativity and change
are absolutely vital.
“What’s important is the creativity.
On the foundation of pride in our
traditions, we have to keep creating new
pieces,” he says. “Cultural art is about
creating beauty. A master is an artist.
The job is to delight people and to create
something new.”
When we say that crafts reflect their
times, it means that craftspeople have to
respond to what people need and want.
Today, as in any other age, crafts must be
reborn to reflect the modern world.
Tradition isn’t static, nor is it built over a
short period of time.
Reality Reflects the Future
Preserving tradition in a creative way
means giving a contemporary twist to
that tradition. While inheriting ideas
and a certain spirit, tradition should
adopt a new style that fits the current
times. Celadon during the Goryeo
Dynasty, one of the most significant
ceramics at the time, gave way to
Buncheongsagi celadon and white
porcelain in Joseon times. Tradition was
inherited and developed while
adjustments were made to meet the
demands and objectives of a new era.
The balance between tradition and
modernity has exercised the minds of
masters for centuries. One example of
this trade-off can be found in the
practice of making string holes in the
body of gayageum (12-string Korean
zithers). The traditional technique to
make gayageum’s holes isn’t very
precise and even alters the shape of the
body, with strings likely to be left out of
position. A computer drill is far more
accurate, keep the body intact and
saving time. In order to ensure precision
and efficiency, the modern craftsman
have to find the right blend of machine
and traditional handiwork.
With the recent growth in interest in
all things traditional, Korea’s old-time
crafts are looking as vibrant as they have
done for some time. Traditional
craftworks are on show all over Korea,
and if you’re so inclined, you can sign
up for lectures or experience programs.
Aside from exhibitions, craftworks can
be found in art shops, department stores
or duty free shops in the form of small
Hwahyejang , or a master maker of Korean
traditional shoes, Hwang Hae-bong makes
shoes (top). Bamboo is split into many pieces
and used as material for Hanjibal , Korean
traditional curtains (above). Gayageum master
Go Su-hwan’s instrument (below).
souvenirs right the way up to pricey
luxuries.
But even these products don’t
guarantee the ongoing health of
craftworks. To achieve that, it needs to
look beyond the stereotypical images of
traditional craftworks and forge a
deeper appreciation of the values behind
them. In between the extreme opposites
— an artwork displayed in a glass case
in an exhibition and a mass-produced
trinket in a
souvenir shop — traditional craft must
recover its identity as a form of living
art.
Fortunately, traditional crafts have
struck some genuine chords with the
public in recent times. In universities
across the country, ever more students
are applying for programs related to
traditional crafts. Craft studios in the
Bukchon region of Seoul are offering
various programs year-round for
Koreans and foreign tourists alike. By
crafting pieces there, visitors gain a
genuine affinity with traditional culture.
Elsewhere, masters have collaborated
with contemporary artists, and
architecture or industrial design majors
have offered designs to intangible
cultural properties from the regions. In
their own ways, these are all examples
of tradition modifying to meet the needs
of a different time. Last October, the
Seolhwa Cultural Exhibition displayed a
series of items that combined traditional
elements with the work of industrial
designer Mah Young-beom. Cho Dae-
yong, a master who makes bamboo
blinds, displayed a piece
that
Ko r e a n C u ltu r e
Designer Jeong Seok-yeon’s pencil
case and measuring tape are made
of wood, reminiscent of tradional
Korean craftwork. (above). Jeong’s
furniture artwork Sabangtakja
table (below left). Sabangtakja
tables, designed by Kim baek-seon
and made by Jo Seok-jin, produced
using traditional skills in a modern
style (below right).
Gat , a Korean traditional hat design, is
used as a lampshade in this modern
interior.
10
connected optical fibers and bamboo.
Kim Hwan-gyeong, a master of
lacquerwork, drew modern patterns on
Joseon-era wooden furniture. Song Bang-
woong, a master specializing in
mother of pearl, made a cosmetics
chest with mother-of-pearl pasted on to
metal instead of wooden plate. And Yoon
Byung-hoon, a bamboo master, built a
cabinet with tiny cut pieces of black
bamboo. When they went on display,
these utterly unique handiworks by the
six masters caused a minor sensation.
Crafts, which had long been
considered merely decorative, are
increasingly reclaiming their practical
roots, too. While the Seolhwa Cultural
Exhibition mostly showcased hardware
decorated with traditional crafts, the 2010
Craft Trend Fair, which held its fifth show
in December last year, aimed to display
the very latest trends in traditional and
modern crafts. Under the theme “Next
Craftsmanship — Change from
Succession to Application,” the exhibition
presented a picture of the future of Korean
craft as reflected in its essence. Visitors
could take a look at craftworks and also
purchase handiworks at an affordable
price, while listening to masters’ first-
hand account of their production. It was a
real chance for the public to get closer to
crafts.
The Craft of Software In Korea,
biennales and festivals offer opportunities
for people to get in touch with traditional
crafts. The World Ceramic Biennale, held
every other year in Gyeonggi-do Province,
is the largest crafts event devoted to
ceramics. Potters from around the world
flock to the show to exchange skills and
ideas. The big increase of these regional
festivals in recent years means people can
now experience traditional crafts virtually
anywhere.
In order to tap into modern consumer
markets — rather than just appeal to rich
collectors or tourists — it’s vital for crafts
to adopt innovative approaches to sales.
Many have tried to take traditional crafts
overseas, but they lacked design or
marketing strategies to compete in the
modern global market. One big success,
however, is 212Design, which has set up
shop in the Soho of New York. To crack
foreign markets, this design company
used traditional crafts and techniques
such as balwoo (bowls for Buddhist
monks) and Najeonchilgi to create
contemporary products.
The Internet has played an important
role in modern craft, and designing and
dyeing have relied heavily on computer
programming. Other prime examples of
the old using the new are online
exhibitions and online shopping malls for
traditional crafts.
Today, there are many signs that
traditional crafts are thriving — studios
are doing well, masters are working with
brands and designers, and university
students are taking a greater interest in
them. Not confined to museums or high-
brow discussions, crafts are adapting and
staying relevant. This is surely the best
future for traditional crafts.
11
Ko r e a n C u ltu r e
Bukchon, in central Seoul, is the best place in
the capital to experience traditional Korean
culture. Some 20 studios here run programs
in folk painting, traditional paper, kites and
much else. Haneul Mulbit, which focuses on
traditional knotting, dyeing and patchwork, is
owned by 75-year-old Cho Soo-hyun, a
40-year veteran of knotting. Bucking the
staid, highly secretive world of traditional
crafts, Cho has drawn in a new generation of
fans with her passion and openness. Today,
her son Lucas Hong, a researcher of
traditional dyeing, and her daughter Hong
Gwang-hee, who studies traditional
patchwork, help their mother run the studio.
Traditional knotting uses round-shaped
12
Experiencing
and Creating
Korean Beauty
Creating traditional handicrafts, rather than
just looking at them, makes you appreciate
them all the more. And throughout Korea,
there’s the opportunity to do just that in a
series of craft shops that show you how to
make traditional pottery, knotting,
embroidery and dyeing. This firsthand
experience with traditional craftworks, no
matter how brief, will open the door to a far
greater understanding of the artistry,
practical value and history of these
remarkable pieces. by Lee Se-mi | photographs by Kim
Nam-heon
braids to create patterns, which are then
used to make accessories. Knotting was long
used in norigae (ornaments for women),
belts, pockets and seonchu (fan ornaments)
and the technique has continued to evolve
to this day.
Involving spinning thread, dyeing it and
then tying it into knots, knotting is slow,
painstaking work. Becoming an expert takes
at least a couple of years, but just about
anyone can make something pretty in an
hour or two using ready-made thread.
The easiest knotting technique is known
as dongsimgyeol. Dongsim means “the same
Traditional Korean patchwork art (top). A
heart,” and signifies that whichever direction
bronze mirror is made with using a traditional
you tie the knots in, the four points of the quilt technique (above).
compass (north, south, east and west) will
still be pointing in the same directions. In the
one-day experience program, visitors make a
necklace or bracelet using this technique.
Kwak Soo-young, a jewelry designer, has
been going to Haneul Mulbit once a week for
six months. “I’ve always been interested in
traditional craftwork,” she says. “I signed up
for the class because I wanted to incorporate
some traditional knotting into jewelry
designing. It’s been difficult to master some
techniques but it is a lot of fun.”
Patchwork is similar to hand-made quilts
in many Western countries, so the patchwork
experience program is especially popular
among foreigners. Hong Gwang-hee, who
runs the program, says, “In patchwork,
depending on fabric and colors, you can
make a whole range of different products, so
it is never boring.”
It takes up to three months to make a
complete patchwork, so the one-day
program lets visitors make a hand mirror or a
brooch. The process begins with picking three
or four colors of cloth, through the design,
then the sewing. All the pieces are ready to
go on the same day, making the visit ideal
for tourists passing through.
natural dyeing One traditional
craftwork experience program is for natural
dyeing. Rather than using chemical dyes,
traditional Korean dyeing uses elements
from nature to create more natural-looking
colors. Sources for these dyes include
persimmon, indigo, walnut and bamboo. They
can also be extracted from red clay and
squid ink — so essentially anything with a
color.
Cheongdo-gun in Gyeongsangbuk-do
Province is home to about 30 studios
offering programs in natural dyeing. The
county produces about a quarter of all
persimmons consumed in Korea — but
nowadays, much of the crop has another
purpose.
Patchwork is used as props and decorations in
life. Sewing teacher Hong Gwang-hee, right,
shows a student how to sew (above left). Knot
researcher Cho Soo-hyun, right, teaches a
student about traditional knots (above).
In July 2010, persimmons start falling
from the trees, and unripe ones are simply
discarded. When a typhoon passes through, a
huge number of persimmons accumulate on
the ground, with many going to waste. Then
many years ago, Cheongdo native Kim Jong-
baek started picking up these persimmons to
use as the source of dyes. When farmers
worried about wasted persimmons, Kim
would teach them how to dye using unripe
ones. It was such a success that Kim made a
living out of it, and in 1998, he opened his
own studio, Kkokduseoni.
Dyeing with persimmon is a simple
process. First, you need to wash a
handkerchief or a piece of cloth in water and
dry it in the sunlight. Then dip the fabric into
the persimmon extract, and work it in gently.
After 10 or 15 minutes, squeeze all the
moisture out and hang it on a line to dry. The
color comes to life as it dries under the sun.
The tannins in persimmon leave a brown
color when dried in sunlight. Different shades
are achieved by first spraying water onto the
dried cloth then drying for four or five days.
Repeating this process three to four times is
the only way to get the full range of
persimmon colors.
Kkokduseoni also has a gallery of
products, displaying clothes, carpets and
more. A video shows other dyestuff, such as
tea leaves, and chestnut blossoms. Enjoy
traditional arts: they will even color your
heart and soul.
Information on Traditional
Craftwork Experience
1. Traditional Knotting
> Place Haneul Mulbit Studio (Bukchon
Cultural Center or Jeongdok Public Library
depending on how many people sign up)
> Address 23 Gahoe-dong, Jongno-gu,
Seoul
> Information +82 10 9155 6352
(Reservations required)
> Fees 40,000 won (US$36) for three hours
> Items Necklaces, bracelets
2. Patchwork
> Place Haneul Mulbit Studio (Bukchon
Cultural Center or Jeongdok Public Library
depending on how many people sign up)
> Information +82 10 3751 7801
(Reservations required)
> Fees 30,000 won (US$27) for two hours
> Items Hand mirrors, brooches
3. Natural Persimmon Dye
> Place Kkokduseoni Studio
> Address 593-1 Yudeung-ri, Hwayang-eup,
Cheongdo-gun, Gyeongsangbuk-do
Province > Information +82 54
371 6135 (Reservations
required)
> Fees 10,000 won (US$9) for two hours;
includes fabrics
> Items Handkerchiefs
13
Ko r e a n C u ltu r e
A Modern
Master of an
Ancient Art
From delicate hands comes a brilliant
spectrum of light. Najeonchilgi, or mother-
of-pearl craftwork, is really the face of
Korean traditional craftwork. It has
retained its beautiful light for more than a
thousand years, and Master Song Bang-
woong — whose skills have been
designated among the important intangible
cultural properties in Korea — has devoted
his life to carrying on that tradition.
KOREA traces the roots of his dedication.
by Lee Se-mi | photographs by Kim Nam-heon
Seventy-one years since his birth, and 52
since he began learning his craft, Song Bang-
woong plies his trade in the Tongyeong Craft
Learning Center in the coastal city of
Tongyeong. Growing up in a city whose
breathtaking landscape had provided
inspiration for numerous Korean artists, Song
had dreamed of becoming a writer while at
school, but when he graduated, aged 19, his
position as the eldest of five siblings in a
poor family meant he had little choice but to
follow his father into the family trade.
Song’s father, Song Joo-an (1901-1981),
was a towering figure in the najeon world,
and so the craft was ever-present as Song
grew up. “I started working on najeon even
before I was born,” he says.
14
Master Song Bang-woong explains his work Song spent 10 years learning the najeon
(above). Song emulates old objects which have
craftsman’s skills, battling physical and
faded away (below).
psychological pain while having scarcely a
friend in the world. Once he reached a
certain level, he began setting new goals for
himself. He started to study art, so that he
could imbue his work with greater artistry.
He pored over stacks of books, and after
picking out his favorite pieces from them, he
would find out all he could about them and
create almost perfect replicas. As he did so,
Song developed an ever sharper eye for
aesthetics.
“I was very impressed with our
predecessors’ sense of aesthetic balance, at a
time when they didn’t even have rulers,” he
says.
Song began producing his own, original
pieces in the 1980s. In 1985, he won awards
at the Korea Annual Traditional Handicraft
Art Exhibition and the Tourism and Folk Art
Work Exhibition, the two largest craft shows
in the country. By winning at shows focusing
on traditional pieces and more
contemporary ideas, Song was recognized as
a master of the traditional and the modern
in Najeonchilgi. In 1990, aged 50, Song
became Korea’s youngest ever officially
designated intangible cultural property.
Light for a Thousand Years
Tongyeong has long been famous for
Najeonchilgi, the craft of mother-of-pearl. In
1604, there were a dozen studios around
Sebyeonggwan (the former administrative
capital for three provinces — Jeolla,
Chungcheong and Gyeongsang, where
Tongyeong is located) that produced a wide
range of goods, including military supplies
and offerings for the royal palace. Of those,
Tongeyong’s najeon studio and the painting
house gave rise to Najeonchilgi. Located in
the south, Tongyeong’s warm climate made
it ideal for craftsmen, while its abalone
shells, the material for Najeonchilgi, were
renowned for their brightness and
smoothness.
Najeon, or jagae in the ancient tongue,
means processed abalone shell, while
Najeonchilgi refers to lacquered najeon. A
complete Najeonchilgi piece requires wood
(as the base), metal (for the handle that
gives it the practical purpose) and lacquer.
“Najeonchilgi is a work of art that
combines najeon craft, woodcraft, lacquer
craft and metal work,” Song says. “If a piece
of craftwork doesn’t perform its designated
function, that it’s merely a sculpture.”
Najeonchilgi has more than a thousand
years of history in Korea, dating back to the
Goryeo Dynasty. China and Japan also
developed Najeonchilgi at the same time,
but whereas the Chinese version became
Making Najeonchilgi needs intense
concentration and patience (top). Najeonchilgi
coaster, resembling a Christmas tree (above).
more of sculpture and the Japanese one
turned into painting, Korea’s Najeonchilgi
has remained true to its original form. In its
long heyday, Najeonchilgi was decorated
with symbols of longevity and prosperity and
given as gifts to envoys and rulers from
overseas.
In the 1960s and ’70s Najeongchilgi was
a symbol of wealth in Korea, and a series of
new studios popped up to cater to buoyant
demand. Such was its success that the
supply of abalone shells dried up, and other
materials, such as pearl shells and turban
shells, had to be imported from Taiwan,
Australia and the Philippines. In the 1980s,
increasingly exorbitant prices precipitated a
major decline in the Najeonchilgi market, to
the point that today, the tradition barely
survives.
More than 30 complicated steps are
necessary to produce a single piece of
Najeonchilgi. First, in a process known as
baekgol, the frame must be built from wood.
The frame is then sanded, with any gaps
filled in using special paint made of lacquer
tree resin and clay. Jagae is then pasted onto
the frame, before some polishing work and
more lacquering. Finally, the piece is
burnished to create its remarkable finish.
“When I produce something that I r eally
love, then I never sell it, no matter how
desperate I am for money. When I do sell
one, then I tell the buyer, ‘Please take care of
my daughter.’ It’s as if I am marrying off my
daughter. No matter how well you’ve built it,
it has no value unless it’s used properly.”
Song’s most common pieces include
jewel boxes, comb holders (for cosmetics),
dalbi chests (for wigs) and soban (small
dining tables). He also takes interest in works
that apply modern sensibilities to traditional
najeon. This year, when making a cosmetics
chest, Song used a metal base and cut the
steel frame with a laser, before pasting the
najeon in the time-honored way. By
embracing the modern while being master of
the ancient, Song is creating something new
and vibrant, as well as providing hope for the
future of this most venerable of crafts.
15
Ko r e a n C u ltu r e

Buddhist sculptures depicting both Korean and foreign influences
line a gallery room at the National Museum of Korea.
Talking Past:
the Ancient
Art of Trade
Though often called the “Hermit Kingdom,” Korea’s rich trade history enabled the exchange of
cultural customs and technology. From the ancient days of the Three Kingdoms period to the most
recent Joseon Dynasty, traders explored the depths of the world beyond Korea’s borders.
by Lee Sun-min | photographs by Kim Nam-heon

16 17
Ko r e a n C u ltu r e
T he oldest artifacts found in Korea’s
national museums delineate the
history of trade between the peninsula
and the outside world from as early as
the 5th century. By land and sea, Korea
was greatly affected by its surrounding
countries and also served as a conduit
to others. Though it is reputed as a
“Hermit Kingdom,” the peninsula had
access to a variety of trade routes,
opening the country to boundless new
cultures and helping shape the country
as it is today.
Brothers in Buddhism The rise of
Buddhism in Korea is the simplest way
to see how widespread trade was
among Asian countries. Buddhism,
18
regions), before arriving at the Korean
Peninsula in 372 AD. Although the
birthplace of Buddhism is now
dominated by Hinduism and Islam, in
countries like Sri Lanka, Cambodia,
Tibet and Korea, the religion is still
prevalent today.
Accordingly, the abundance of
Buddhist relics here and its integration
in local history make it impossible to
discuss Korean ancient art without
Buddhist sculptures and other related
artifacts. Similarities can be found
among religious artifacts from China
and Southeast Asia, demonstrating a
certain level of cultural exchange.
Among these, the 7th century Pensive
Bodhisattva (National Treasure No. 83)
is considered one of the most
representative examples of foreign
influence on Korean designs. Similar to
Auguste Rodin’s The Thinker, the
statue is characterized by its The making of Pensive Bodhisattva revealing the statue’s race. found in the Hwangnam Daechong, or
contemplative pose, legs half-crossed statues began in the 3 or 4 century.
rd th
At Koryuji Temple in Kyoto, Japan, the Great Tomb of Hwangnam, which is
and a lowered head accented by the This form of Buddhist sculpture was there is a wooden statue so similar to evidence of the active traffic amongst
light touch of its hand on its cheek. developed in the Gandhara region of the Korean gilt-bronze sculpture in countries. The piece, which was
India and spread to China in the 5th design and posture that it is often designated National Treasure No 193,
century along with the religion’s mistaken as its twin — in fact, many art was estimated to have been ancient
which originated in India, first
spread to Southeast Asia and then to
countries bordering western China
dissemination through Central Asia. The
sculpture style came to Korea in the late
historians believe they were made by
the same artisan. “There is no doubt
Roman, from a Western European or
Mediterranean country. The light, blue-
6 century and was introduced to Japan
th
that the Baekje Kingdom helped spread green colored glass has a golden thread
(currently China’s Xinjiang Uyghur by the early 7 century.
th
Buddhism to Japan,” says Heo Hyeong- wrapped around its handle, which
and Ningxia Hui Autonomous The crown on the figure’s head wook, a curator at Gyeongju National experts believe was used to
consists of three half disks connected Museum in Korea. strengthened the glass. They say the
side by side, and its relatively simple is However, as monks spread the word bottle is shaped similar to a Greek
unique. Modeled after those worn by of Buddha, invariably, other cultural oinochoe, a type of wine pitcher with a
The Ten-Story Stone Pagoda, kings and princes, the crowns in items and ideas were also transferred curved structure and a handle attached
housed in the National Museum
of Korea, depicts influences from Buddhist sculptures were used between traveled countries. “It would perpendicularly to the body of a bottle.
Tibet (above left). Chinese coins exclusively for bodhisattva statues, and have been common for monks to bring “It’s hard to tell how this glass bottle
from the late Goryeo and early
are not found on works from India and their personal belongings to other was brought to the Korean Peninsula,”
Joseon period were the first
currency of its kind in Korea China. The figure’s eyes are half-closed countries, where exchanges would says Park Nam-su of the National
(above right). A Korean sculpture and the faint smile on its lips gives the occur. It’s not just by coincidence that Institute of Korean History. “It could
of Buddha (right) shows
similarities to an Indian statue an aura of sublime there are foreign and foreign-style have come through China during trade,
counterpart (far right). A view of contemplation. Upon closer inspection, artifacts buried in Silla-era tombs,” Heo or it might have been made here in
the National Museum of Korea,
the inner corners of the eyes reveal a adds. Korea by a foreigner.”
which holds many of the country’s
most prized artifacts (opposite). trait known as the “Mongolian fold,” The curator refers to a glass artifact
19
Ko r e a n C u ltu r e
From Land to Sea The Silk Road
connected Asia and Europe, serving as a
vital link between Eastern and Western
civilizations. Though there are not many
accounts of Korean merchants actually
trading products on the road, the 8th
century monk Hyecho wrote an account
of his journeys via the Silk Road that
serves as evidence of the outward reach
of the Silla Kingdom. Called the Wang
Ocheonchukguk Jeon (Memoir of the
Pilgrimage to the Five Kingdoms of
India), the first Korean travelogue is a
highly-valued cultural relic today.
Another example of Silla presence
on the Silk Road is reflected in local
statues made in the image of foreigners.
At Heungdeogwangneung, the Royal
Tomb of King Heungdeok, statues of
soldiers stand guard near the entrance,
wearing hats and outfits that match the
appearance of Sogdians, ancient Iranian
soldiers that were known to travel the
Silk Road. The imitation shows
familiarity with foreign cultures,
indicating a certain level of interaction.
Similar, smaller statues dressed in the
Sogdian style were also found in tombs
around Gyeongju, Gyeongsangbuk-do
Province in the 7th century.
The Silk Road began to decline in the
late 9 century, as sea routes came into
th
prominence. The historical icon Jang
20
The style of the 7th century,
bronze-gilt Pensive
Bodhisattva was later
exported to Japan through
trade (right). A family
makes their first trip to the
National Museum of
Korea (below). A
traditional Greek oinochoe
(opposite left) shows
similarities with National
Treasure No 193 (opposite
right).
A large celadon dish
shows influences from the
Middle East in its broad
design (opposite far right).
Bogo helped establish water trade
routes, as he saw the need for a new hub
of exchange with China and Japan.
“Jang was in charge of taking envoys to
the new world,” says Park of the
National Institute of Korean History.
Jang set up a garrison on Wando Island
on the southern coast and also protected
the commercial activities of Silla
merchants and envoys to China and
Japan. The new trade hub opened
opportunities for more diverse trading.
“Before, it was only possible to trade
between two countries at a time: The
Tang Dynasty (618-907) traded with Silla
and Silla traded with Japan. With the
new sea routes, multilateral trade helped
boost economic activity,” says Park.
Democratic Growth Experts
debate whether or not civilians actively
engaged in inter-country trade during
the Silla era, as trade was largely limited
to tributes. However, civilian trading
became much more vibrant with the
Goryeo Dynasty (918-1392) and the rise
of sea routes, which in turn spread the
word about the country.
This growth helped shape Korea in
an interesting way. As more and more
people across the world heard the name
Goryeo, it was eventually translated
into other tongues before evolving into
its modern-day variation. “We believe
that ‘Korea’ originated from ‘Goryeo,’
since the pronunciation is very similar,”
says Oh Young-sun, a curator at the
National Museum of Korea.
Along with Goryeo’s efforts to
expand through trade, China’s Song
Dynasty (960-1279), the largest trading
partner of Goryeo, also took a role in
modernizing the country. To help spur
the fast-paced trade industry, Goryeo
introduced the first coin currency in the
nation during King Seongjong’s reign.
“It was the first time ancient Korean
countries had an item that was used
solely as currency,” says Oh. “Currency
then became more widespread in the
Joseon Dynasty.”
The trade of Goryeo could be
categorized into two types, though they
were not mutually exclusive. One was
tributary trade with the Song Dynasty,
which included precious items such as
Goryeo celadon, jewelry, gold, jade and
other luxury products. The other
category of trade was the more diverse
items exchanged between commoners.
Goryeo merchants would sell paper, ink
sticks and ink stones, and seek out items
rare to the peninsula, such as tea, spices,
musical instruments, and sometimes
ivory or glass products. “Tributary trade
was sometimes categorized as civilian,
since foreign messengers and envoys
would exchange their own belongings
and purchase local goods to take
home,” says Lee Mi-ji of the National
Institute of Korean History.
The base of all trade during this time
was Byeongnando port at the western
mouth of Yeseonggang River near
Gaegyeong, which is now Gaeseong in
North Korea. The Yeseonggang River
was considered advantageous because
of its deep waters, which enabled large
vessels to dock.
The Gaoli Tujing, a record written in
1123 by a Song Dynasty envoy to the
country, states that one of the most
popular items of choice for trade was
Goryeo celadon. Its pale green color,
similar to the color of jade, helped its
popularity among outsiders. This is
reflected in the stores unearthed in a
sunken Chinese merchant vessel
discovered near Sinan, Jeollanam-do
Province, in the 1970s. Believed to have
gone down in the early 14 century
th
after being abandoned near Korean
shores, the ship was found to have
been filled with Goryeo celadon
wares.
Other artifacts, such as the Ten-Story
Stone Pagoda from Gyeongcheonsa
Temple, show direct influence from
countries outside of the Song Dynasty.
The structure, which was also the first
pagoda to be made of marble, show
signs of Tibetan Buddhist influences in
its lower levels, while the upper stories
are classically Korean. The intricately
crafted roof, however, does not fit into
any single style.
“Imagine your handwriting. Even if
you try to copy someone else’s
handwriting, your own style will be
mixed in with the imitation,” says Heo
Hyeong-wook of the Gyeongju National
Museum. “That’s how it is with
Buddhist artifacts.”
Trilateral Trade Trade grew even
more during the 18th century of the
Joseon Dynasty (1392-1910) and was the
peak of trilateral trade between China,
Japan and Joseon. Korea (Joseon) mostly
exported wild ginseng, while China’s
Qing Dynasty (1636-1912) put silk on
the market and the
Japanese traded
silver.
An ancient
document
from the
time states
how
abundant
overseas trade
was, and the scholar
Lee Jung-hwan’s Taengniji writings read
that, “The richest men in Joseon are all
merchants who do overseas trade.”
Besides trading tangible products,
China’s Ming Dynasty (1368-1644) was
also active in literary exchanges. Envoys
of the Ming Dynasty exchanged
handwritten poems with Joseon
scholars, including Jeong In-ji, and
Seong Sam-mun in 1450. Collection of
Poems by the Ming Envoys and Joseon
Academians, Treasure No 1404, shows
that trade embraced new thought and
opinion as well, helping open Korea to
the rest of the world.
21
Ko r e a n C u ltu r e
Pieces of the Past
Twenty artifacts were designated representative relics of Korea in
celebration of the G20 Summit in Seoul last year. The country’s
craftsmanship can be found in these pieces of history.
National museums in Korea are some of the
most prominent places where cultural
legacies are kept alive. Among the vast
variety of centuries-old cultural and
historical artifacts, the National Museum of
Korea highlighted 20 of the most significant
masterpieces in the national collection last
year, in preparation for the international
visitors arriving for the G20 Summit in Seoul.
The selected few, dubbed the “M20,” serve as
the perfect guide to the museum novice,
who might not know where to begin in
Korea’s long history.
“The selected masterpieces represent
different periods, ideologies and forms of
expression in the formative arts, but
nevertheless, they are characterized by a
consistent artistic sense,” the museum said
in a release about the artifacts, some of
22
which are dated as far back as the 4th
century Three Kingdoms period. “They are
imbued with the Korean spirit.”
A sophisticated skill in crafts can be seen
in earlier pieces such as the Baekje Incense
Burner, National Treasure No 287. The relic,
regarded as a prime example of Korea’s
ancient metal crafts, was once used in royal
court ceremonies during the Baekje Kingdom
(18 BC-AD 660). The flower-shaped bowl
supported by a stand is designed to look like
a dragon attempting to devour a lotus bud.
The incense burner’s lid depicts mountain
ranges, demonstrating the maker’s artistic
sense. A phoenix sits at the top with its
wings spread wide, as five musicians
surround the bird below. The artifact is on
display at the National Museum of Korea
and was first excavated from an ancient
elegantly with every slightest move and
breeze. The exquisite crown is kept on display
at the National Museum of Korea’s
Archaeological Gallery, along with its
accompanying gold belt and ornamental
crown attachment.
Along with the works of Baekje and Silla,
Goguryeo (37 BC-AD 668) also contributed
temple site in Neungsan-ri in Buyeo. It is
to the cultural heritage of the nation. A
estimated to have been made in the early 7th
statue from the year 539 is one of the oldest
century, right after Baekje designated Buyeo
depictions of the Buddha in Korea, and is
as its new capital.
unique for its inscription and location of
A crown from the Silla Kingdom (57
excavation. Though created in Goguryeo,
BC-AD 935) shows the country’s time of
National Treasure No 119 was found in Silla
prosperity and peace that enabled artisans
territory, showing that trade allowed for
to refine their craft. The Gold Crown was
movement beyond political borders. The
found in the Great Tomb of Hwangnam and
inscription of the date is rare, as many
is National Treasure No 191. The delicately
statues did not include a year of production.
formed relic is regarded as the most
The statue depicts a smiling Buddha, a robe
elaborate of all Silla crowns discovered. The
draped over him and a halo that resembles a
headpiece is comprised of a circular band
whirlpool of fire behind him. The statue can
with five upright peaks. The headband and
be found at the National Museum of Korea,
vertical sections are embellished with a
in the Fine Arts Gallery.
dazzling array of finely crafted gold spangles
During the Goryeo Dynasty (918-1392),
and jade. These numerous additions were
artistic and creative skills were applied to
woven onto the main band with thread-like
diverse types of ceramic, expanding the
gold wires, and were designed to shimmer
designs beyond what were dedicated to the
royals. Ritual Ewer, National Treasure No 92,
is a pitcher used by monks to keep fresh
water for religious rituals. Its overall design is
based on similar pitchers once used by
Brahmans and later by Buddhist monks in
ancient India. The ewer has inlaid silver
details on top of a bronze surface, showing a
scene of fishermen as they set their rods.
Reed and willow branches appear to sway
gently as a wet fog rises above the hills, and
the rusted bronze hue creates a sense of
tranquil harmony. Willow trees frequently
appear on ritual ewers, depicting a myth
from Buddhist scripture that says the
Goddess of Mercy cures the sick with clean
water and willow branches. The bottle can be
seen at the National Museum of Korea’s Fine
Arts Gallery.
Simple designs continued through to the
Joseon Dynasty (1392-1910). A piece of
white porcelain with rope designs is Treasure
No 1060, and represents the typical
characteristics of Joseon porcelain in its
solidity and curvatures. Iron-brown glaze
paints a strand of rope that twines around
the narrow neck of the bottle and hangs
down to its bottom, coiling into a twist at
the end. Though the design is simple, it
strikes an impression in its minimalist
qualities. The fall of the painted rope carries
both power and moderation in its
movement, as it carefully divides the jade-
hinted white porcelain in half. The coil at the
bottom also portrays a sense of
lightheartedness, as if the painter wanted to
release his self-control and allow the rope to
drop. Characters in Hangeul, the Korean
alphabet, are written in a glaze inscription on
the bottom of the bottle. It is unclear what it
says and why it was printed, but its history
can be traced to after the invention of the
Korean alphabet. This porcelain is shown at
the National Museum of Korea, Ceramics
Chamber in Fine Arts Gallery.
The other artifacts each carry a
significant moment of Korean history,
whether they are in their inherent originality
or the clear depiction of contemporary
influences. From simple items to intricate
paintings, the M20 can be appreciated not
only by locals, but those looking for a peek
into Korea.
From top to bottom, left to right: Comb-pattern
Pottery; Stone Dagger; Duck-shaped Pottery; Mural
Fragment of an Equestrian Figure; Baekje Incense
Burner; Horse Rider-shaped Vessels; Gold Crown,
Belt and Crown Ornament; Pensive Bodhisattva;
Maitreya Bodhisattva and Amitabha Buddha;
Reliquary from the East Pagoda of the Site of
Gameunsa Temple; Ritual Ewer; Metal Type of the
Goryeo Period; Print Made with Tripitaka Koreana;
Maebyeong Vase; Ten-Story Stone Pagoda; Jar;
Bottle; Paintings by Kim Hong-do; Endless Rivers
and Mountains; Album of a Journey to Songdo
Joseon; Complete Map of the Eastern State.
23
Ko r e a n C u ltu r e

within the traditional palace. “For my father, ranked among the top then most visited Metropolitan Museum
it was an office, but for me, it was the perfect museums in the world. We aim to diversify of Art in New York. She
playground.” and invigorate the museum by activating hopes to push the
Kim first began her career as an international exchanges while meeting benchmark even higher
archeologist and art historian, teaching at visitors’ needs through multifarious and with the Korean
Seoul National University and working at the polished exhibitions,” Kim says. museum and feels
school’s museum. After being selected as the In recent news, the biggest issue for the confident it has yet to
National Museum of Korea’s director in museum has been the long-awaited return reach its full potential.
February, Kim set into motion plans to of the Uigwe, a collection of royal annals of As an expert herself,
re-create the atmosphere she had known as the Joseon Dynasty. The texts, which were the director demands
a child. looted 145 years ago by French troops, were only the highest quality
A vibrant, comfortable space and exciting lent to the national institution on a for the viewers, as she
exhibit line-up has dominated her time as permanent lease and returned to Korea for understands the power
director, as Kim paid special attention to the the first time in more than a century. of a well-organized
facilities from the eyes of the viewers. The Just thinking about the moment she first exhibit. Kim knows how
museum relocated to its current home in saw the royal protocols on their good curation can
Yongsan in 2005, and Kim’s touch has further homecoming, Kim still feels a surge of attract tens of
lent a sense of vibrancy to the venue. excitement. The director was deeply thousands or hundreds
Natural lighting filters in through the impressed at how well-preserved the Uigwe of thousands of people,
lobby, radiantly shining sunlight into dark have been, with the colors and letters of the if done well and,
corners even on cloudy days. An open lobby books still vivid. “It felt like the Uigwe was an although she is no
greets the visitors, a lounge area provides old friend, not a thing or an object. When I stickler for figures, she
respite for the elderly and an open cafe has first saw it, it felt as though I was being hopes to increase the
space for public computers. The museum’s reunited with a long lost friend.” A special number of new visitors
biggest change has been an increase in tours exhibit celebrating the return of the ancient to the museum. It’s one
and educational programming, which has led texts opened in July and will run through of the few tests that
to an influx of school visits. Sept 18. she feels will truly

History’s Home
The permanent collection lures in new Kim has had the opportunity to be determine whether or
visitors with rotating exhibits of its stores, inspired by museums across the world, such not she has succeeded as a director.
and a third floor gallery includes national as the Centre Pompidou in Paris and the “You know, as a professor, you can’t
Kim Young-na, the director of the National Museum of artifacts from countries across Asia - showing expect to see the results of your teaching refuses to get too caught up on the funding
Korea, finds a balance between her youthful heart and how vital the neighboring countries have right away. It took a long time to figure out if side of things, instead maintaining her focus
sharp insights to create an inviting space for all. been in each others’ histories. In the adjacent I was a good teacher or not. But as the on the museum’s mission to the people.
building, a special exhibition gallery director of a museum, it takes shorter, much Kim hopes to continue developing the
showcases famous international works, shorter time. It’s a good thing that I’m able sophisticated modernism of the museum in
providing visitors with rare opportunities to to see if I’m doing right, and I’m doing things combination with the preservation of
see parts of the world from right within correctly before I start something new.” exquisite Korean traditions. She hopes more
While some people might think of the Kim Jae-won, was the first director of the Korea. On display now is “Princely Treasures,” As the director of the museum, however, plundered relics and scattered art pieces will
National Museum of Korea simply as a place national institution, and she inherited his which features the royal collection from Kim does more than simply manage the find their way back to Korea, so that she may
for school field trips, Kim Young-na has passion for art and history. “I have memories London’s Victoria and Albert Museum. Kim Young-na, the director of the National
inner operations of the organization. She show them to the rest of the people here.
Museum of Korea, hopes to bring in new visitors
always been fascinated by the institution. of the Seokjojeon building at Deoksugung According to the UK’s Art Newspaper, the to the institution (opposite). A view of the networks with foreign organizations to And above all, she hopes visitors will discover
Kim, the newly appointed director of the Palace where I spent most of my childhood national museum here surpassed the number children’s museum (top right). A cafe for further cultural exchanges and promote new insights into the culture of Korea
museumgoers offers refreshments and snacks
museum, has been acquainted with the observing the pond in front,” she says, of visitors to the Musée d’Orsay in France future exhibits, and also works to strengthen through their interactions with the exhibits
(above right). A traditional pavilion and bell
cultural site since her childhood. Her father, referring the museum’s original location last year. “The National Museum of Korea is outside of the museum (above). government support for her work. But, she and programming.

24 25
Ko r e a n C u ltu r e

a glimpse of
korea's past
Painting was at its zenith in terms of both quality and quantity in the late
Joseon Dynasty. By depicting landscapes, scenes from everyday life and
animals in realistic detail, the time’s artists showed their love and pride for
their nation and culture. by Park Min-young

26 27
Ko r e a n C u ltu r e
A work by Shin Yun-bok shows a woman with her
head covered (above). Kim Hong-do’s Plowing a
Rice Field depicts farmers at work (right). A portion
of Yi In-mun’s Gangsanmujindo , an 8.6m landscape
(opposite top). Kim’s Gunseondo (Immortals)
(opposite below).
O ne holding a pipe and one
flirtatiously glancing at a man
following her, two gisaeng enjoy a day
out on their horses. Gisaeng were
Korean female entertainers in the Joseon
Dynasty (1392-1910), and the men
surveying them appear to be yangban
(aristocrats), based on their dress.
Nevertheless, they look thrilled to have
the girls in their company. A pink azalea
tucked behind one girl’s ear hints that it
is a warm spring day.
This is a scene depicted in Shin Yun-
bok’s painting Yeonsodapcheong (Outing
of the Youth), which is included in the
30-leaf album Hyewon Pungsokdo,
National Treasure No 135.
Vivid colors and minutely-described
details — like the long pipes or the
white layer of cloth the gisaeng covered
their breasts with under their short
jeogori (jacket) — present a realistic view
28
of fashion and lifestyles during the
period.
New Light on Art Shin’s painting
was on exhibition to the public during a
two-week autumn show held at
Kansong Art Museum. The exhibit
introduced 100 portrait and genre
paintings by 52 artists from the Joseon
Dynasty, including Yeonsodapcheong
and 15 other remarkable paintings by
Shin.
The National Museum of Korea and
the Leeum, Samsung Museum of Art
also recently hosted exhibits
highlighting artwork from the late
Joseon Dynasty, a special period in
Korea’s artistic history.
The National Museum of Korea
focused on portraiture for their month-
long exhibit, which featured over 200
portraits from Korea, Japan and China.
A large part of the show was dedicated
to portraits from the Joseon Dynasty,
including well-known works such as
Self-Portrait of Yun Du-seo, National
Treasure No 240, an extremely detailed
work of the Joseon painter’s own
countenance.
Leeum’s show, The Court Painters of
Joseon Dynasty kicked off on Oct 13 and
will run until Jan 29. It showcases 110
paintings by hwawon, or court painters
of the Joseon Dynasty.
The aim of the show is to shed new
light on hwawon, who were regarded as
less creative at the time compared to
other artists who did not work in the
court. Leeum museum curator Cho
Ji-hyun, however, says that hwawon
actually played an active role in setting
new artistic trends of the time. They
produced a large number of private
portraits and landscape paintings by
receiving commissions from other
patrons, as well as paintings of royal
processions, ornamental paintings for
the palace and illustrations for royal
documents.
All three exhibits marked a hit.
Kansong’s attracted about 4,000 visitors
during the week and 10,000 on
weekends, while Leeum attracted
roughly 700 to 1,500 per day. “We are
glad that the three exhibitions took
place in a similar period. One could
make a general survey of Joseon
Dynasty paintings by visiting all three
shows. It is starting a sort of a Joseon
Dynasty art boom,” says Park Min-sun,
a public relations official at Leeum
museum.
Focus on Realism The recent
interest in paintings from the Joseon
Dynasty is not at all surprising and
even seems a bit belated, when one
considers how crucial the time was in
Korea’s art history. It was during the
latter part of the era, a period spanning
some 200 years across the 18 and 19
th th
centuries, that art flourished on the
Korean Peninsula. Taking a big step
toward modernity, society was
undergoing major changes at the time
— the class system started to waver and
new ideologies, like the Realist School
of Confucianism, emerged.
Notably, artists and scholars finally
started to shake off the Chinese
influence led by Zhu Xi’s Neo-
Confucianism, which had long
dominated the early Joseon Dynasty. In
its place, the nation established its own
Neo-Confucianism, led by scholar Yi I.
The birth of a native ideology
heightened Koreans’ self-esteem and led
to a newfound love for traditional
culture. New techniques were
developed and trends started in various
cultural fields, including art, in order to
highlight traditions and depict customs.
Painting reached its peak and became
based on a newborn aesthetic point of
view.
The most significant characteristic of
late Joseon Dynasty paintings is its
emphasis on realism. Artists elaborately
detailed everything from people’s faces
and clothes to events and landscapes.
Jingyeong (realistic) landscape paintings
and genre paintings, which feature
scenes from everyday life, became
immensely popular.
In fact, many believe that the
development of Jingyeong landscapes,
an art style pioneered by Jeong Seon
(also known as Gyeomjae), was the start
of a new era. Traveling around Seoul,
Mount Geumgangsan and today’s
29
Ko r e a n C u ltu r e
Gyeongsang-do provinces, Jeong strove
to develop a new technique of painting.
By modifying the time’s widely used
Chinese Southern School style, he
created a style of painting that was fit to
portray Korea’s landscapes. Jeong also
invented a unique way of painting that
involved holding two brushes in one
hand. The artist consumed so many
tools during the process that the heap of
used brushes he threw out is known to
have been larger than a tomb.
Support from Kings Yeongjo and
Jeongjo, who were generous patrons of
the arts, played a big role in the
development of painting as well. A high
demand for aesthetic paintings existed
in court at the time, and the most-
wanted variety was realistic landscapes.
Paintings from the late Joseon
Dynasty showed a great difference from
those in its neighboring countries — it
started to differentiate itself from the
strong, bold aspects of continental
Chinese art and also from the brilliant
colors of Japanese art. Rather, it was
independent and unique enough to
have even influenced other cultures.
The era’s paintings are known to have
played a considerable role in the
development of the Japanese Southern
School style.
Growth of Genre Paintings
During the early years of the Joseon
Dynasty, art depicting daily life and
people wearing casual attire were
considered relatively vulgar. But in the
latter half of the period, this idea was
abandoned.
Genre paintings, or art that
illustrates the everyday life of the
artist’s time, became greatly popular in
the late Joseon Dynasty. The paintings
are not only highly valuable as art, but
are also important historical records that
30
can inform the following generations
about the time’s lifestyle.
Some of the best painters of the time
were Yun Du-seo, Kim Hong-do, Shin
Yun-bok, Kim Deuk-sin and Jo Yeong-
seok.
Yun was an important figure in
terms of genre painting, as he was one
of the first artists who ever attempted
the style. He lived and worked in the
early 18th century, and six of his original
paintings are intact, including Women
Picking Edible Plants and Carving
Woodenware.
As well as depicting labor at the
time, the painting featuring women
gathering plants at the foot of a
mountain also informs viewers what
kind of hanbok (traditional clothes)
people wore when working. The
women’s jeogori is significantly longer
compared to those depicted in late 18th Famous Folk Paintings Among
century paintings. the different kinds of folk paintings, the
Kim Hong-do (also known as ones that are best known from the late
Left to right, from above: Playing Cats is a work
Danwon) is another painter who Peering Into Portraits Following realism. Artists did not try to beautify Joseon Dynasty are those featuring
of folk art by Jang Seung-eop; Self-portrait of
perfected genre painting in the late 18th Yun Du-seo integrates new art styles; a portrait the Goryeo style of the early Joseon the subjects at all, but instead put in animals, birds, flowers and bugs.
century. He was a highly versatile artist, of scholar Hwang Hyeon by Chae Yong-sin.
Dynasty and the Chinese styles in the extra efforts not to leave out a single It was a genre most artists enjoyed
but is best known for his genre pieces, middle of the era, Joseon’s own style hair of a beard or any sun spots. They painting in order to earn some extra
such as Pungsokdocheop (Korean Genre background. was established in the latter part of the believed that, by doing so, the painting money; even court painters created this
Paintings), Treasure No 527. While Kim Hong-do focused on period. One consistent aspect of could truly mirror the subject’s inner style of minhwa in their pastime, usually
The work is an album he made in his painting rural life, Shin Yun-bok (whose portraiture, however, was that the artist side. on commission from other patrons.
30s and contains 25 paintings of various penname was Hyewon) depicted scenes who was given permission to paint the It was not only the king and high Several artists started to specialize in
events he witnessed in the country. It of urban life. Shin was the first artist to king was considered the best in the officials that commissioned portraits in the area, or more specifically in painting
features people working, playing sports, boldly depict the gisaeng lifestyle and land. For this task, even painters from the late Joseon Dynasty. General certain animals. Byeon Sang-byeok, for
eating, drinking, dancing and more. the relationship between men and outside the court were considered for yangban and even commoners started example, focused on cats and was often
Every figure has its own story. Like Yun, women. The best known works are the job. to request portraits. And because artists called the “cat artist,” and Kim
Kim also left the background bare, included in Hyewon Pungsokdo. In the Unfortunately, there are no original could paint according to their own rules Du-ryang was especially good with
allowing his main subjects to stand out. album, Shin vividly portrays the fashion extant copies of any of the kings’ for this class of people, the artistry of dogs.
In the painting Lunch, for example, a and flirtatious attitudes of gisaeng, as portraits. This is because artists portrait painting quickly developed. Believing that each subject featured
dog stares at a group of people enjoying well as the gallant and ridiculous regularly burned each original after Various forms were introduced in in folk paintings represented something
their midday snack, hoping for a share. actions of men trying to win their favor. copying it, because it was forbidden to the period such as self portraits, best positive, elites of the society at the time
Threshing Rice shows the unsatisfied Analyzing Shin’s paintings, one pass down a king’s portrait once it had represented by Yun Du-seo’s famed exchanged folk paintings as New Year’s
frowns of young men striking sheaves could even assume that although faded. The names of the artists who piece. Jeong Seon’s Miindo, a full-length gifts. For example, dogs symbolized
of rice to the ground in contrast with the women were restricted by the copied the portraits were kept secret. portrait of a gisaeng, can also be happiness, tigers meant courage and
laid back posture of an old man, patriarchy, they still led rather active The peculiarity of late Joseon regarded as a type of portrait. magpies represented good news.
possibly the landowner, in the and autonomous lives. Dynasty portraits is, once again,
31
Ko r e a n C u ltu r e
Penetrating
Korea’s Art
History
Korea’s art history cannot be discussed
without mentioning Kansong Art
Museum, the oldest private museum in
Korea. Chief curator Choi Wan-su
explains the history of the museum and
shares his thoughts on late Joseon
Dynasty paintings.
by Park Min-young | photographs by Kim Nam-heon
A long queue of several hundred meters
forms down a narrow alley in Seongbuk-
dong, northern Seoul, every spring and
autumn. In line are people waiting for
nothing else but a precious peek into the
latest exhibit at Kansong Art Museum, which
only opens to the public twice a year: for
about two weeks at a time in May and
October. Visitors wait at least an hour, or at
most three, to get inside.
Kansong is the nation’s oldest private
museum and holds an impressive collection
of more than 12,000 priceless artworks of all
32
genres, including paintings, sculptures and
calligraphy, from the period of the Three
Kingdoms (57 BC-AD 668) to modern times.
Among the collection, 12 have been
designated national treasures and 10 more
are also recognized as treasures.
One hundred portrait and genre
paintings by 52 representative artists of the
Joseon Dynasty (1392-1910) were brought
out from the museum’s private stores for its
last exhibit in October.
Upon hearing that complaints are
growing amongst art aficionados about the
insufficiency of twice-a-year exhibits, Choi
Wan-su, chief curator at the museum,
chuckles and shakes his head. “Museums in
general play one or more of these three big
roles — collecting art or relics and
preserving them; studying them; and
exhibiting them. The role of Kansong is to
study works of art, not exhibit them. In a
way, we are doing volunteer work every
spring and fall to let the public know the
results of our studies,” Choi says with a
smile.
The number of visitors to Kansong
jumped soon after The Painter of Wind — a
drama about Joseon Dynasty artist Shin Yun-
bok — became a hit in 2008, and has been
steadily increasing since. Choi believes that it
is because Koreans’ self-esteem is getting
stronger.
“We are more educated than before, we
experienced rapid economic growth and
most of us completely forgot about what it
was like during the Japanese colonial era. It is
time we take pride in ourselves,” he says.
The museum was established in 1938 by
Jeon Hyeong-pil (1906-1962), who was
better known by his penname Kansong. He
became a wealthy man at the age of 24,
having inherited a great fortune, and was
devoted to buying the nation’s relics and
artworks that were leaking out to Japan.
Price was never an obstacle for him; if he
thought an item was of high quality, he
purchased it.
One example is when he bought 20
pieces of Goryeo Cheongja (celadon
porcelainware) from a British collector in
Japan by selling 10,000 patches of field in
Gongju, Chungcheongnam-do Province —
the equivalent of 400 houses in Seoul at the
time. It was worth it, though, because seven
of the Cheongja were eventually designated
as official treasures.
The museum’s collection includes the
only extant copy of Hunminjeongeum, a
document explaining the new script for the
Korean language, written by King Sejong. It is
National Treasure No 70 and was also
registered on the UNESCO Memory of the
World list in 1997. Shin Yun-bok’s Hyewon
Pungsokdo (National Treasure No 135), a
30-leaf album containing the famed painting
Miindo (Portrait of a Beauty), can also be
found at the museum.
“In Kansong’s time, Japanese scholars
tried to plant a colonial view of history in
Koreans’ minds, emphasizing that our culture
was worthless. Kansong collected the works
because he did not believe it and wanted to
show how excellent our culture was,” says exhibitions on each artist.”
Choi. Choi says that the people’s love for their
The museum’s opening to the public, nation during the late Joseon Dynasty is
however, was delayed for many years due to reflected in their work. Even Mount
the aftermath of the Korean War (1950- Geumgangsan, which obviously never
1953). It was only after Jeon’s death in 1966 changed externally, is painted more
that his descendents scouted Choi, a scholar delicately compared to early Joseon art. It is
and researcher at the National Museum of because the artists examined the mountain
Korea, to work at the museum and reopen it. more closely, finally regarding it as beautiful.
Led by Choi, a group of researchers —
who are now regarded as the Kansong
School — started to study the museum’s
collection. They started the exhibits in the
autumn of 1971 and also the publication of
Kansong Munhwa, a book containing research
papers related to each exhibit’s theme.
Among the museum’s collection, works
from late Joseon Dynasty comprise the
largest portion. “The early Joseon Dynasty
was influenced by China’s Zhu Xi’s Neo-
Choi Wan-su explains his
views on art (opposite).
The entrance to Kansong
Art Museum (top right).
The exterior of Kansong
(right). Visitors browse at
one of the rare exhibits
(bottom right).
Confucianism, so even people in our
paintings resembled the Chinese. In the
latter part of the dynasty, though, our own
Neo-Confucianism was established. When
ideology is the root, art is like a flower. Our
own culture started to blossom because we
finally had our own roots,” Choi explains.
“Kansong sensed it. That is why his
collection is concentrated on the late Joseon
period, like paintings by Gyeomjae (Jeong
Seon’s penname) and Danwon (Kim Hong-
do). We have enough to hold separate
33
Ko r e a n C u ltu r e
While museums were elated over the recent
string of successful exhibits featuring Joseon
Dynasty (1392-1910) paintings, auction
houses were rather indifferent to the news.
Such momentary interest of the public does
not necessarily lead to actual sales, they say.
“The antique art market is going through a
slump, like the overall art industry. The recent
popularity of antique art among the public,
temporarily buoyed by the exhibitions,
doesn’t have much to do with auctions,”
says Kim Jong-chun, head of AT Auction in
Seoul.
Na Yun-jeong, an antique art specialist at
K Auction, says that the artworks displayed
34
Undervalued
Paintings
Experts have critically acclaimed the
quality and value of late Joseon Dynasty
paintings, but priceless works of art are as
yet undervalued in local and international
markets. by Park Min-young
at the shows are not easily found in auctions. pool for old art does not expand that easily.
“Although collectors are always looking for The general assumption that old and rich
investable artwork, high quality pieces from people are the only ones collecting antique
the late Joseon Dynasty rarely come out in art is actually right. Among art collectors,
the market,” Na explains. those interested in antiques only take up
Seoul Auction and K Auction, the two about 30%. Most prefer contemporary art
biggest auction houses in Korea, allot only a because antiques look rather somber when
small part of their auctions to antique art. In placed in houses,” says Eum Jeong-woo, an
hopes of revitalizing the market, several auctioneer at Seoul Auction.
antique art-exclusive auction houses such as As much as the collectors stay the same,
AT Auction and My Art Auction were the prices do not fluctuate either, especially
launched last year. compared to the soaring prices of
Due to the limited pool of collectors, contemporary art.
however, industry insiders find it difficult to “Up until 2000, antique art took up
animate the stagnant market. “The collector about 80% of the lots in auctions, and the
rest was contemporary. But the situation
soon reversed as art started to emerge as an
investment tool. Demand for older art
continuously decreased. Thanks to the stable
pool of collectors, though, prices have stayed
the same, even in 2008 when contemporary
art values dropped due to the global
economic crisis,” Eum adds.
“In fact, I think people are starting to
change their minds about antique art, seeing
how stable they are. They are realizing that
classics never change. Antique art auctions
steadily mark about 75% to 80% sales each
time.”
Among late Joseon Dynasty artworks,
paintings by Jeong Seon, Shin Yun-bok, Kim
Hong-do and calligraphy works by Kim
Jeong-hui consistently comprise the highest
price range. At Seoul Auction’s latest antique
art auction held in March, Kim Hong-do’s
Baenguigwaneumdo (Hermit) was sold at
160 million won (US$139,360) and Jang
Seung-eop’s Hosaneoeundo (Landscape) was
sold at 150 million won (US$130,662). Both
were sold near the starting point of the
estimated price range.
There are detailed standards for fixing
the price of Joseon Dynasty paintings. But
even if the artist is the same, prices can vary
across genres. Jeong Seon’s works, for
example, range from about 20 million won
(US$17,422) to several hundred million.
“In the case of works of the same genre
and theme, some were painted with extra
care while some were not. The price depends
on how much effort the artist put into the
work and how rare that piece is. Jeong Seon,
for example, painted many genres, but his
Jingyeong (realistic) landscapes are
considered the most expensive because they
were his major works, and were thus painted
with great care,” says Eum.
Prices can also vary according to whether
the painting has a seal or not, its overall
condition, and its previous owners. During
the late Joseon Dynasty, paintings were
already highly valued,
so it is likely that the
owners of works by
major artists were
influential figures in
society. If a painting
carries the seal of a
big-name collector
from that time, it is
appraised at a higher
rate.
Joseon Dynasty
artworks and relics
can also be found in overseas auctions like
Sotheby’s or Christie’s, because a great
number of them were leaked out of the
country or sold to foreigners during and after
the Japanese colonial rule (1910-1945). The
auction results overseas, however, are poor,
especially compared to Chinese antique art,
which continuously breaks auction records.
The highest-ever priced antique from the
Joseon Dynasty was made of white
porcelain, which sold for 7 billion won (US$6
million) in 1996 at Christie’s in New York,
while a Chinese embroidered ceramic bottle
was sold at over 97 billion won (US$84.49
million) in 2010 in Bainbridge’s of London.
“China’s antique art market is growing
because Chinese economic power is getting
stronger and they have great pride in their
own culture. They believe that they should
take back what is theirs from the world. The
country has a large population, and a lot of
them are interested in overseas auctions,”
comments Na.
Another reason Korea’s antique art
market is depressed is because of forgery
issues. Instead of one officially authorized
institute to appraise the works, there are
three private ones. So opinions usually split
in most cases and fail to set a proper price
for the works.
Despite problems, however, critics argue
that antique art, especially late Joseon
Dynasty paintings, has a high cultural value
People bid on Lee Joong-seop’s A Bull at Seoul
Auction in Korea (opposite). Hermit by Kim
Hong-do sold for 160 million won (US$139,360)
(above).
and potential to stand out in the
international market.
It was in the late Joseon Dynasty that
Koreans first started to see their culture and
artworks with their own eyes, says art critic
Sohn Cheol-ju. “Evaluations on
contemporary art can change anytime. But
old artworks, like late Joseon Dynasty
paintings, are already considered
masterpieces,” he says.
Sohn adds that Korea’s traditional
culture, including the paintings, is the root of
the recent Hallyu Korean wave, and that it
could be proved anytime only if people
would realize it.
“Many expected the Korean wave to fade
out quickly, but it didn’t. It will expand even
further, carried by digital tools like social
networking sites. The art industry is relatively
ignorant in that aspect. There are almost no
websites to promote the value of our
traditional works overseas. What we need to
do right now is to establish a digital base to
systematically organize and promote our
artworks,” Sohn says.
35
Korean Style

Around the world, Korean food is no

longer seen as just “a hot and spicy dishes
from an East Asian country.” After discovering a
range of healthy and delicious dishes in Korean
restaurants the world over, people have come to realize the
diversity of Korean fare. While some ingredients and preparation
techniques are similar to those found elsewhere, Korean cuisine
truly embodies the nation’s culture. Furthermore, the many
fermented dishes that are part of meals have recently gained
prominence as part of the “slow food” movement, leaving little
doubt that Korean flavors are making waves overseas.
by Seo Dong-cheol

36 37
Ko
H ar
n eSa tny lSet y l e
T he Korean government has deemed
Kimchi is one of the principle fermented dishes
of Korean food (above). Jangajji , fermented in
the years from 2010 to 2012 as a
soy sauce or gochujang , are also kinds of "slow
food" (below). “Visit Korea” period. What are the
must-eat dishes to sample at the
numerous events taking place during
this period in the country? It can be
daunting to see just how many menus
can hold, so a recommendation or two
from those in the know can really help.
A survey by a Korean newspaper last
year found that foreign residents in
Korea enjoyed bulgogi (barbecued beef)
best, followed by galbi (grilled short
ribs), and bibimbap (rice mixed with
meat and vegetables).
Recently, Korea’s Ministry of
Culture, Sports and Tourism (MCST)
and the Ministry for Food, Agriculture,
Forestry and Fisheries (MIFAFF)
conducted a survey of people’s favorite
38
dishes at Korean restaurants overseas,
and the following, in order, were the top
10: kimchi (and kimchi-jjigae), bibimbap,
Hanjeongsik (a traditional, full-course
Korean meal), galbi, bulgogi,
samgyeopsal (sliced pork belly),
samgyetang (ginseng and chicken soup),
naengmyeon (chilled buckwheat
noodles), haemul-pajeon (seafood and
green onion pancakes) and tteok (rice
cakes). This would suggest, then, that
it’s high time people put aside their fear
of unknown dishes and embraced new
flavors.
Interestingly enough, those top 10
Korean dishes are not solely confined to
Korean restaurants anymore, as their
tastes make them popular with palates
on all continents. Sick of eating
processed food and quick bites in
between meals, people all over the
world are turning their attention to
“slow food” (as opposed to fast food).
That’s where kimchi and other
fermented foods come in, as well as
Korean barbecue, pizzas and chicken
soups, all of which are becoming
recognized globally. As Korean foods
take up more space on people’s tables,
and people give them a closer look, the
subtleties of the dishes will inevitably
be revealed.
Slow and Steady Visit a Korean’s
home and you’re sure to come across a
home appliance unique to this part of
the world: the kimchi fridge. Koreans
have a regular refrigerator to keep their
food cool and another one to store their
kimchi. Traditionally, Koreans made
kimchi in the autumn and buried it
Soy sauce, gochujang and soybean paste are
made from bricks of ground fermented
underground to let it ferment. These
soybeans (above). Salted shrimp and fish are
days, however, the majority of Koreans matured in Korean traditional pots (below).
live in apartment buildings and do not
have a yard in which to bury their
kimchi. Thus, the birth of the kimchi
refrigerator, which recreates conditions
similar to those underground,
maintaining an average temperature of
1C.
Kimchi is easily the most famous of
fermented Korean food. Though
cabbage is the most well known variety,
kimchi made with radishes or
cucumbers are also popular, all of which
use the formula of mixing salt, red
pepper flakes, crushed garlic, green
onions, ginger, soy sauce and fermented
fish together. Fermented kimchi is
healthy and nutritious, as it contains a
39
Korean Style
wide range of vitamins.
Other Korean fermented foods such
as soybean paste, gochujang (red pepper
paste) and soy sauce have been thrust
into the spotlight as the perfect slow
foods. The history of the term dates
back to 1986, when the international
slow food movement got its start in
Italy. The message of the movement was
to promote a return to a traditional diet.
Fed up with fast and instant foods,
people who used to be obsessed with
speed and convenience are now
returning to more natural ingredients
that agree with the human body. “The
slow food movement has led to a
decline in American fast food, which in
turn has given way to emerging slow
food from Asia,” says Jeong Hye-
40
gyeong, a professor at Hoseo University. Samgyetang is one of popular healthy food in
Korea, especially in summer (opposite). Tteok
“New trends have seen healthier food is made of rice, nuts, herbs and even some
finding its way onto the tables of people fruits that make it highly nuturitious (above).
Naengmyeon is also a popular dish for its
around the world. In the near future,
refreshing cool broth (below).
healthy, eco-friendly foods will be the
norm.”
There is no doubt that fermented
foods have been a part of diets in both
the East and West for millennia. Long
ago, Western cultures developed wines,
beers, cheeses and yogurts as their own
healthy fermented food products. But
when it comes to things that are “slow
and patient,” nothing quite matches the
variety of Korean cuisine. “There’s
nothing out there like Korean food,”
insists Jeong. “We have slow food like
no one else. Korean soy sauces and
soybean pastes are usually preserved at
41
Korean Style
Some meat dishes are cooked directly on a
tabletop grill just before eating (above).
Galbijjim is a steamed beef dish marinated with
soy sauce and seasonings (below).
42
least one year before they’re consumed,
with some aged as long as 60 years.
There aren’t a lot of people who can
wait that long. Koreans, however,
embody slow food.”
These “slow” fermented ingredients
are a fundamental part of the national
cuisine — not merely an afterthought.
Most meals and side dishes include a
fermented ingredient. Among stews,
kimchi-jjigae (kimchi stew) and
doenjang-jjigae (fermented soybean
paste stew) are popular. When people
make guk , a basic Korean soup, with
kimchi or soybean paste, salt and soy
sauce are added to season it as well.
Then there’s bibimbap, which would
not be complete without gochujang.
Essentially, if you sit down to have a
traditional Korean meal, it would be
nearly impossible to avoid all the
fermented foods present on the
table. Korean food is,
fundamentally, a
hodgepodge of slow
foods.
Universal
Traits the top 10
Korean foods
which non-natives
like most have more
in common than just
fermentation. The
ingredients that go into
the dishes and how
they’re made are fairly
universal, as it’s common to
find barbecue, pizzas, soups
and noodles in dishes from
other countries. Beef and pork
are universal ingredients, save those
nations which refrain from
incorporating them in their cuisine for
religious reasons. Barbecued foods and
steak are popular around the world, so
bulgogi, galbi, and samgyeopsal have
become popular with people in other
countries. People overseas enjoy Korean
meat dishes not just for their familiar
ingredients, but for the original recipes
used to prepare the food.
As Professor Jeong explains, Western
meat dishes are simple, served rare,
medium or well-done. That’s it.
However, Korean meat dishes agree
with foreign palates because of the
many unique ways in which they’re
delicately prepared.”
Bulgogi is made by taking thin slices
of sirloin or other cuts of beef and
marinating it in a mixture of soy sauce,
sugar, green onions, garlic, toasted
sesame seeds, ginger, pepper and
sesame oil. It is then fried in a pan
before serving. Galbi, or sliced short
ribs, is marinated in soy sauce, sesame
oil, garlic, green onions and pear.
However, it’s different from bulgogi in
that it’s grilled over a charcoal fire or
braised. Additionally, the seasoning
goes deep into the meat’s tissue,
suffusing it with the uniquely original
smells and flavors of Korean cuisine.
And don’t forget about the grilled
fatback of samgyeopsal, which reminds
many of unsmoked bacon and is also
cooked in its own way. Koreans grill the
slices of pork belly on a tabletop grill
before wrapping it with an assortment
of vegetables.
Samgyetang is a traditional Korean
meal eaten by many to beat the heat of
summer. Similar to the broth of chicken
noodle soup, samgyetang’s health
benefits are unparalleled. After
removing its innards, the chicken is
stuffed with glutinous rice, garlic, and
jujubes and then boiled for hours.
Ginseng, that mysterious root whose
positive effects on the human body are
still being uncovered to this day, is also
added, making samgyetang as much a
tonic as a delicious meal. Haemul-
pajeon, which resembles a pizza or
pancake in appearance, is made by
adding oysters, squid and clams to a
mixture of chopped green onions, hot
peppers and flour dough. It is then fried
on a pan and eaten while still hot.
Korean traditional rice cakes, tteok,
are made by steaming pounded or
glutinous rice. Seasoning it with nuts,
fruits and herbs makes it highly
nutritious. Then there are all the
different noodles, which come in a
whole slew of shapes and sizes: the
pasta of Italy, the rice noodles of
Vietnam, the udon of Japan and the
chow mein of China. Of the many kinds
of Korean noodles, naengmyeon,
buckwheat noodles seasoned with
sliced cucumbers, radishes and pears,
and topped with a boiled egg in a
chilled broth of beef or chicken, is one of
the most popular.
seeds of globalization A recent
survey found that 60 percent of foreign
residents in Korea believe Korean food
has the potential to go global. One
Japanese housewife loves kimchi so
much she not only has a kimchi fridge
but makes her own kimchi! Perhaps the
globalization of Korean food has
already begun. The Korean government
aims at accelerating the further
globalization of the national cuisine.
Indeed, the government’s bold new goal
is to make the domestic fare one of the
world’s five most favorite foods within
a decade, and increase the number of Bibimbap is a combination of rice, vegetables,
Korean restaurants around the world meat and gochujang. It is one korean dish well-
known overseas.
from its present number, 10,000, to
40,000.
In May 2009, the government
formed a “Korean Cuisine to the World”
group, and a Korean Cuisine
Foundation is in the works as well.
Related government agencies including
the Ministry of Culture, Sports and
Tourism have vowed to cooperate with
civic groups to nurture the brand of
Korean food.
Behind this sweeping culinary
movement lie the universal traits of the
cuisine and its potential to become
globally recognized. It is only a matter
of time before the seeds of Korean food
grow into a strong, global tree. With an
open mind to new cultures and an
interest in following a healthy diet,
people are being encouraged to join this
movement to make this unique food
more popular and accessible in every
corner of the world.
43
Korean Style

Suwon Galbi (Gyeonggi-Do Province)

Suwon’s marinated galbi short ribs are a local specialty that can be enjoyed anywhere in the world. As
Gyeonggi-do Province’s most famous dish, this rich, meaty meal has a universal appeal, almost like
A Cornucopia of Taste
in Local Specialties
barbecue. Suwon galbi is said to have originated at a restaurant called Hwachunok, which opened in
Suwon in the 1940s. The galbi served there, marinated in sesame oil, garlic, scallions and Asian pear,
then charcoal-broiled over a low flame, quickly gained popularity due in part, perhaps, to the fact that
at the time Suwon was home to the largest cattle market in the country. It’s served with an assortment
of different vegetables. Geographically speaking, Korea is a small country. But
Recommended Restaurant | Bonsuwon Galbi that doesn’t mean it lacks great, diverse food and flavors.
Address | 51-20 Uman-dong, Paldal-gu, Suwon-si, Gyeonggi-do Get ready for a journey around this small but culturally
For more information | call +82-(0)31-211-8434 or visit www.bonsuwon.co.kr
Gyeonggi-do Travel Information | www.ethankyou.co.kr
rich nation in search of local food that best represents
each region. by Seo Dong-cheol | illustration by Yu Yeong-eun

Cheonan Byeongcheon Sundae (Chungcheongnam-do Province) Gangneung Chodang

The origins of Byeongcheon sundae date back to the years after the Korean War (1950-53) when a Sundubu
Western ham factory was established in the township of Byeongcheon. It was there that people (Gangwon-do Province) Gyeonggi-do Province features incredibly
started making sundae, a type of blood sausage, with the residual pork which had been processed to Made from local soybeans and water
sumptuous food that is presented beautifully.
produce ham. They also began selling pork bone soup with sundae at outdoor markets. from the East Sea, Gangneung
chodang sundubu is a silken tofu soup Host to Korea’s royal family and nobility for
Recommended Restaurant | Cheonghwa Jip
Address | 167-6 Byeongcheon-ri, Byeongcheon-myeon, Dongnam-gu, Cheonan-si,
with the savory taste of soybeans. They centuries, the region’s cuisine has long been
say the first person to ever make tofu
Chungcheongnam-do
was Heo Yeop, a government official
influenced by food from the royal court, which
For more information | +82-(0)41-564-1558
and scholar during the Joseon era. He explains its traces of extravagance. Gangwon-do
Chungcheongnam-do Travel Information | tour.chungnam.net
made his tofu by coagulating soymilk
Province is the most mountainous region in the
with clean
seawater. Unlike conventional tofu, nation. Its distinguishing geographic features
chodang sundubu is more watery, include the Taebaek Mountains and the East Sea.
because it’s not curdled, with a clean,
mellow aftertaste. Tofu is high in
Fresh seafood and produce such as potato, corn
protein but low in cholesterol and and buckwheat are staples for many of its
Jeonju Bibimbap (Jeollabuk-do Province) saturated fat, making it a much-loved
There are numerous theories as to how bibimbap, a bowl of warm white rice topped with an egg yolk, unique dishes. Food from the Chungcheong-do
commodity by people around the
seasoned beef, and a variety of vegetables, was first made. Some say it was a light meal served in the world for its health benefits. Province is clean and simple, with people there
royal court, later introduced to the public. Another theory says farmers combined rice with certain side
Recommended Restaurant | Yetnal using fewer spices than in other regions. The
dishes in a bowl because they had no time to sit down and eat during the busy harvest season.
Although no one is certain of bibimbap’s origin, there’s no doubt it combines a variety of tasty Chodang Sundubu only landlocked, northern portion of the region
ingredients together in one bowl to make a nutritious meal. Address | 334-2 Unjeong-dong,
Gangneung-si, Gangwon-do
has an abundance of ginseng, garlic and jujubes.
Recommended Restaurant | Gajok Hoegwan For more information | +82-(0)33-645- The southern part, which is closer to the water,
Address | 80, Jungang-dong 3(sam)-ga, Wansan-gu, Jeonju-si, Jeollabuk-do 0557 or www.oldchodangdubu.co.kr
For more information | +82-(0)63-284-0982 or www.jeonjubibimbap.com
carries plenty of seafood, including blue crabs
Gangwon-do Travel Information |
Jeollabuk-do Travel Information | www.jeonbuk.go.kr www.gang won.to and shrimp. The Jeolla-do Province, which
makes use of the large amount of fertile land
within its borders and the southwestern coast,
Yeongdeok Snow Crab has myriad local crops and seafood to create a
(Gyeongsangbuk-do Province)
ObunjaGi ttukbaegi (Jeju Island) range of dishes. While the Gyeongsang-do
If you’re a fan of king crab and lobster, you’ll love the snow crab from Yeongdeok.
Obunjagi ttukbaegi is a soup consisting of obunjagi (a shellfish related to abalone) and This delicacy is also called bamboo crab because its leg joints resemble the plant. Province is also blessed with both fertile land
served in an earthenware pot with mushrooms, tofu, garlic, onions and hot peppers. The The best snow crabs are caught in the clear waters of the East Sea near and a rich coastal region, its cuisine is relatively
dish is a local specialty of Jeju Island, Korea’s largest and a popular tourist destination. With Yeongdeok, as they have longer legs and chewier meat. It is high in protein, low
about 70 percent of all obunjagi harvested off Jeju, it boasts an addictive chewy taste that in calories and rich in minerals, including calcium. Winter and early spring are the simple, with many of its dishes being saltier and
is high in protein but low in fat, with a clean, refreshing flavor. best times of year for snow crab, usually steamed or boiled in soups. spicier than those from other areas. Finally, Jeju
Recommended Restaurant | Sambo Restaurant Recommended Restaurant | Sanho Snow Crab Town Island, the outcrop located off the southern tip of
Address | 319-8 Cheonji-dong, Seogwipo-si, Jeju-do Address | 305 Ganggu-ri, Yeongdeok-gun, Gyeongsangbuk-do
the Korean peninsula, is a seafood lover’s
For more information | +82-(0)64-762-3620 For more information | +82-(0)54-733-4023 or www.sanhocrab.com
Jeju-do Travel Information | www.jeju.go.kr Gyeongsangbuk-do Travel Information | www.gbtour.net paradise.

44 45
Ko
H ar
n eSa tny lSet y l e
Makgeolli is a traditional alcoholic beverage
in Korea, much like wine in France or sake in
Japan. It is made by fermenting a mixture of
boiled rice and water with yeast.
There are several reasons makgeolli has
become more popular in Korea than other
types of rice wine. For one, it has been loved
across the country since the Goryeo Dynasty
that began in the 10th century. In its
unfiltered form and served with its natural
sediment after being stirred, it was not just
an alcoholic beverage but a filling
refreshment. Originally popular with farmers,
it earned the nickname nongju, or “farmers’
liquor.”
A popular drink for years, makgeolli
eventually fell out of favor with people
during the Japanese colonial era (1910-
1945). Because of food shortages, there was
not enough rice to eat, let alone enough to
produce alcohol. As a result, the government
restricted the making of rice wine and the
once ubiquitous makgeolli seemed to fade
into history. But as rice production increased,
people started to miss the traditional drink,
and it began its return to the spotlight.
Today, in a world where health and well-
Makgeolli: being are at the forefront of many people’s
minds, makgeolli is the perfect fit. Usually
A TRADITIONAL drink that around 6.5 percent alcohol by volume, it’s
lighter in alcohol content than other
tickles modern tastebuds For William Lawton Cromwell, left, who enjoys a few drinks with
friends after work, makgeolli is no longer a foreign drink for him
(opposite). There are more than a hundread kinds of makgeolli in
Korea (below). Makgeolli matches with many side dishes, like
hongeo-samhap (right).
The world of alcohol is governed by trends. These days, the most
popular drink in Korea is definitely makgeolli, a traditional Korean
rice wine. Last year, in fact, 889 patents related to makgeolli were
applied for, a 32 percent increase from 2008. Each region of Korea
has countless varieties, which has led to the rise in use of terms
such as “makgeolli bar” and “makgeolli nouveau.” Let’s take a
closer look at the appeal of the alcoholic beverage that’s changing
Korea’s drinking culture.
by Oh Kyong-yon | photographs by Kim Nam-heon
46
alcoholic beverages like soju (a local grog)
and wine. The sediment, which gives it a
milky, off-white color, is rich in nutrients
such as lactobacilli, protein, amino acids and
vitamins. Interestingly, makgeolli’s popularity
extends beyond the borders of Korea. In
Japan, large department stores like
Takashimaya sell makgeolli and idong
makgeolli, makgeolli cocktails, as well as
other fusion varieties.
The Best Ways to Drink
Makgeolli William Lawton Cromwell, an
American from Connecticut who has been
living in Seoul for a year and half, loves
makgeolli. “I like it because it’s lighter than
other drinks [tequila, rum or whiskey], and
goes down easy,” he says. “It smells fresh and
its fruity taste makes it feel like I’m drinking
a fruit wine.”
Along with its popularity, side dishes that
are well-matched with the drink are turning
heads, too. From time immemorial a
countless number of dishes have competed
with each other, vying for the title of the
best side dish complement to makgeolli.
Today, the most popular — and affordable
— is probably pajeon, especially Dongnae-
pajeon, a Korean “pancake” from Busan that
is made of dough with spring onions,
seafood and eggs. With its melange of
balanced ingredients, it boasts a flavor that
goes well with the rice wine.
Another good accompaniment is a
specialty of the Jeolla-do Province called
hongeo-samhap, a three-layered dish
consisting of cooled fermented thornback
ray (or skate), steamed pork and well
fermented kimchi. The thornback has a
unique burning taste from ammonia, though
it becomes milder when eaten with pork and
kimchi. In addition, sashimi chomuchim,
made with fresh fish, spiced with vinegar and
hot pepper bean paste, is paired with the
beverage. Kim Ok-sim, the owner of a bar
named Gounnim in Seoul says it is the best
side dish, claiming “Its sweet and sour taste
goes well with makgeolli.”
The makgeolli craze is sure to be around
for a while. Even the Ministry for Food,
Agriculture, Forestry and Fisheries
announced last year it would give full
support by subsidizing companies that make
makgeolli with freshly harvested rice. The
popular drink was even served during a
“Korea Night” event at the Davos World
Economic Forum in Switzerland. Koreans
have long appreciated makgeolli for its taste
and health benefits. Will it, however, be able
to gain popularity overseas? It will certainly
be interesting to see how makgeolli fares
globally in 2010.
47
Korean Style

The Present
and future of
Hangeul Gwanghwamun, located in Sejongno, Seoul, was the main gate for
Gyeongbokgung Palace in the Joseon Dynasty, and is an important landmark of
the Republic of Korea. Bronze statues of two of the country’s most influential
leaders grace Gwanghwamun Plaza and represent some of the greatest
achievements in Korean history. Sejong the Great, who invented the Korean
alphabet, and Yi Sun-sin, a famous Korean naval commander in the Joseon
Dynasty, both left indelible marks on Korea’s history.
by Song Jeong-ran | photographs by Kim Nam-heon

A bronze statue of Sejong the Great, who invented the Korean alphabet, Hangeul , graces downtown Seoul's
Gwanghwamun Plaza.

48 49
Korean Style

accurately express any sound that can
be made by the human voice. Sejong the
Great is the Leonardo da Vinci of Korea
with the depth and variety of natural
talents.” Jared Diamond, who has
researched the evolution of alphabets
and a professor for the University of
California’s medical division, says,
“Letters are made by combining
Hangeul’s 10 vowels and 14 consonants,
and is therefore easy to learn. With 24
vowels and consonants, more than
11,000 different sounds can be
expressed, more sounds than any other
alphabet in the world.”
The convenient and easily learned
characteristics of Hangeul have made
the system popular among ethnic
recordable system ethnic minorities
without one of their own. Many
linguists have chosen Hangeul as the
most suitable alphabet for this cause. It
has also been selected as the official
alphabet by the Cia Cia tribe of Buton
Island, Indonesia. Other tribes,
including the Lahu tribe of Thailand,
Lhoba, Ewenki and Lowchen tribes of
China, Chepang tribe of Nepal, and
Badjao tribe of the Philippines, are
considering to adopt Hangeul as their
official alphabet as well.
Hangeul, which is a phonetic
alphabet that has a systematic
connectivity between sound and letter,

A sculpture of Hunminjeongeum is on display in
King Sejong Memorial Hall in Seoul (above). An
international student paints Hangeul
characters at the 1st Foreigners' Writing Brush
Competition in Seoul in September (below).
T
he 6.2 meter bronze statue of
Sejong the Great was erected last
year, on the 563 anniversary of the
rd
proclamation of Hangeul, or the Korean
alphabet, an achievement incomparable
to any other. An underground
exhibition hall containing artifacts
related to Hangeul was built under the
plaza nearby his figure. The king’s
invention of the alphabet system for his
people is an important accomplishment
in Korean history.
Sejong the Great: Linguist for
the People Sejong the Great’s love
for his people was the driving force
behind his desire to create an alphabet.
For many years, Korea used Chinese
characters to record documents, but due
to differences in pronunciation and
grammar, learning to read became a
time consuming and exclusive privilege
for the upper classes.
After the promulgation of Hangeul,
most of the Korean people, including
women, were able to learn the alphabet,
making it the official lettering system of
Korea. Today, the concise and easy-to-
learn system contributes to low the minorities lacking their own native
illiteracy rate in Korea. According to a alphabet. There are a total of 6,809 Hangeul education is one of the several services
provided to foreign workers at Incheon's
Human Development Index (HDI) spoken languages in the world, of
Migrant Workers' Center (above). Foreign
report released by the United Nations which 6,600 do not have their own participants of the World Korean Educator
Conference in August, held at the Kongju
Development Programme (UNDP) in alphabet. In 2001, UNESCO established
National University in Gongju, proudly display
2008 and 2009, Korea’s adult literacy the Initiative Babel to supply a their Korean textbooks (below).
rate was at an astonishing 99 percent.
Sejong the Great’s invention of the
Hangeul alphabet helped Koreans
develop an excellent command of their
own language, and in memory of this
great achievement the Korean
government designated October 9 as
“Hangeul Proclamation Day.”
Furthermore, the Korean government
established the “UNESCO King Sejong
Literacy Prize” in 1989, which is
awarded to organizations and
individuals who contributed in
lowering the illiteracy rate.
The superiority of Hangeul is not an
arbitrary evaluation within Korea.
Nobel Laureate and Pulitzer Prize
winner Pearl S Buck states in the
introduction of her novel The Living
Reed (1963): “Hangeul is the world’s
best and easiest alphabet. A
combination of 24 components can

50 51
Korean Style
can be used to write many of the
world’s languages. These characteristics
of Hangeul show that King Sejong, a
great linguist and ruler, founded the
idea that his people should know how
to read on humanism.
Hangeul’s future It is estimated
that a total of 70 million people on the
Korean peninsula and 77 million people
worldwide use the Korean language.
Korean is ranked 13 in the world in
th
respect to the total number of people
using the language, but is estimated to
be between 9th and 11th in regard to the
language’s influence around the world.
In 2007, the World Intellectual Property
Organization (WIPO) designated
Hangeul as the 9 language of
th
publication.
Hangeul’s current status can be seen
through numerous statistics. From 1920
to 2010, a total of 125 different
dictionaries have been published in
Korean, and a total of 510,000 words are
currently listed in the “Standard Korean
Language Dictionary” published by the
National Institute of the Korean
Language. There are 2,177 institutions
around the world teaching Korean to
some 250,000 students. A total of 3,400
textbooks for foreign learners have been
published worldwide. There are 628
elementary, junior high, and high
schools in 15 countries that have chosen
Korean as a second foreign language,
and 642 universities in 54 countries
have majors in Korean or offer
Korean language courses.
Today, languages are used as
52
an instrument of communication and create
economic value. The Korean language holds
relative importance among the languages of
the world. The market competitiveness of
Korean is quickly strengthening as the
number of people interested in learning
Korean increases. The second- and third-
generation children of the 7 million Korean
residents living in 169 countries worldwide
are important customers. Additionally, with
the increase of Korean companies abroad,
many international employees are also
interested in learning Korean. The Hallyu or
the Korean wave that started in the 1990s
has also increased interest in learning the
language.
Foreign workers have been an
integral part of the Korean economy’s
rapid growth by fulfilling the needs of
the workforce. These foreign workers
are required to pass an “Employment
Permit Korean Exam” before they may
begin working in Korea. Currently, this
exam is being held in China, Mongolia,
Vietnam, the Philippines, Pakistan and
Sri Lanka. 40,000 people took the exam
in Indonesia last year and
another 40,000 took the
exam in Nepal.
There are 25,000
students
leaving
Korea for
foreign education every year, and a The Republic of Korea's Pavilion
at the Shanghai World Expo in
large number of students are coming to
China was inspired by the
Korea for educational purposes. aesthetic forms of Hangeul .
Universities in Seoul and other large
cities have more than 2,000 international
students from various countries,
including China, Japan, Hong Kong,
Mongolia, Cambodia and Bangladesh.
Some study in Korea as exchange
students, some attend Korean
universities, and others learn Korean
culture and language from the influence
of the Korean wave. Students wishing
to attend a Korean university must
pass the class IV TOPIK (Test of
Proficiency in Korean) exam
which requires a year to a year-
and-a-half of studying the Korean
language.
Universities
in 54 countries
have Korean
53
Korean Style
A model wears a Hangeul-patterned outfit
designed by Lie Sang Bong for the fashion
runway, on the occaston of the 20th anniversary
of Korea-Russia diplomatic relations in Moscow
(above). UN Peacekeeping Korean soldiers in
Lebanon play jegichagi a Korean folk game,
with local students that specialize in Hangeul
(below).
54
departments. China alone has around 70
universities with Korean majors, and
Peking University has established a
Korean department. In Vietnam, Hanoi
University, Ho Chi Minh City
University and University of Foreign
Languages all have Korean departments
as well. The graduates are employed by
local Korean companies who pay high
wages, heightening the competition for
these majors.
Last year, the Ministry of Culture,
Sports and Tourism held a “World
Korean Educator Conference,”
arranging a chance for Korean
educators worldwide to assemble. What
surprised people in the first meeting
was discovering Korean schools located
in countries unfamiliar to Korean
people. Many were surprised to hear of
the interest in Korean in countries like
Belarus, the United Arab Emirates,
Azerbaijan and Tajikistan.
Widespread interest of the Korean
language worldwide has brought about
a change in the interest and recognition
for Hangeul. The Korean government
has various policies and visions to
elevate the status of the Korean
language on a global scale. One of these
policies is the “King Sejong Institute forming the grounds for creating new designs in a Paris fashion show, which
Joint Brand Business.” The program will and unique imagery for aesthetic received praise from local media and
evaluate 2,000 Korean education purposes. Book designer Jung Byung- buyers alike.
institutions and certify 350 of them with gyu says that Hangeul inherently Hangeul is a valuable cultural asset
the national title of “King Sejong carries fundamentals for the creation of that encompasses the Korean people’s
Institute” by 2015. Additionally, 150 Korean culture and the principles of culture, history, and tradition in a
King Sejong Institutes will open for typography design. The consonants concise form. The lettering system
those regions with high demand for contain the basic elements of shapes, boasts of linguistic, aesthetic,
Korean language education that lack including triangles, squares and circles. philosophical and scientific
resources. A standardized curriculum The vowels act as coordinates for qualifications for a highly developed
and textbooks will be developed and formative change with vertical and 21st century, information-based society.
supplied to systematically operate these horizontal lines. Hangeul also These characteristics provide a strong
Korean educational institutes, encompasses architectural indication that Hangeul has the
ultimately increasing Korea’s national characteristics with its layering of initial potential to grow into the country’s
competitiveness. consonant, medial vowel and final representative cultural icon for the 21st
consonant. century.
The Globalization of Hangeul Hangeul’s originality and beauty has
The two paradigms leading the 21 st
been the muse for conceptual design in
century are universal communications typography since the 1970s, and
and cultural content. An environment of numerous fonts continue to be
constant communication is taking shape developed today. Individual fonts using Foreign lecturers are receiving a Korean lesson
in Ulsan in September (top). Mexican students
in this highly advanced digital era, and calligraphy are used in product designs.
hold a Korean folk performance, samullori , to
Hangeul is viewed as one of the most Fashion designer Lie Sang Bong used celebrate the opening of a Hangeul school in
appropriate alphabets for these ever- Hangeul characters as a motif for his Mexico City, in September (above). June was a
significant month, as the first Hangeul school
changing times. for local students opened in Chile (below).
Hangeul is composed of 24 letters,
compared to the 26 letters in the English
alphabet and 55 in Japanese. For cell
phones, the average input speed of
Korean letters is 35 percent faster than
English and six to seven times faster
than Japanese. Unlike Japanese and
Chinese, where each letter must be
found by typing the corresponding
sounds in the Roman alphabet, Korean
does not need any conversion and is
therefore seven times more efficient
than Japanese in situations involving
business relations. This factor has
helped increase the high rate of cell
phone propagation in Korea.
With the rising interest in text
messaging, Hangeul typography is also
becoming popular around the world.
Fonts are no longer mere tools for
communication, but are simultaneously
55
Korean Style
Sejong the Great:
A Leader of Language and
man of the people
Sejong the Great is perhaps the most respected
leader in all Korean history. During King
Sejong’s 32-year reign (1418-1450), during which
Korea enjoyed a political, economic and cultural
golden age. The leader most acclaimed feat was
his creation of Hangeul, the Korean alphabet.
And for a country that boasts one of the world’s
highest literacy rates, Hangeul Proclamation
Day, October 9, is worth celebrating.
by Lee Se-mi ng Jeong-r
56
On October 9, 2009, Sejongno in Gwanghwamun welcomed an
addition to its already eye-catching cityscape. On Hangeul
Proclamation Day, a bronze statue of Sejong the Great was erected
in the heart of the capital, 563 years after he proclaimed Hangeul.
The fourth king of the Joseon Dynasty, Sejong the Great
ascended to the throne at the age of 22. He was able to further his
academic education due to a stable political foundation that was
achieved by his father, King Taejong. Though Sejong the Great is
considered one of the most exceptional kings of the Joseon Dynasty
for his achievements, what separated the leader from others was his
love for the common people. The creation of
Hangeul began with his benevolence and
compassion for his countrymen.
Although the Korean language existed
prior to the creation of Hangeul, the written
form was based in complicated hanja
(Chinese characters). Hanja was insufficient
when describing and recording the
onomatopoeic and mimetic words of the
Korean vocabulary, and because of its
complexity was accessible only to the
highest classes. Creating a language for the
common man was a revolutionary idea.
Expecting resistance from the elevated
classes, Sejong the Great began his work on
Hangeul in secret.
When the king finished his work in 1442,
Sejong the Great named the new alphabet
Hunminjeongeum , or “the proper sounds for
the instructin of the people.” The language
was enacted into law a mere four years later
in 1446. The name “Hangeul” was first used
in 1910 by the scholar Ju Si-gyeong and
come into general use in 1948. The “han” in
Hangeul means “one, great and proper,” or
that Hangeul is a “unique and proper
alphabet.”
Hangeul’s greatest characteristic is that
it is easily learned. It is the world’s most
advanced phonetic alphabet and is
unparalleled in its science and creativity.
Consonants and vowels were created
separately, and are combined to form
syllables.
The basic consonants ㄱ, ㄴ, ㅁ, ㅅ, ㅇ
are based on the simplified shapes made by
the mouth, while the remaining consonants
are formed by adding extra strokes to imply
stronger sounds. Vowel shapes represent the
sky, earth and man, as they are the roots of
Eastern philosophy. The basic vowel ‘·’
represents the sky’s round shape, the vowel
‘ㅡ’ represents the flat earth, and the vowel
‘ㅣ’ represents a standing man. All of the
other vowels are made by combining these
three basic shapes.
Hangeul is an alphabet of fixed sounds. sundial Angbuilgu , and a device to observe
For example, the vowels ㅏ, ㅣ, ㅗ each have the movements and position of celestial
unchanging sounds. This is in contrast to the bodies called Honcheonui , which helped the
English system, where the vowel “a” has a citizens with agriculture.
different sound depending on its placement The king was also responsible for the
within a word. greatest musical achievement in Korean
Originally, there were 28 characters history, by compiling and organizing music
when first invented. The Standardized used in ceremonies and Korean traditional
System of Hangeul in 1933 reformed the music. But such passion came with a price,
alphabet, however, leaving 14 consonants and his health deteriorated with his
and 10 vowels for a total of 24 characters achievement. Yet, even as he fought illness,
(Consonants: ㄱ, ㄴ, ㄷ, ㄹ, ㅁ, ㅂ, ㅅ, ㅇ, ㅈ, Sejong the Great personally checked all
ㅊ, ㅋ, ㅌ, ㅍ, ㅎ / Vowels: ㅏ, ㅑ, ㅓ, ㅕ, ㅗ, newly compiled works until his passing at
ㅛ, ㅜ, ㅠ, ㅡ, ㅣ). the age of 54 in 1450.
After the invention of Hangeul, Sejong Today, Hangeul is recognized by such
the Great continued his efforts to propagate international organization as UNESCO,
the language by making wooden block which began awarding the “King Sejong
printing letters. He wrote the first song and Prize” in 1990 for individuals or organizations
the first work of prose written in Hangeul. worldwide that contributed to the
Unlike the grateful citizens who finally eradication of illiteracy. Hangeul’s eminence
had an alphabet that corresponded with is a product of Sejong the Great’s character,
their speech, the higher social classes of as great history and culture begins with one
Korea underrated Hangeul and compared it person.
to the hanja characters.
Women who did not receive a proper
Chinese education started writing letters in
Hangeul. At the time, Buddhism still played
an important role within the Joseon
Inscriptions of several Hangeul consonants are
featured at the Republic of Korea Pavilion at
Expo Zaragoza in Aragon, Spain (opposite). A
Dynasty’s Confucianism-based politics. The statue of Sejong the Great, who is remembered
Buddhist temples in Korea started translating for his many achievements, in Gwanghwamun
Plaza (below).
Buddhist scriptures
into Hangeul, which
soon spread to the
people.
Sejong the Great
also had a great
interest in the
sciences and the arts.
He established the
astronomy research
institution
Seoungwan, and
together with
scientist Jang Yeong-
sil invented the water
clock Jagyeokru , the
57
Korean Style
Indonesia's Cia-Cia language
preserved by adoption of
Korean Alphabet, Hangeul
For centuries, Indonesia’s Cia-Cia tribe has preserved
its native spoken language without an alphabet. But
now in danger of losing its history through a lack of
written records, a search for preservation caught the
attention of a Korean organization, which proposed
the adoption of Hangeul, the Korean alphabet. With
the Indonesian government’s official approval for the
adoption of Hangeul and a new curriculum for local
schools on the rise, the Cia-Cia tribe is now on the
road to preserving its native tongue, one letter at a
time. by Lee Se-mi
58
The adoption of the Korean lettering system
by the Indonesian Cia-Cia tribe set a
precedent for Hangeul. It was the first time
the Korean alphabet was adopted outside
the peninsula for official use, and expected
to be adopted by others.
The Cia-Cia, with a population of 80,000,
is the largest tribe on Buton Island in
Sulawesi, Indonesia. The island has a total
population of 500,000, consisting of 10
different ethnic minority tribes, including the
Java and Sunda.
After learning of the tribe’s situation, the
Hunminjeongeum Society of Korea traveled
to Bau-Bau City on the island and proposed
the adoption of Hangeul as the tribe’s
official alphabet. The two signed an MOU on
the promulgation of Hangeul on July 21,
2009. Almost immediately, the
Hunminjeongeum Society began teaching
Hangeul and printed textbooks, handing
them out to 40 elementary students in the
Sorawolio district that neighbors the Cia-Cia.
The textbook, Bahasa Cia-Cia 1,
comprises basic writing, speaking and
reading sections. Students write the Cia-Cia
language phonetically in Hangeul. The
alphabet taught to the Cia-Cia tribe consists
of the same consonants as in Korea, but only
five vowels are used. Additionally, due to the
characteristics of Cia-Cia pronunciation, the
letter “ㅸ” was reformed from the original
system, though it has not been used in Korea
since the 15 century.
th
Bahasa Cia-Cia 1 was co-written by
professors Lee Ho-yeong and Hwang Hyo-
seong, and Abidin, an English teacher in Bau-
Bau City and the son of a former tribal
leader. The textbook contains the history,
culture, society, traditions, and fables of the
Cia-Cia tribe.
Abidin, the only native teacher in Bau-
Bau City, traveled to Korea to study the
Korean language at Seoul National
University for six months. During the time,
he researched and adapted the alphabet
system for the Cia-Cia
language.
After two months of
classes, the students in
Bau-Bau City could write
their names in Hangeul.
The curriculum expanded
to nearby schools, and
local road signs are now
written in both Hangeul
and the Roman alphabet.
There are plans to publish
history books and
folktales in Hangeul.
Since the 1980s, the
Indonesian government
has felt the need to
preserve cultural assets
that were in danger of
extinction, including the
ethnic minority
languages that have
been dying out with the
widespread use of a
Since the adoption of Hangeul, road signs are
standard language. Ethnic minority
languages in the region have been reduced
from around 30 languages to 10.
now written in Hangeul in Bau-Bau City,
Indonesia (opposite above). Abidin, left, is the
Cia-Cia tribe's first local teacher for both
Many ethnic tribes in the Buton Island
region are preserving their native languages
Hangeul and Korean, and has given lectures in
elementary and high schools since July
2009 (opposite below). Cia-Cia tribes people
attend a Korean lesson in Seoul on an invitation
through foreign alphabets. The Olio tribe has
from the Ministry of Gender Equality and Family
adopted the Arabic system, while others are in July (top). Cia-Cia natives receive taekwondo
showing interest in Hangeul. lessons from Korean volunteers in July (above).
An educational Korean Center is
currently being constructed in Bau-Bau City,
and consists of a library, computer room and Hunminjeongeum Society. “We are also
cultural space. The center is planning to hold attempting to hold Hangeul teacher training
training programs to supplement the programs in the region.”
shortage of instructors in the area. There are The Korean government plans to
10 elementary schools, nine junior high establish a string of Korean propagation
schools, and six high schools in the city, and institutions called “King Sejong Institutes,”
only two certified teachers of Hangeul: hoping to expand to 500 establishments
Korean professor Jang Duk-young dispatched worldwide. Hangeul has taken its first step in
by the Hunminjeongeum Society and Abidin. becoming one of the world’s foremost
“Next year we are planning to upgrade alphabets.
the Hangeul alphabet teaching
program,”said Won Sung-muk of the
59
Korean Style

Hanok, or traditional Korean houses, are a place where you can forget all
of the stresses of the modern world. Designed to withstand the forces of
the Korean climate, Hanok are built with natural elements such as trees,
soil, stone and paper. The house offers visitors a chance to learn about
Korean history and culture while reconnecting with Mother Nature.
by Chung Dong-muk | photographs by Kim Nam-heon

Traditional houses in Hahoe Folk Village

60 61
Korean Style
S tarting at Hwangji Pond in Taebaek,
the Nakdonggang River winds some
500km through southeastern part of
Korea before flowing into the South Sea.
It is the country’s longest river, and has
been flowing through the peninsula for
thousands of years. Sitting along this
natural jewel is another important piece
62
theory, such an area was called
“yeonhwabusu,” meaning “a lotus
floating on water.” In ancient Korea,
people took account of such theories
when deciding where to build a village
or house. If a location harmonized with
the forces of nature, its residents would
be brought good luck. A house built in a
manner contrary to those forces would
meet with disaster. Hahoe Village is
home to many tile-roofed Hanok, or
traditional Korean houses, because it
was a favorable area according to feng
shui theory.
a protective home In 1392, when
the Joseon Dynasty was founded, state
official Ryu Jong-hye chose Hahoe as the
home for the Ryu clan of Pungsan.
Brothers Ryu Un-ryong (1539~1601), a
renowned Confucian scholar, and Ryu
Seong-ryong (1542~1607), a prime
minister who helped the dynasty
overcome the Japanese invasion in 1592,
Jangdok , porcelain pots used to store Korean
fermented sauces such as doenjang (soybean
paste) in the front yard of a Hanok (left). White
rubber shoes are placed in front of a traditional
Hanok door (below).
of Korean heritage: Hahoe Folk Village
in Andong, Gyeongsangbuk-do
Province.
Hahoe is a compound Korean word
meaning “the water takes a
roundabout.” The river literally winds
around the village in an “S” shaped
bend. In topography-based divination
were both from the village. Thanks to
the success of the Ryu family, the village
thrived and tile-roofed homes, which
were traditionally reserved for the
aristocracy, started to appear in Hahoe.
Today, 162 traditional Hanok houses
with roof tiles remain standing. There
are also 211 straw-roofed houses,
traditional homes for commoners.
Aside from Hanok, the village is also
home to 11 wooden masks designated as
the National Treasure No. 121. The
masks are used in the Hahoe byeolsingut
tallori, or Hahoe Mask Dance Drama.
The Korean government designated the
entire village as one of the most
important folk heritage treasures in 1984.
Last year, UNESCO listed the village as
a World Heritage Site, putting Hahoe in
the global spotlight.
“It’s not easy to preserve and
maintain such a huge tile-roofed house,”
Korean traditional bedding is kept neat and tidy
in the room of a Hanok (above).
Hwagyeongdang’s spacious daecheong , or the
main floor room, maintains cool temperatures
during the summer thanks to the scientific flow
of air (below).
says Ryu Se-ho, owner of
Hwagyeongdang in Hahoe Village. “But
there are traces of our forefathers in all
corners of the house. I can’t just ignore
them. I do this out of a sense of duty.”
Visitors to Hwagyeongdang, one of
Korea’s best-known Hanok, can feel the
structure’s long history. Ryu Sa-chun,
one of Ryu Se-ho’s ancestors, built
Hwagyeongdang in 1797. Then in 1862,
his great grandson Ryu Do-seong
constructed additional buildings to
complete it as the home of the nobility.
Hwagyeongdang is now the largest in
town and is listed by the government as
No. 84 among important folk materials.
A trip to Hahoe Village is not
complete without a visit to Yangjindang
and Chunghyodang Hanok as well.
Yangjindang is the home of the head
family of the Pungsan Ryu clan. And it
was built by Ryu Jong-hye in the 15th
63
Korean Style

century and inherited by his eldest outside, she would ride in a closed
grandson, Ryu Un-ryong. palanquin carried by four people. If she
Chunghyodang was home to Prime wanted to walk, she had to wear a long
Minister Ryu Seong-ryong, and Ryu hood that covered her entire body. The
Un-ryong’s younger brother inherited Korean word during this period to
the home. describe women literally meant a person
The anchae (women’s quarters) and who spends their time inside the house.
sarangchae (men’s quarters) are shaped Men, on the other hand, were free to
like squares, typical of houses in the come and go as they pleased.
southeastern part of the country. The
quarters are parallel to each other and The Beauty of Natural Science
connected by a pair of rooms on either Hanok employ the laws of natural
side. Shutting the inner door to the science to circulate the air. When you
sarangchae ensured the privacy of visit a Hanok like Hwagyeongdang, you
women. During the Joseon Dynasty will notice that trees and flowers are
women from the noble class were not planted in the rear garden as opposed to
allowed to be seen by strangers. When the front yard. This allows the house to
the wife of an aristocrat traveled keep cool during the summer and warm
during the winter. Most aristocratic
Part of the magnetism of Hanok have a wooden-floored hall, or
Hanok is chagyeong , daecheong, in the middle of the anchae
which means borrowing
scenery (above). There is a that serves as the living room. The front
shapely old pine tree in the side of the daecheong is wide open temperature regulator, flowers and trees A view of the fascinating exterior characteristics house, but the placement of trees and
back yard of of Byeongsan Seowon from the floor of the
while doors shut off the backside. When in the backyard serve as a private Mandaeru Pavilion (above). Traditional Korean
flowers and the location of the
Hwagyeongdang (left).
Ryu Se-ho, owner of the the sun beats down on the barren front garden. The aesthetic theory chagyeong, utensils are displayed in a Hanok kitchen surrounding landscapes, be it
Hwagyeongdang in (below).
yard, the temperature rises. The heated which means “borrowing scenery,” mountains or rivers.
Hahoe Folk Village, says it
is important to preserve air rises and leaves the front yard in a helped shape Hanok gardens. While Visitors to Hahoe Village can see
Hanok (below). vacuum. But in the back yard, plants many Western houses have solid walls, wonderful examples of chagyeong at the
and trees absorb the heat, making the air Korean Hanok have columns connected Mandaeru Pavilion of the Byeongsan
a bit cooler. Such cool air travels by a series of windows and doors. These Seowon. Located near Hwasan
through the wide-open openings serve as frames for the outside Mountain on the east side of Hahoe, the
daecheong and reaches world. If you open one door, you might Byeongsan Seowon is a memorial for the
the front yard. This see a small stream flowing across the scholarly achievements of Ryu Seong-
creates a natural yard. If you open another door, you ryong. Sitting on the second floor of the
circulation of air. In the might see the flowers and trees in full broad Mandaeru Pavilion, you can see
summer, you can open bloom. Instead of hanging paintings on the Nakdonggang River flow by a
the doors to the their walls, Koreans would open their picturesque mountain. Along the river
daecheong and enjoy the windows or doors and “borrow” the spreads a white sand beach that
cool breeze that flows scenery right outside their house. glimmers in the sunlight. Wild geese
through the house. In the Hanok designers try to make small pass their time on the beach. If you
winter, warm air will doors and windows throughout the come at dusk, the orange-colored
stay in the house with house so inhabitants can view their twilight covers the river like something
the daecheong’s back garden from different angles at different from a gorgeous landscape painting.
doors closed. times of the day and in different Ryu Se-ho, the owner of
In addition to their seasons. The designers had to take into Hwagyeongdang, decided to open up
practical use as a consideration not only the shape of the his Hanok to visitors four years ago. He

64 65
Korean Style
says that he wanted to share the great
science and spectacular beauty of Hanok
with people from around the world.
“Hanok can only be preserved when
people live there,” he says. “You have to
light up the fireplace in the kitchen and
heat up the house made up of trees, clay
and stone to breathe life into it. If I
wanted to bring in guests, I thought I
might as well do it right and present the
true beauty of Hanok and great taste
that you can enjoy there.”
Thanks to Ryu’s efforts, those who
stay at Hwagyeongdang get to enjoy
delicacies of a traditional Korean house.
They can stay warm on the ondol floor
and sleep in the same type of beds and
eat out of the same brass utensils used
by noblemen of the past.
Hanok REVIVAL Hanok tourism has
been formally registered by the Ministry
of Culture, Sports and Tourism as a
business and is growing in popularity
nationwide. The Association for
Proprietors of Korean Culture Houses
has played a leading role in the industry.
Its members include 380 proprietors of
ancient houses across the nation. It has
66
Omokdae is where Yi Seong-gye threw
a party to celebrate victory of a
Hwangsandaecheop battle in the 14th century
(above left). A craftsman makes Hanji (above
right). Souvenirs can be purchased at Jeonju
Hanok Village (below).
helped open such homes to tourists
from Korea and around the world,
teaching visitors about Korean culture
and heritage.
“Many of our member homes are
national or local cultural heritage, and
in the past, we were always trying to
stay out of them for protection,” says
Lee Gang-baek, head of the association
and owner of Sungyojang in
Gangneung, Gangwon-do Province.
“But we could only preserve the homes
by having people see them. Bringing in
guests is what I needed to do, too.”
Sungyojang is a 310-year-old house
where 10 generations have lived, and
it’s one of Korea’s most famous Hanok.
In 2000, Sungyojang was ranked the top
Hanok in the country. The Gwandong
region, or the eastern part of Korea, lies
next to the dark blue East Sea and is
known for it beautiful scenery. Scholars
in the Joseon Dynasty with refined
artistic tastes always made Sungyojang
a stop during their travels through the
Gwandong area.
“The reason there are many annexes
to Hanok, such as haengrangchae,
sarangchae and byeoldang, is to
encourage whoever was passing through
to stop by and stay overnight,” Lee says.
“It was never a house only for the owner.
But in modern times, it has lost its
meaning and we’ve lost our heart. And
to turn back time and revive that original
meaning, Sungyojang will stay open to
everyone from around the world.”
To accommodate modern visitors,
some of the old facilities of Hanok have
been upgraded. For instance, many
Hanok owners have installed flushing
toilets, standing basins and shower
stalls. To help facilitate these
improvements, the Cultural Heritage
Administration is preparing a manual
for the renovation and repair of Hanok.
Since many old homes are registered as
cultural heritage, the government wants
to ensure that the historical attributes of
Hanok are preserved, as homeowners
make the houses more comfortable for
visitors.
The movement to preserve Hanok
comes after a century of disregard for
the traditional homes. Following the
Joseon Dynasty, Korea was annexed by
Japan in 1910 and remained under
colonial rule until 1945. The five years
following the liberation were marked by
chaotic ideological conflicts. Then, the
Korean War from 1950 to 1953
demolished what little was left on the
peninsula. Over some 50 years in the
post-war era, Koreans had to constantly
try to make ends meet and had little
interest in investing in the preservation
of cultural heritage. Koreans’
enthusiasm for accepting Western
culture led to a materialism that valued
the new and shiny over the old and
traditional.
It wasn’t until the 21st century that
Koreans had reached a comfortable
income level and some began to
question their harried lifestyle. They
adopted “live slowly” as their mantra,
and took an interest in Hanok and other
traditional elements.
What does “live slowly” mean?
Perhaps it’s no different than living as
mankind should. That is, living trying to
coexist with nature; minimizing material
goods that cater only to our
convenience, such as cars; and trying to
and Hanok Village in Damyang,
Jeollanam-do Province.
American Peter E. Bartholomew —
who has lived in a Hanok in
Dongseomun-dong, Seoul, for nearly 40
years — will attest to the joys of living
slowly in a Hanok.
“I love that I can spend time with
myself here on the daecheong, sipping
tea and looking out at the garden,”
Bartholomew says. “I am convinced that
Hanok is the world’s greatest form of
architecture, with its scientific design
that also embraces human emotions.”
An elegant seat is
awaiting visitors of a
Hanok (above).
Hakindang is one of the
most famous Hanok in
Jeonju Hanok Village
(right). Hakindang,
built in the 20th century,
is a cultural icon
showing traditional
and modern
architecture in one
building (right below).
be thankful and satisfied with life each
and every day. But living slowly in this
fast-paced world is difficult. We know
that the exhaust from vehicles speeds up
global warming, but we still pick up our
car keys for even short trips.
It’s quite meaningful that places that
value slow living such as Hahoe Village
in Andong and Yangdong Village in
Gyeongju have been registered as
UNESCO World Heritage sites.
Another international organization,
the Cittaslow movement, has designated
several Korean villages as “slow cities.”
In Korea, you can experience the slow
life in seven places, including Hanok
Village in Jeonju, Jeollabuk-do Province,
67
Korean Style
The Meaningful Life of a
Guardian of Hanok
Peter E. Bartholomew is an American expatriate who has lived in Hanok for 38 years.
He believes the Hanok is a piece of art that combines philosophy, visual aesthetics and
science. Bartholomew says he has studied architecture from around the world and is
convinced Hanok boasts some of the world’s greatest design elements.
It’s a Korean traditional house, or Hanok, in
Dongseomun-dong in Seoul, the nation’s
capital and by far Korea’s busiest city. Peter
E. Bartholomew, the American owner of this
house, is seated at the table in the main hall,
sipping coffee and soaking in the arrival of
the new season. Bartholomew is all smiles.
“This is why I love Hanok,” he says.
“When I work outside, I am constantly
stressed out. But when I smell this fresh
spring air at home, it all goes away. This
house is like a purifier for me.”
Bartholomew is known in Korea as a
guardian of Hanok. He has attended a series
of seminars and debates on Hanok and has
been featured in the press, too. Korean
people have also taken a liking to this blue-
eyed man who extols virtues of the
traditional form of Korean residence. It’s a
great irony that most Koreans actually prefer
Western-style housing, such as apartments,
while Westerners like Bartholomew loves
Hanok. But if you hear him talk about the
science of Hanok, even the most skeptical
Korean would be impressed. Here’s one story.
Last summer, Korea was hit by a
monstrous typhoon. It came in through
Incheon on the west coast, swept through
Seoul and then left off the east coast. The
wind was so blustery that large trees were
68
uprooted. Inside the courtyard of
Bartholomew’s house is a ginkgo tree that he
planted about 20 years ago and that now
stands a good 15m high. When the typhoon
hit his neighborhood, he was smoking a
cigarette on the main floor of his home,
watching to see if his tree would be
uprooted by the strong wind. But something
incredible happened. While the tree was
getting whipped into all directions, the
smoke from his cigarette was shooting
straight up. “My god, that just had to be
science,” Bartholomew says. “There’s
absolutely no wind protector between the
main floor and the courtyard, but the wind
was blowing hard out there and not here.
Isn’t that amazing?”
The unique structure of Hanok is to
thank for the strange wind patterns.
Bartholomew’s house takes the shape of an
inverted “L.” Most Korean houses face south,
and Bartholomew’s house had its back on
the north side and turned slightly to the
west. The house was designed to keep the
wind out. The typhoon was blowing in from
the west at the time, and the wall on the
western side of his house blocked it all out.
The eaves of the house also minimized the
strength of the wind.
As Bartholomew discovered, the Hanok is
designed with the Korean climate in mind.
The specific length of the house’s eaves
keeps the sun out during dog days of
summer and yet helps bring the warm
sunlight in over the main floor during winter.
The artistic frame of the paper sliding door is
covered in changhoji (traditional paper of
mulberry bark) to ensure air circulation. In
the winter, the traditional floor heating
system, ondol, keeps the house at a
comfortable temperature.
Finding a place for Hanok in
modern Seoul Bartholomew first
came to Korea in 1968 as a member of the
Peace Corps. While working as an English
Peter E. Bartholomew has lived in Hanok for 38 years and praises its unique structure (above).
A room of Bartholomew’s Hanok showcases a typical and classic interior (opposite).
teacher at a middle school in Gangneung, he
discovered the Hanok Sungyojang, one of the
most famous Hanok in eastern Korea. He had
been interested in ancient architecture since
grade school, and for Bartholomew,
Sungyojang was a museum. After he visited
the place four or five times to study it, an old
landlady told him to just move in.
Bartholomew went on to live there for about
five years and fell in love with the house. It
was during this time that he decided to settle
down in Korea. Bartholomew found a job at a
shipping company and moved to Seoul, but
he could not forget Sungyojang. In 1974, he
moved to the Hanok of Dongseomun-dong,
where he lives to this day.
Living in a Hanok can be a bit more
taxing on your body than a Western-style
apartment, since the floor constantly needs
sweeping. But Bartholomew loves his house
because it is in touch with the slower way
Koreans used to live.
Bartholomew also had a few choice
words for Korea’s policy on Hanok and on
construction as a whole. In the name of
redevelopment, traditional homes are being
bulldozed and replaced with towering
apartment buildings. Bartholomew says
there’s something wrong with that picture.
The growing population obviously means a
rising demand for housing, but new
apartments should be built outside Seoul, he
argues. He thinks there is no need to take
down the Hanok, important cultural and
historic icons. Bartholomew says that
Koreans treasure the landscape paintings of
Kim Hong-do and Goryeo celadon, but
Hanok, something that captures people’s
everyday lives, seems like its fading away.
“You rarely see a country like this anywhere,”
Bartholomew says, welling up. “When I first
came to Seoul, there were about 800,000
Hanok in the city alone. But today it’s just
left fewer than 7,000.”
Bartholomew calls Hanok a complete
work of art that intertwines literature and
visual aesthetics with philosophy and
science. Perhaps it’s time for Koreans to take
another look at Hanok and rediscover the
virtues that the traditional house has long
provided.
69
Ko
H ar
n eSa tny lSet y l e
Traditions of the
Joseon Dynasty Live On
Jeonju Hanok Village became the seventh Korean area to be named a “slow city” by Cittaslow
International, last year. Still palpable are the traces of Yi Seong-gye, who built the Joseon Dynasty,
and Jeonju in Jeollabuk-do Province, southwest of Korea, has become the place where people are
proud of Korean culture and arts.
The Hanok village in Jeonju, located in the
southern province of Jeollabuk-do Province,
is not your average rural village. On a typical
weekend, Koreans and foreign tourists easily
mix, to a point that it can be hard to tell if
you’re actually in Korea. They are immersed
in cultural experiences and shopping for
70
traditional souvenirs.
“We’ve got about 20 people who provide
commentary on culture, and on weekends,
we have so many visitors that all of our
guides are out on streets,” said Kang Chul-
min of Jeonju’s municipal tourist information
center, who guided us through the village.
“Look at our office. It can be really crazy.
We’re trying our best to serve every single
visitor.”
The passion and pride of Jeonju residents
for their culture and art are beyond
imagination. For instance, there is no
admission fee to walk on these broad streets
with so much to offer. Parking is also free.
And street vendors are more intent on
explaining the history of their hometown
than on selling their goods.
Jeonju came to national prominence
during the Joseon Dynasty. Yi Seong-gye,
who founded the 500-year dynasty, and his
ancestors were born and raised in Jeonju. The
city’s residents took great pride in the fact
that their hometown was the birthplace of
the founder of the Joseon Dynasty, one of
the most important figures in Korean history.
The Hanok Village stores the portrait of Yi
Seong-gye in its Gyeonggijeon Shrine, which
honors the Yi family.
The founding of Jeonju Hanok Village is
also rooted in history. During the Joseon
Dynasty, Jeonju had a huge fortress and four
gates, just as Seoul did. But during the
Japanese colonial rule, three of the four gates
were removed and the Japanese started
living where the gates once stood. So Jeonju
people began building Hanok to protest the
Japanese occupation. Seeing the traditional
Korean homes nestled among Japanese and
Western buildings in what today is
Pungnam-dong and Gyo-dong, the residents
of Jeonju felt proud of their heritage.
The Last Imperial Descendant
Sadly, most of the Hanok in the village are
now gone and only about 550 remain
standing. The Jeonju municipal government
has a policy of preserving those remaining
Hanok, a source of pride for the residents.
“Jeonju is a place where our basic necessities
of life and traditional culture are all vividly
alive,” said Song Ha-jin, mayor of Jeonju.
“We will try to make sure Jeonju will duly
represent Korean traditions and help
globalize Korean culture.” Hanji, or traditional
Korean paper, has helped turn Jeonju into
one of the country’s top art towns. The city’s
clean water, which has a relatively low iron
content, allows mulberry trees to flourish.
The region is home to some of the best
Hanji craftsmen in the country, who use this
high-quality mulberry tree pulp in their work.
The quality paper has given rise to great
calligraphers, too, which in turn led to the
development of the area’s publishing
industry. The fact that the Annals of the
Seunggwangjae is the home of the last living
descendant of the Joseon Dynasty, Yi Seok
(above, below). The structure of Hanok is
displayed in Jeonju Hanok Village (opposite).
Joseon Dynasty — registered on UNESCO’s
Memory of the World for its detailed
recording of the dynasty’s history — is
stored in Jeonju’s historic library is no
accident. Other Hanji-based crafts, such as
hapjukseon, a kind of traditional fan, along
with pansori, a type of music performed with
a fan in hand, have all thrived in Jeonju for
similar reasons.
Visitors to Jeonju Hanok Village should
be sure to check out Seunggwangjae, the
home of Yi Seok, the last living descendant
of the Joseon Dynasty. He was born to Prince
Imperial Ui, who was the son of Emperor
Gojong. He was born in Sadong Palace in
Gwanhun-dong near Jogyesa Temple in
Seoul. Having spent his childhood in a royal
palace, Yi Seok is particularly passionate
about Hanok.
“I still remember when I was a child, my
father, Prince Ui, put me in front of him on
horseback as we ran around the front yard of
the palace,” Yi said. “The towering ridge of
that palace was magnificent. The grand and
yet elegant Hanok roof is part of my
memories.”
These days, Yi lectures visitors to
Seunggwangjae on the history of Joseon and
virtues of the royal culture. Yi dreams of
spending the rest of his life reproducing
traditional royal wedding ceremonies at
palaces such as Gyeongbokgung in Seoul.
Last November, Jeonju became the
seventh Korean city to be designated a “slow
city” by Cittaslow International. It’s the first
such city with more than 50,000 in
population. In keeping with the new
designation, the city also offers a slew of
slow traditional Korean food, including
bibimbap. With so much history and culture,
time almost stands still in Jeonju and its
Hanok village. If you want to discover Korea
and its traditions, don’t miss Jeonju.
71
Korean Style

The Korean traditional culture is

gaining the spotlight on the

Beauty
international stage. From
fashion to eco-friendly art,
the six elements of Korean
style — Hanbok (dress),

of
Hanji (mulberry paper),
Hanok (house), Hansik
(cuisine), Hangeul (Korean
alphabet) and Hanguk eumak

Han
(music) — are influencing
minds around the world.
by Lee Sun-min

72 73
Korean Style
A t first glance, the dresses gracing
the runway appear to be simple,
beautiful sleeveless apparel. But upon
closer inspection, the fine waistband is
raised to just beneath the bust, a
voluminous skirt bursts with form and a
graceful bow left dangling. The color of
each look is radiant, but maintain gentle
elegance and a partiality to subtle earth
tones.
This is Venezuelan designer Carolina
Herrera’s Spring 2011 collection, which
appeared at the New York Fashion Week
last year. Herrera, known for her elegant
style and classic tastes, incorporated
elements of Hanbok, or Korean
traditional dress, into her collection.
Blending influences from both men’s
and women’s traditional clothing —
including gat, the traditional woven hats
typically worn by males — the collection
combines the cuts and details of Korea
with the feminine playfulness of 18th
century botanical plates. Each look flows
seamlessly, combining two disparate
cultures into a unified garment.
Despite the ease with which Herrera
combines Western and Eastern elements
in her clothing, she discovered Hanok
only recently. A Korean seamstress in
her Manhattan atelier showed her family
wedding photographs featuring the
foreign dress. “The hats and costumes
and details were just so fantastic, I asked
to see more. They bought me books, and
then I spent several days visiting the
Korea museum in New York. I was
captivated,” Herrera told the Telegraph,
referring to a Hanbok museum founded
by Korean designer Lee Young-hee.
Others in the fashion and design
industry have been keen on learning
more about Hanbok as well. Global
jewelry company Swarovski
commissioned 22 world-renowned
designers — including the likes of
74
Armani, Givenchy and Lanvin — to
create Swarovski crystal-studded
dresses in collaboration with six Korean
designers. The dresses, which were
auctioned off to support a charity, were
beautiful Hanbok that incorporated the
sparkling jewels.
“The cooperation [between
Swarovski and Korean designers] is
designed to position the world’s finest
crystal elements within the Hanbok and
illustrate how Korean tradition can be
harmoniously melded with modernity
to suit the demands of today’s market,”
Swarovski said in a statement.
Behind the trend of Hanbok
spreading in the global fashion scene,
there are numerous Korean designers
who have been striving to introduce
traditional garments to broader
audiences. Lee Young-hee and Park Sul-
nyeo are the most well-known of these
designers.
Lee was a forerunner in cultivating
the elegant and sophisticated image of
Hanbok, as she held the first Hanbok
fashion show in the White House in
Washington, DC, in 1983. Afterwards,
she was invited to present her Hanbok
collections at numerous international
events, finally making her debut at the
prestigious Prêt-à-porter Paris in 1993.
The following year, Lee opened up a
Hanbok store in the French capital.
Lee’s Hanbok is a modern twist on
the original, simplified yet still faithful
to the curves and design. She places
emphasis on color, and each of her
Hanbok is hand-dyed from natural
materials, sticking to the Korean
tradition. She continues to showcase her
work in a multitude of venues, holding
Dresses from Carolina Herrera’s Spring 2011
collection at New York Fashion Week (opposite).
Musicians play the gayageum , Korean
traditional zither-like string instrument (above).
fashion shows throughout Korea and
even founding the Lee Young Hee
Museum of Korean Culture in New
York.
With Lee as a pioneer, other
designers have further expanded the
Hanbok market with their own unique
looks. Park was one of the most daring,
never hesitating to switch out classicism
for something more young and fun.
Moving away from Lee’s example, she
created multicolored collages on her
garments.
Last year, the designer made news
with her latest project: an underwater
fashion show, with each of the
submerged models wearing full Hanbok
outfits. Instead of learning to grace the
catwalk, models practiced posing
underwater, turning gently to let light
flow through the sash of the skirt and
allow the dress to move with the water.
Park specifically designed her clothes to
look beautiful even when soaked
through. International media, including
the Huffington Post and fashion
magazine Nylon displayed videos and
photos of the fashion show.
Most recently, Park invited K-Pop
stars to model in one of her fashion
shows, using their celebrity status to
help increase awareness and promote
Korea’s traditional dress. The event,
held in August at the Grand Hyatt
Seoul, saw groups such as Kara appear
on the runway in unique garments. One
of the major themes was saekdong, or
multicolor strips used on the sleeves of
jeogori, or bolero-style jacket of Hanbok,
which gave an energetic pop of color fit
for the popular girl group.
Not only designers, but also the
general public has been showing a rising
interest in Hanbok. Some brides have
been opting to wear Hanbok at their
wedding receptions, instead of the usual
Western-style evening gowns.
“Hanbok seems to be a proper choice
of dress for a wedding, since I actually
don’t get to wear such a full skirt in
everyday life,” says Jackie Zo, who wore
a Hanbok at her wedding reception in
May. “And the elegant image of Hanbok
fell right in place for the occasion.”
Korean traditional cultural elements
can be broken down into six categories:
Hanbok, Hanji (paper), Hanok (house),
Hangeul (Korean alphabet), Hansik
(cuisine) and Hanguk eumak (music).
Each of the categories, which includes
the word “han” (or Korea), was
designated the “Han Style” in 2006 by
former culture minister Kim Myung-
6 elements of han style
Hanbok
A woman’s Hanbok
(traditional dress) consists of
a wrap-around skirt called
chima and a bolero-style
jacket called jeogori . The bow that ties the
jacket shut is called goreum . For men,
Hanbok typically consists of three pieces: baji
(pants), an inner jeogori jacket and an outer
jacket called magoja .
Hansik
A typical meal in Korea
consists of rice, a multitude
of side dishes of seasoned
vegetables, a soup or stew,
and meat or fish. There are several distinct
categories of cuisine, from temple food
(which is local, vegetarian food without
pungently aromatic elements such as onions,
garlic or leeks) to royal cuisine (characterized
by its attention to detail and seasonal menu).
Hangeul
The Korean alphabet was
created in 1443, and consists
of 24 consonants and vowels.
At the time, it was in vogue
for most elites and scholars to write in
Chinese characters. Developed by King Sejong
the Great to overcome the class divide, the
alphabet enabled even the most common of
people to read and write in their native
tongue.
Hanok
Traditional architecture in
Korea typically feature ondol,
or floor heating, and
environmental elements —
most Hanok were made of soil, wood and
rock. The style and shape of a Hanok differ
according to region.
Hanguk eumak
The genres of traditional
music, also called gugak ,
range from the guttural
vocals of pansori to the
strong beats of sanjo percussion music. Court
music, farmers’ music and shamanistic music
are some of the varieties of traditional music.
Gugak is now seeing a revival through fusion
genres, which are often upbeat and catchy.
Hanji
Made from the natural fibers
of a mulberry tree native to
Korea, Hanji paper is a soft
and durable material that
can be shaped into all manner of items and
crafts.
75
Korean Style
gon. “I’m not promoting the six
categories of Han Style solely because
they’re our own,” Kim said in an
interview in 2007. “They are as
outstanding as any other culture, but
have been underestimated and kept
behind the scenes, since many people
have been emulating Western culture.”
At the time, Hallyu (the Korean
wave), had just reached Japan and other
Asian countries, and Korean films and
dramas were starting to gain recognition
outside of their homeland. Seeing an
opportunity to promote Korean culture,
Kim began advertising the connections
between Hallyu and Han Style.
“Hallyu cannot just stand alone by
itself. For Hallyu to stand firm, it is
necessary to have a strong fundamental
support base, so it can be bolstered
along with other cultural elements,”
Kim said. While in office, the culture
minister held various events that would
introduce all six facets of the Han Style
campaign in one setting. Foreign
ambassadors, diplomats and media
were invited to partake in a night of
Korean culture, from viewing a Hanbok
fashion show to a tasting of Hansik,
learning a bit of Hangeul, appreciating
Hanok models and Hanji craft — all
while Hanguk eumak (better known as
gugak) resonated throughout the venue.
Since its inception, Han Style has
76
continued to progress globally. Hansik
began appearing in food trucks popular
in Los Angeles, made it to New York
restaurants and, in its latest
development, has now secured
broadcasting time on national television
in the US. American public broadcaster
PBS has been airing a program on
Korean cuisine since July, titled Kimchi
Chronicles. The program is hosted by
Michelin three-star chef Jean-Georges
Vongerichten and his Korean-born
actress and model wife Marja
Vongerichten.
Kimchi Chronicles introduces
viewers to regional Korean dishes, as
well as the area the food originates from.
The couple then takes the cuisine back to
their home, and demonstrate how
Hansik can be duplicated in any kitchen.
A variety of well-known dishes such as
bulgogi (marinated beef) and bibimbap
(mixed rice with vegetables) have been
introduced, and rare delights will be
explored later in the season.
From left to right: Expats
participate in a gimjang ,
kimchi-making event; a
calligrapher writes in Hangeul
(the Korean alphabet); a view
of the inside of a Hanok
(house); Fusion gugak
(Korean music) group Yeoul
performs a piece; Designer
Han Song created pants made
of Hanji (paper) fabric.
Korean food, often known for its lack
of specific recipes, is now being
introduced online with standardized
cooking instructions. The Korean Food
Foundation, sponsored by the Ministry
of Food, Agriculture, Forestry and
Fisheries, provides exact recipes and
even how-tos on table setting with a
variety of side dishes on www.Hansik.
org. Other resources provide recipes and
restaurant ratings, such as the Korea
Tourism Organization-run website
www.koreataste.org.
If intrigued by Korean culture, one
might naturally become familiar with
the Korean language. As it is a phonetic
language and relatively easy to learn,
Korea has shared its alphabet with a
small tribe in Indonesia, where it has
become the tribe’s official writing
system. The native language used by the
Cia-Cia, which has a population of just
60,000, was endangered as the tribe
didn’t have a systemized writing
method. The decision for a foreign
country to adopt Hangeul is an
unprecedented act.
“It will be a meaningful case in
history if the Indonesian tribe manages
to keep its aboriginal language with the
help of Hangeul,” said Kim Ju-won,
Seoul National University professor and
member of the Hunminjeongeum
Research Institute, to Yonhap News
Agency. “In the long run, the spread of
Hangeul will also help enhance Korea’s
economy as it will activate exchanges
with societies that use the language.”
As Hangeul paves its way into
people’s lives, the Hanok has also
become more approachable. Many
Hanok-structured guesthouses and
hotels are being built across the country,
allowing both natives and tourists to
experience a night in a traditional
setting. Ragung, meaning “Silla Palace”,
a hotel in Shilla Millennium Park in
Gyeongju, is a high-end Hanok that
combines modern luxuries with
traditional aesthetics. In Seoul, a variety
of Hanok guesthouses can be reserved
for a night in old Korea, while troves of
hidden Hanok houses can still be seen in
neighborhoods such as Bukchon and
Seochon.
Perhaps one of the most accessible
cultural elements is Korean music,
which is seeing a resurgence in modern
renditions. The National Theater of
Korea hosted the first annual Yeourak
Festival last year, which featured fusion
gugak groups. The instruments used in
the performances were all from the
Korean tradition, but participants were
not afraid of mixing in Western rhythms
or styles. Fusion gugak typically applies
fast-paced rhythms to traditional
sounds, so that even the gugak novice
can become familiar with the music
quickly. In September, Korean musician
Kim Young-il received a Grammy
Award nomination for his album Gagok,
Pungnyu III, Jeong Ga Ak Hoe — the first
time a Korean album has received such a
distinction.
Lastly, Hanji proves to be one of the
most diverse elements of Korean
tradition. Directly translated, Hanji is a
type of mulberry paper, but the actual
use of Hanji does not stay within the
category of materials that are written
upon. While most often used to create
crafts or artwork, more and more people
are stepping up to the plate to find new
uses for the material. Han Song, a
designer who focuses on developing
eco-friendly fabrics, showed a collection
for his brand TROA. The pieces blend
Hanji yarn and more common fabrics
like Lycra to create modern, sustainable
clothing. He was even able to produce
one of his signature sleeveless jackets
out of pure Hanji fabric.
“[The material is] closer to cotton
than silk, but still different from cotton.
It’s slightly rougher but very
comfortable. It is also noted for its
cooling qualities,” Han said, explaining
why Hanji was his choice of fabric. He
also said that his overall collection for
the season, which was introduced in
May, “is a very, very Korean collection
without being obvious. This is not an
ethnic collection, but the root of it is
Korean tradition.”
Hanji is now expanding its market to
global customers. The Cemal Reşit Rey
Concert Hall in Istanbul hosted a festival
dedicated to Hanji from Sept 13 to 15,
introducing Korean handcrafts to local
residents. From its use in calligraphy to
crafting ornate works, Turkish
festivalgoers were enthralled with Hanji.
The festival was a branch of the popular
Jeonju Hanji Festival, which has
previously traveled to Shanghai, Berlin,
Prague, Vancouver and St Petersburg.
In the front line to promote Hanji,
UN’s Secretary-General Ban Ki-moon
decorated his official New York
residence and guesthouse with Hanji.
Legendary Korean director Im Kwon-
taek even created a work based on the
cultural element, his 100th film that was
released in Korea this March.
As Han Style reaches further into the
global community, it becomes easier to
see that appreciating local tradition is
perhaps better than imitating what is
already known and popular in the
international community. The beauty of
Han Style is in Korea.
77
Korean Style
A Cove of Crafts
Hur Hee-jai says there is only one pure joy in her life: Hanji crafts. The artisan has
devoted 30 years to the traditional paper craftwork, and the art form continues to
entice her today. by Lim Ji-young | photographs by Kim Hong-jin
Heejai Hanji is nestled in the middle of a
shopping district in Sanbon, south of Seoul,
and serves as a cozy home for Hanji (Korean
traditional paper) crafts. Visitors immediately
notice the wall to wall displays of colorful,
countless Hanji. The next room over is owner
Hur Hee-jai’s studio, which also serves as a
gallery and storage space. The entire interior
of the building overflows with the dynamic
works Hur and her students have created
over the past three decades.
Though the studio offers plenty of items
to purchase and covet, Hur centralizes her
work and business on strong principles. She
78
believes traditional crafts should not only
contain beauty, but have a practical function.
This philosophy has helped the artist expand
her horizons, making everything from
delicate paper lanterns to sturdy cabinets
stocked with pullout drawers. So what made
her fall in love with Hanji?
“It is said that Hanji lasts a thousand
years. The paper, which may look thin and
fragile, is actually very strong and long
lasting. The original color and patterns of
Hanji craftworks are made from tender, yet
strong, Hanji paper — the materials do not
fade, but gain a time-worn elegance as they
of art, tradition and skill. Heejai Hanji has
already helped more than 100 students
master the craft.
Hur exhibits her work at art galleries in
Seoul and overseas, such as in Italy, France,
China and Indonesia. Though her next step is
to exhibit in Japan, a surge in work has kept
her from beginning preparations. There is a
continuous string of orders for Hanji crafts
here, including furniture and DIY Hanji craft
packages, which are sent to art classes in
schools across the country. Materials and
complete products ready for delivery are
piled neatly in a corner next to her studio;
hundreds of DIY kits are sent out weekly to
aspiring craftsmen, young and old.
“I gain motivation from cloth samples,
ancient crafts and exhibition works. They are
all good references for exploring colors and
patterns. We create our own styles from
what we see and feel in the world around
us,” Hur says. Her own personality peeks out
throughout the room, depicting her many
interests: Chinese letters, grapevines,
The beauty of Hanji is that there is butterflies, lemons and marigolds.
nothing it cannot be shaped into, whether it Hur says there is nothing she can’t
express through Hanji. She hopes to show
is a chest of drawers, a tea table, stationery
box, business card case or a napkin holder. the traditional craft’s potential to as many
It’s also an excellent starting point for people as possible, using her own life as her
beginner craftsmen, as it is easy, affordable canvas. She reveals she even has about 30
and practical, yet still contains all the charms pieces of Hanji furniture decorating her
age. That’s the true charm of Hanji,” Hur
says. A collection of Hanji (traditional
mulberry paper) crafts are on
The creation process begins with a simple display at Heejai Hanji, south of
framework for an object the designer wishes Seoul (opposite). Owner Hur
Hee-jai has spent 30 years
to make. A layer of glue is then applied to
creating the traditional crafts
the matte frame, before a layer of the and teaching others (above).
Boxes and drawers can be made
delicate, handmade Hanji is placed on top. It
with Hanji (left).
is up to each artist to get just the right
balance between the color of the paper and
the shape of the object. The process of gluing
and layering is then repeated, resulting in an
ever-more sturdy craft. To excel in the craft,
patience is key, as each step takes time to
dry, settle and finish.
home. She hopes to one day build an entire
house with Hanji, from its wallpaper to the
smallest decorative vase. As she speaks, her
hands rhythmically gesture to depict the
magnificent shapes of the traditional
mulberry paper.
learn more about Hanji
Cho Soo-jung Hanji Art Gallery
Daechi-dong, Seoul
Renowned Hanji craftsman Cho Soo-
jung’s Hanji Art Gallery displays a variety
of graceful works. Characterized by a
tenacious use of naturally-dyed papers,
Cho’s workmanship incorporates
elements of Western aestheticism,
transforming the traditional works into
modern art. Porcelain, tea sets and dishes
made of Hanji can be purchased. A tea
room provides visitors with a place to
relax, and offers traditional cookies and
rice cakes. Admission is free. For more
information, visit www.soojungHanji.
co.kr.
Hanji Story
Insa-dong, Seoul
Hanji Story is where you can buy
everything you need for Hanji crafts, from
various papers to small decorative
ornaments. Once inside, it’ll be hard to
leave the shop. Lessons in Hanji crafts are
held regularly. A monthlong beginner’s
course is 150,000 won (US$130,
materials included), and participants will
learn to create tea trays, tissue cases,
business card cases and mini jewelry
boxes. Visit www.Hanjistory.com.
Bukchon Hanji Craft
Bukchon Hanok Village, Seoul
Hanji crafts lovers gather here to share
their trade secrets. As Bukchon Hanji
Craft is located in the heart of a Hanok
village, a truly authentic experience can
be had within a traditional atmosphere.
Sign up for lessons and tips, and you can
learn how to make Hanji dolls. Visit
http://cafe.naver.com/wooridoll.
79
Korean Style

That tradition, in particular, seems to be

surviving more in the countryside. For Bin
Do-rim, birth name Dirk Fuendling, it’s more
fitting to wear a Hanbok when going out in
the small city of Damyang. Bin is a former
people wearing the Hanbok
interpreter for the German Embassy and
than before, although as you
former professor of Catholic University of
know, it’s still a rarity,”
Daegu. He first came to study at Seoul
Koehler says.
National University in 1974, after his
“When I first came to
curiosity about the little-known Asian
Korea in the 1970s and
country grew. The East Asian studies major
‘80s, people would
returned a decade later, and he hasn’t left
only wear Hanbok on
since.
chuseok (the
After a while, city life began to wear on
harvest holiday) or
him, and Bin decided to move to the country
seollal (the Lunar
house he’d been building during his 10 years
New Year) to
at the Seoul-based embassy. Though his
perform a
previous work as an official kept him in black
bow to their
suits, his new work as a translator and
beeswax candle maker afforded him a new
liberty. From opposite, clockwise: Korean citizen Bin
“I didn’t wear Hanbok a lot while in Do-rim stands before his Hanok house in
Damyang; a traditional men’s Hanbok
Seoul, but since moving down to the (traditional dress); Bin holds one of his
countryside I started wearing it a lot more. handmade candles; Bin and his wife in their
home.
Now it’s the opposite from before: there’s no

A Costume of Culture real need for me to ever wear a suit and I

haven’t worn a tie in about 10 years,” Bin
While some Koreans are slowly distancing themselves from ancient traditions, others are laughs. He also wears the modernized elders. Outside of that, men would always
learning to take in as much as possible, reviving the best of Korea’s Hanbok. Will others soon gaeryang Hanbok, for it’s comfort and wear black suits. Black or brown, one of the
follow in their wake? by Ines Min | photographs by Park Jeong-roh convenience. “It looks good and, especially two, it was always fixed. But lately, in the
now that I’m a little older and my beer belly countryside especially, people are wearing
has come out, it’s very comfortable,” he Hanbok a little more,” Bin explains about the
jokes. change.
More and more expats are showing locals supporters in Seoul. Koehler is known to American expat soon fell in love with the Bin still keeps around a range of Hanbok, “If you look at it in one way, Korean
how it’s done. While young Koreans are wear a gaeryang Hanbok, or a modernized culture. “We think of ‘traditional’ as however, from the traditional outfit he people have become more confident. Back in
eager to try out the latest trends in fashion, version, on a daily basis. “They’re something stuck in the past, and by doing so, received as a gift when he was naturalized as the ‘70s, Koreans didn’t have enough
a small community of people are steadfast in comfortable, easy to maintain and look nice. we sometimes keep it there, unfortunately. I a Korean citizen, to a lighter summer version confidence, and there were a lot of
their dedication to one of Korea’s most I’m also naturally partial to traditional think the modernized Hanbok is an attempt made of mosi, or ramie. As many residents in complaints about the country and how this
visible traditions: the Hanbok. Korean culture… I started wearing the Hanbok to overcome this by reestablishing some Damyang are also accustomed to wearing didn’t go right and such, and everyone was
traditional dress is making a comeback from around 1998, when modernized Hanbok historical continuity to the clothing.” Hanbok, Bin is able to fit right into the local always looking to the US. But now, it’s not
the corners of Korea, and expats are some of were first coming into fashion,” explains the “Clothing, like most facets of culture, scene, and has even received the occasional like that — confidence has really grown and
Hanbok’s greatest proponents. 14-year resident of Korea. evolves. It’s no different from what took compliment of, “Very stylish!” Koreans now view Korea as successful. I think
Robert Koehler, the editor of Seoul Koehler first came here to teach English place with Western clothing — today’s Perhaps this attitude is filtering its way that one expression of that change is a
magazine and writer of the popular in Gyeongsangbuk-do Province. Though he clothing, for the most part, is a continuation through the local population, as both Koehler return to pride in tradition.”
Marmot’s Hole blog (www.rjkoehler.com), is arrived in Korea without much of a fashion tradition that goes back and Bin have seen a small, but visible,
one of the most prominent Hanbok foreknowledge of what would await him, the centuries,” Koehler says. increase in Hanbok wearers. “You see more

80 81
Korean Wave

The Korean
Wave
Ripples
Around
the World
In its home country, hallyu — the “Korean Wave” of TV series, movies and pop singers that
swept across Asia — was once considered no more than a fad. While its biggest hits, such
as Winter Sonata and Dae Jang Geum (aired in the U.S. as Jewel in the Palace), were sensations
overseas, the resulting glut of hallyu-prefixed output was often of a vastly inferior quality,
leading many to think that its days were numbered. But recently, hallyu has emerged
stronger than ever, with its hits sweeping through Asia and onto the world stage.
by Jeong Deok-hyeon

A still from the TV drama Personal Preference , which stars Lee Min-ho and Son Ye-jin.

82 83
Korean Wave
T urning on the television in his hotel
room on a recent business trip to
Vietnam, K. from Korea was astonished.
Though he had certainly glimpsed the
posters of Korean celebrities adorning
the shops en route from the airport, he
hadn’t expected to see them all again on
his TV in a seemingly endless
procession of Korean drama shows.
Seeing the actors dubbed in Vietnamese
was also a source of amusement. On one
show, he could swear that one person’s
voice was dubbing every single
character. Later asking a guide, who
confirmed his suspicion, whether it
wasn’t offputting to have one actor do
all the voices, he was told no it wasn’t,
because the dramas are just so
addictive.
And situations like this aren’t
limited to Vietnam. At 9pm, the “golden
hour” for viewing figures, Korean
dramas are a common sight on Hong
Kong’s TV stations. ATV, one of the
largest outlets, currently shows Korean
programming from 8 to 10:30pm,
Monday to Friday. Just a few years ago,
Korean dramas were a marginal
concern, with only two or three aired
per year. Then Dae Jang Geum, a
historical tale about a female physician
in the Joseon Dynasty, seized a massive
50 percent audience share, taking
Korean TV shows into the big time.
China has proved just as susceptible
to the Korean wave. Again, the catalyst
for success was Dae Jang Geum, which
gained an audience share of at least 15
percent in 31 major cities across the
country, followed by other big hits such
as Full House and Stairway to Heaven.
Such has been the success of Korean
stars in the country, some are now
appearing in homegrown Chinese
productions. After gaining popularity in
Successful Story of a Bright Girl, about a
84
country girl falling for a big-city
business type, Jang Na-ra co-starred in
the Chinese drama My Bratty Princess
with Taiwanese actor Alec Su. Its sequel,
My Bratty Princess 2, featured another
Korean actress, Chae Rim, who hit it big
in All About Eve, in which two news
reporters vie for a top spot in the
network they both work for. Alongside
Jang Hyuk, who gained popularity with
Introducing My Girlfriend, Chae Rim is
scheduled to star in the upcoming
Chinese remake of All About Eve.
From Hong Kong, hallyu has also
spread throughout Southeast Asia. Even
Myanmar, a country not known for its
cultural openness, has fallen for the
charms of Korean entertainment, first
with Winter Sonata and now Dae Jang
Geum and a comedy gangster flick
Marrying the Mafia. In cracking
Southeast Asian markets, Hong Kong
Kim Tae-hee, who starred in the hit show Iris
has proved a crucial conduit. Full House, (opposite). Actors Lee Jun-ki, heroine Nam
to take one example, garnered a 52 Sang-mi and Jung Kyung-ho star in Time
Between Dog and Wolf (above, from left). Stills
percent rating in Hong Kong with 63 from the drama Iris (below left, right). A scene
percent in Thailand, 42.3 percent in the from the drama Boys Over Flowers (bottom).
Philippines and an
astonishing 78 percent
rating in Indonesia.
Today, proving their
remarkably adaptable
appeal, hallyu shows have
started creeping into
Central Asia, Africa and
even the Muslim world.
Slushy hit Winter Sonata
aired in Egypt in 2004, while Tunisia has
developed a taste for Korean historical
dramas such as Jamyeonggo. In 2007,
after joining the long list of countries to
fall for Dae Jang Geum, Iran became
hooked on Jumong, which recorded a 60
percent audience share. Uzbek viewers
saw Painter of the Wind; Mongolians
watched Temptation of a Wife. And the
recently finished Personal Preference, in
85
Korean Wave

which a straight man pretends to be gay November 2008 to June 2009, the
in order to room with the female lead, is number of such shows increased from
being exported to Central and South 27 to 42, with each channel raising its
America, Africa, and the Middle East. own quota of dramas from two to six.
And with greater volume has come
The International Wave So how greater diversity. After Winter Sonata
is the original market for hallyu, Japan, inspired a cult-like following among
faring now? Though many believe the women throughout Asia, Korean
Korean wave petered out after Winter producers saturated the market with
Sonata and Dae Jang Geum, the reality sentimental romances with increasingly
is that, though not on the phenomenal unfeasible plots. Now, however, subject
scale of those two matter includes noir (Time Between Dog
shows, a string of and Wolf), family (Brilliant Legacy),
Korean shows history (Jumong) and even private
continue to do educational institutes (Boys Over
well there Flowers). By diversifying their output
today. Having into fast-paced, more action-oriented
failed to lure historical series, producers have
audiences managed to lure male viewers into what
with dramas was once an almost entirely female
that preserve — and now, viewers are
Protagonist Lee Seung-gi from Brilliant Legacy mimicked the getting younger, too.
(above). Iris ’s stars Lee So-yeon, Kim Tae-hee
formula of the Iris is a prime example of how hallyu
and TOP (below, right). A still from Boys Over
Flowers (opposite top). A scene from Personal big hits, dramas have changed. On April 21, the
Preference (opposite bottom). Korean TV espionage thriller was the first Korean
producers are drama to be aired on Japanese TV in the
finding that 9pm golden hour, with the first two
homegrown episodes (broadcast consecutively)
successes are receiving a 10.1 percent overall audience
continuing to pull in share, a huge number by Japanese
Japanese viewers. standards.
Romantic comedy My Nor were ratings the sole triumph
Lovely Sam Soon, a for Iris. With much of the production
huge success in Korea, and marketing duties shared with TBS,
took a 5.2 percent share Iris starred Lee Byung-hun, one of
in the highly fragmented Korea’s biggest stars, and TOP, a singer
Japanese market (where with popular K-Pop group Big Bang,
even 6 percent is rare), and featured a soundtrack by Shin
and historical dramas Yi Seung-hun, a fast-rising Korean star in
San and Dae Jo Yeong Japan. By bringing such big and varied
also struck a big chord stars on board, Iris aimed for, and got,
with Japanese viewers. not just viewers in their 30s and older,
At home, the but a younger demographic as well.
number of Korean As a joint production with Japan, Iris
dramas is rising also symbolized hallyu’s growing role
steadily. From as a truly pan-Asian phenomenon. From

86 87
Korean Wave

success in Asia, producers recognize
that they, too, have to change. Though
not created specifically with the
international market in mind, Dae Jang
Geum is perhaps the best example of
how Korean dramas can succeed across
borders: by identifying universal
themes that can appeal to viewers
everywhere, and can be tweaked to
speak to their own lives.
fame, sold his latest work, I Saw the
Devil, to French distributor ARP.
Though still unfinished, the movie is
receiving a lot of attention thanks to its
stellar cast, which includes Lee Byung-
hun and Oldboy star Choi Min-sik.
As seen at Cannes, Korean movies
are slowly but surely gaining ground in
Europe. But what of the movie Holy
Grail, Hollywood? So far, hallyu has

Today Europe, Tomorrow

Jeon Do-yeon, who previously won the best
female actress award at Cannes Film Festival in
2007, recently starred the film The Housemaid
(above). A scene from The Housemaid (below).
Hollywood The internationalization
of Korean TV dramas is every bit as
evident in movies. In China, the list of
Korean stars appearing in local
productions includes Song Hye-kyo in
Wong Kar-wai’s The Grand Master, Jun
Ji-hyun in Snow Flower and the Secret
Fan, and Kim Hee-sun in the historical
movie Civil Wars. And while the focus had considerably less success there. Yet A scene from the movie Ha Ha Ha, which
starred Moon So-ri and Kim Sang-gyeong — the
for hallyu in Southeast Asia two top stars, Rain and Lee Byung-hun,
film received the top prize at this year’s Cannes
undoubtedly remains TV dramas, in were cast in big-budget movies — Film Festival (top). Director of Poetry Lee
other markets, notably Europe, it is the respectively Ninja Assassin and G.I. Joe: Chang-dong and The Housemaid’s director Im
Sang-soo (above, from left). Poetry’s heroine
movies that are catching the critics’ The Rise of Cobra — and with the success Yoon Jeong-hee (below).
eyes. hallyu continues to enjoy elsewhere,
Among the films on show at this who would bet against a Korean-
being made entirely in Korea, and then Hallyu has become an industry year’s Cannes Film Festival was Im directed Hollywood film hitting it big in
viewed in Japan and China, newer where content is no longer restricted by Sang-soo’s The Housemaid, a remake of a the next 10 years?
productions are often harnessing the national boundaries. China’s vast cult Korean classic from the 1960s.
strengths of all three countries. Kim market, Japan’s marketing skills and Meanwhile, Lee Chang-dong’s Poetry
Hyoo-jong, dean of the Graduate School Korea’s excellence in production are received great acclaim and went on to
of Arts Management at Chugye now combined to produce a single win the award for best screenplay.
University for the Arts, defines the first product. Having expanded its Another Korean movie Hong Sang-soo’s
phase of hallyu as the “made in” era, boundaries within Asia, the next Ha Ha Ha received the top prize in the
the next phase as the stepping stone for hallyu has become Un Certain Regard category.
“made by” era (when the global market. Korean actors and While Cannes itself was, because of
the focus will be on the actresses are starring in Chinese and Europe’s ongoing economic problems,
production company), Japanese dramas, and Korean directors a somewhat dampened affair, Korean
and the current phase and authors are working with Chinese films enjoyed their most successful
as the “made for” era, and Japanese actors and actresses. showing yet. Besides The Housemaid’s
where the emphasis is Capital is no longer limited by national tally of 15 countries, Poetry and Lee
on targeting groups boundaries, and TV and movie moguls Joon-ik’s Blades of Blood (which was not
that can receive the are searching for new investments officially on show) were sold to four
most value and throughout the region. countries apiece. In addition, Kim
enjoyment. As hallyu aims to consolidate its Ji-woon, of The Good, The Bad, The Weird

88 89
Korean Wave
These are heady days for Korea’s historical
dramas. Now shown around the world, the
genre’s road to success began back in 2004
with the mega-hit Dae Jang Geum, which told
the story of a female physician in a Joseon
Dynasty. As of June 2010, the show has been
broadcast in 60 countries worldwide, enjoying
phenomenal success as far afield as Japan,
Taiwan and Iran. In India, so taken was one
prisoner with the show that he penned an
open letter to Korea saying, “I have found new
hope in life through watching Dae Jang
Geum.”
In bringing Korean culture into households
around the world, Dae Jang Geum has raised
Korea’s profile enormously, while also bringing
tangible financial benefits to the country. The
show’s heavy focus on food sparked a craze
for such dishes as bibimbap, with Korean
restaurants even in New York reporting a spike
in interest in the dish. In addition, the show
sparked a wave of spin-offs and
merchandising, in everything from tourism to
musicals to computer game characters.
More recently, the historical dramas
Jumong, Yi San, The Kingdom of the Winds and
Emperor of the Sea have raised awareness of
Korea’s history and culture while gripping
viewers worldwide. Calling them “cultural
ambassadors,” one member of the production
staff at Korean TV network MBC says:
“Although historical dramas need to be
Learning From the Past
interesting, they must also accurately depict
Korean history. If our historical dramas are not
accurate, they could show foreigners a
distorted picture of Korean history.”
As Sex and the City fans would surely acknowledge, the show’s setting and the lifestyle of its
main characters are as appealing as its plotlines. Indeed, rightly or wrongly, the show is great The Real Picture Ever since the
insight into how New Yorkers live for many viewers. In much the same way, various hallyu success of Dae Jang Geum, Korean pop
productions are providing a window into the lives and culture of Koreans. And nowhere is this culture has used the country’s history both to
truer than with one of its most popular exports: historical dramas. feed the overseas demand for hallyu and to
by Ahn Jin-yong
make domestic audiences look at their past
anew. One notable instance of this has been
in the changing depiction of women, of whom
the determined protagonist of Dae Jang
Geum is only the most notable example.
90
A still from the TV drama Kim Soo Ro
(opposite). A scene from the drama The
Kingdom of the Winds, starred Song Il-gook
(top). Kim Soo Ro ’s hero Ji Sung (above).
While conventional wisdom has it that
Korean women were always and everywhere
suppressed by dominant men, historical
dramas have shown a more nuanced picture,
depicting the lives of women who wielded
genuine power in historical Korea.
Take, for example, MBC historical drama
Queen Seondeok. Set in Korea’s distant past,
the show depicts the conspiracies and feuds
that eventually saw Seonduk become Korea’s
first queen. A big success in Korea, the series
has also been exported to 14 countries
around the world.
In Dong Yi, also on MBC, Consort Choi,
though born to the lowest echelons of Korean
society, mothers the man who goes on to
become Joseon Dynasty monarch Yeongjo.
“Dong Yi was contracted for export to Japan
and Thailand for US$ 6 million even before
the drama was aired in Korea,” says a crew
member working on the show. “Buyers are
growing tired of male dominated historical
dramas, and are increasingly fascinated by
historical stories about women.”
Some historical dramas also attempt to
cover aspects of Korean history that had
previously been neglected. Kim Soo Ro delves
into largely forgotten Gaya civilization, while
Dae Jo Yeong serves as a source of
information on Korea’s ancient Balhae
civilization.
Why so Popular Just as we think of
pyramids and the Sphinx when Egypt is
mentioned, and Ancient Greece brings to
mind mythology, in like manner Korean
historical dramas are providing a compelling
historical context for the country Korea is
today. These intriguing storylines and the
culture they convey are one of the most
precious gifts left to us by our forefathers, and
have a universal appeal that can be enjoyed
by foreigners as much as by Koreans.
And the benefits are more than just a
higher profile for Korean culture. According to
the “Study of the Economic Value of the
Korean Wave (Hallyu),” published in 2005 by
the International Trade Research Center of the
Korea International Trade Association, in 2004,
the year Dae Jang Geum was released, hallyu
generated income of US$ 1.87 billion
overseas.
Clearly, a well-made depiction of Korean
culture can bring great economic benefits,
too. But the intangible benefits are as
valuable, providing Korea with a chance to
display the vibrancy of its culture, lifestyle
and history to the wider world. “Korea
currently may not make blockbuster movies
like Transformers or Iron Man,” a Korean
cultural critic recently noted. “But Korea
definately has a distinct culture that nobody
else possesses. This unique aspect is distilled
and displayed in Korean historical dramas.”
91
Korean Wave
Hallyu’s Big Bang
Some of hallyu’s biggest stars have a busy six months ahead. Having conquered Southeast Asia
and, in some cases, gone further afield, some of the biggest names in Korean entertainment —
including Rain, Song Seung-hun, Kwon Sang-woo and So Ji-sub — are set to return to the big
and small screens. In this big hallyu showdown, who will be the last man (or woman) standing?
After a long absence as he focused on
becoming a global star, Rain will be back on
Korean TV screens in this year’s October
with a new miniseries, Fugitive. Five years
have passed since the Ninja Assassin star’s
last TV outing, so expectations among his
fans are reaching a fever pitch.
Making his small-screen debut in 2004’s
Full House, Rain has consolidated his Asia-
wide appeal in the years since with a string
of pop hits and, more recently, movie roles.
In the new series, Rain will be working with
producer Kwak Jung-hwan and writer Chun
Sung-il, who teamed up to a successful
effect in last year’s drama Chuno. Fan boards
are also aswirl with rumors linking Lee
92
by Ahn Jin-yong
Na-young, star of Korea-Japan
co-production Dream and hit drama Island,
with the lead role opposite Rain. As
comebacks go, this one could be really
special.
Stars, Rivals, Friends Song Seung-
hun, famous for the dramas Autumn in My
Heart and Summer Scent, and Kwon Sang-
woo, the milky-skinned star of Stairway to
Heaven, have a fair bit in common. They are
both 33. They are very close friends. And in
the second half of 2010, they are preparing
to battle it out for the affections of hallyu
fans everywhere.
An award winner for his star turn in the
drama series East of Eden, Song is set to
appear in My Princess, from the team at
Curtain Call Producers. Though neither the
network nor the director have yet been
confirmed, Song will star opposite one of
Korea’s hottest female stars, Kim Tae-hee,
fresh from her success in the smash hit
thriller series Iris. “Kim Eun-sook, who wrote
Lovers in Paris and On Air, will write the
script,” says a member of the production
team. “With Song Seung-hun and Kim Tae-
hee in this drama, we’re all expecting big
things, both inside and outside Korea.”
Also set to make Korean TV screens sizzle
is Kwon Sang-woo, who will return in The
Substitute this October. Kwon will appear
alongside Ko Hyun-jung, who starred as
Mishil in last year’s historical drama Queen
Seondeok, and Ko Hyun-jung, who will play
Korea’s first female president.
Much is being made of the potential
on-screen chemistry between Kwon and Ko,
whose star is on the rise after her
appearance in Queen Seondeok. Kwon also
returned to the big screen, with an
appearance in Lee Jae-han’s 71-Into the Fire.
made of korean materials So
Ji-sub, who last year went to Japan to
promote his hit series Cain and Abel, is
starring in a new drama. To mark his return,
So chose Road Number One, a drama series
about the Korean War that air in the
memory of 60th year of the Korean War,
which is on the air nowadays.
A reference to National Highway No 1,
the main artery connecting North and South
Korea during the war, Road Number One
looks at the loves and friendships that are
forged during the war. So Ji-sub plays Lee
Jang-woo, a passionate South Korean officer
born to a poor farming family, who finally
overcomes enormous hardship and danger
by sheer instinct and force of will.
Starting broadcast on June 25, Road
Number One also stars Kim Ha-neul, Yoon
Kye-sang, Choi Min-soo and Son Chang-min.
A member of the crew says: “Road Number
One is not only an engrossing series, it is
also an opportunity to reflect on the Korean
War. By casting So Ji-sub in the lead role, the
show is sure to convey the full emotional
impact of the war to his foreign fans too.”
Meanwhile, Park Yong-ha, star of Winter
Sonata and On Air, is to star in Love Song, a
remake drama of the Chinese movie of
Sweet Sweet Love. Park is also a famous
singer, especially in Japan, where he has
released 10 albums and even held a concert
at Nippon Budokan, one of the country’s
most famous concert halls. By remaking
what was a worldwide hit when it was
released in 1997, Sweet Sweet Love, which
originally starred Leon Lai and Maggie
Cheung, has the advantage of a familiar and
much-loved story. Park’s Japanese fans and
the legions of Chinese viewers who so loved
the original are sure to make the new
version, Love Song, a big hit.
Also set for the Korean remake
treatment is It Started With a Kiss, a hit
drama series from Taiwan that was itself
based on a bestselling Japanese comic book.
Kim Hyeon-jung, from K-Pop idol group
SS501, and Shim Chang-min, from rival
group TVQX, or Dong Bang Shin Gi, are
rumored to be playing the lead roles in the
Korean version, which is scheduled to air in
the second half of 2010. With both Kim and
Shim already big pop stars in Korea and
throughout Asia, producers are confident
that It Started With a Kiss will be a big hit
Kim Hyeon-jung is rumored to be playing the
lead roles in upcoming drama, It Started With a
Kiss (above). So Ji-sub (below) and Kim Ha-neul
(bottom) are currently starring in the show
Road Number One .
with their younger fans.
“With so many big names returning, the
remaining half of 2010 is truly shaping up to
be a ‘war of the stars,’” says a source at
Korean TV network MBC. “This will also
become a battle amongst the three main TV
channels. The whole tide of hallyu could
change this year.”
93
Korean Wave

and the
New
Korean
Wave
Shake the
World
The power of music leaves us in awe. It’s no longer unusual to
hear people on the opposite side of the planet hum along to K-Pop
songs. Korean music is spreading throughout Asia and around the
world. As it leads the new Korean wave, just how far can K-Pop
go? by Jeong Deok-hyeon

Boy band Beast gives a showcase of the Legend of Beast - Vol. 1 , in September 2010 in Japan.

94 95
Korean Wave
D ream High, a popular Korean TV
drama that wrapped up in
February, told the story of a young
musician named K, who goes on to win a
Grammy Award in 2018. Even for a
drama, the exaggerations can be a bit too
much to handle, but they’re somewhat
related to the ongoing evolution of the
new Korean wave. K-Pop, which is
leading the way for the new wave, has
already transcended Asia and has begun
to reach America, Europe and even South
America and the Middle East.
If the drama Dream High comes
across as extra ambitious, that’s likely
because the show cast some of the top
K-Pop artists of the day — Taekyeon and
Woo-young of 2PM, Suzy of Miss A, Eun-
jeong of T-ara and IU. Bae Yong-joon and
Park Jin-young, both top artists
themselves now involved in talent
development, appeared side by side.
Bae’s agency Keyeast and Park’s
96
Bae Yong-joon in TV Drama
Dream High (above). Dream
High highlighted the
enthusiasm of Korea‘s young
musicians; the show caught
audiences‘ attention because it
starred some real K-Pop stars
like Taekyeon (right and below),
Suzy of Miss A, Eun-jeong of
T-ara, IU and others (below).
company JYP Entertainment
co-produced the drama, but their
appearance is significant not just in
terms of their business but of pop
culture. It proved the barrier
between TV dramas and pop music
is slowly but surely coming down.
Their appearances brought
together the first generation and
the second generation of Korean
wave stars.
In the drama, Bae is a director at
Kirin Art High School and recruits
future K-Pop stars. He appoints Park
as one of the teachers before leaving
for Japan. This was a symbolic
development. It was almost as if Bae,
who started the Korean wave with his
hit dramas, had passed the torch to
Park, the face of the new Korean wave
led by K-Pop music and agencies. The
influence of K-Pop is now the subject of
popular TV shows — nothing better
displays the state of the Korean wave
today.
K-Pop as the new Korean Wave
Kara’s first Japanese single, Mister,
reached No 5 on the Oricon Weekly
Chart in the first week of its release last
August. They became the first Asian
[besides Japan itself] girl group to crack
the top 10. And Kara’s greatest hits
compilation album debuted at No 2 and
sold 50,000 units in its first week. It also
ranked second on the weekly chart. And
the recent DVD titled Kara Best Clips sold
132,000 copies in its first week to top
Oricon’s weekly DVD chart. This was an
unprecedented feat for a female artist
since Oricon started tracking DVDs in
1999. 2NE1 makes an intense impression with morning shows. Most of the programs
a unique visual style (above). It’s easy to see why
Girls’ Generation, who debuted in Girls’ Generation has attracted both male and took a serious approach to the
Japan last September, put their first female fans of all ages, both at home in Korea phenomena: What separated Korean girl
and around the world (below).
single, Genie, at No 4 on Oricon’s groups from Japanese groups, and why
monthly chart after selling 45,000 units in teenagers and 20-something Japanese
its opening week. The group has sold girls went crazy over Korean artists. The
121,000 units of its album to date. Girls’ Japanese industry felt the need to
Generation ranked second only behind analyze the rush of Korean
AKB48, the Japanese equivalent of
Girls’ Generation, on the
girl group power
ranking compiled by
Nikkei Entertainment,
based on record sales
last year.
It’s noteworthy that
Japanese media have taken an
interest in Korean girl groups.
News Watch 9 on NHK, the
most-watched news
program in Japan, once
allocated five minutes at
the top of the program to a
story about Korean girl
groups.
Many other private
broadcasters have reported
on Korean girl bands on
97
Korean Wave
girl groups and decide how they should
respond to it.
This is phenomena is reminiscent of
how “Bae Yong-joon Syndrome” first
took Japan by storm. Yon-sama (Sir Bae
Yong-joon in Japanese) fever started with
middle-aged women who went head
over heels for Korean dramas.
And the Korean actors, who were
polite and gentle to them and treated
them like ladies, were easy to like. The
rise of Korean girl groups in Japan is
similar to the Yon-sama fever in that even
though there was no Japanese
equivalent, there was clearly enough
demand.
the new korean wave map Before
the second Korean wave took shape,
people took note of idol groups’
dominance in local digital music
markets. Idol groups gradually
developed more talent as they
underwent systematic training. The rise
of Wonder Girls, Girls’ Generation and
Big Bang helped usher in an era of digital
music and dispel any lingering worries
of recession in the recording industry.
Still, the explosion of K-Pop, leading to
the second Korean wave, was beyond
98
Korea’s brand new boy group ZE:A, which made
its debut last year, gives a performance in Japan
in September 2010 (above). 4Minute played
overseas shows in Thailand, the Philippines and
elsewhere (below).
anyone’s wildest imagination. The
catalyst for the success was the Internet.
Girls’ Generation’s Japanese showcase on
Aug 25, 2010 saw about 800 fans greet
them at the airport, much to the shock of
the group members themselves. They
had never even been to Japan before, let
along performed on a Japanese stage.
That first showcase drew 22,000 people.
Even before Girls’ Generation set foot in
Japan, the group had already built a huge
fan base thanks to their songs and music
videos made readily available via online
sites.
K-Pop has taken a leading role in the
new Korean wave, largely because its
content is so web-friendly. Music videos
and music files — content that can be
consumed in a short time — are a much
better fit for the Internet than TV dramas.
The spread of music is also less impeded
by any language barriers, unlike dramas.
So Korean songs that are spread through
the Internet have transcended the
boundaries of the old Korean wave. No
longer limited to Japan, China and
Southeast Asia, K-Pop has seen its
horizons expand to the rest of the world
in real time. Be it the US, Europe or the
Middle East: wherever there is Internet,
the Korean wave has transcended
language and racial barriers and reached
international audiences. Soompi.com, the
world’s largest Korean wave community
site, headquartered in the US, boasts
700,000 members worldwide. And
they’re all non-Koreans, including
Caucasians, African-Americans,
Hispanics, Arabs and people of mixed
backgrounds.
The emergence of social networking
services has altered K-Pop marketing
strategies. The costs have been reduced.
Agencies don’t have to directly market to
the public when fans themselves build
their own networks online and share
content. So it really comes down to the
content itself and whether it can appeal
to the global audience. Companies can
gauge possibilities in new markets
around the world through the Internet
and then focus on regions with potential
by releasing albums.
The singer Rain traveled uncharted
territory with his world tour, but today
artists can be a bit more precise in their
preparation. Rain, Wonder Girls or other
artists aren’t so much trying to hit the
foreign markets as they are ‘visiting’
foreign countries.
That has made it possible for Kara to
come back to Korea to release a new
single, all the while their stock continues
to soar in Japan. Time and space have
been rendered less important. You can
take the stage in Korea and Japan, and fly
over to South America and the US if
necessary.
These changes to marketing strategies
have also led to a shift in strategies on
localization. Park Jin-young once said the
words ‘Korean wave’ themselves are
obstacles to the very movement they
describe. His point was that the only way
to carve a niche in the US is to become
Americanized. Many people agreed at
the time. For all that Korean wave, it
would all be for naught if audiences
couldn’t relate. But Park’s theory can’t
explain the recent trends of the new
Korean wave.
Today, international fans tend to be
enamored with the Korean lyrics. Fans in
Japan, Taiwan and even in South
America are trying to sing along with the
Korean words of these songs, some going
as far as learning the Korean language.
Some cover bands emulating Korean
artists have sprung up in the US. Their
mimicking of K-Pop dances are uploaded
on YouTube and generate more interest.
T.O.P, a member of The new school of thought is that it’s
Big Bang, is
becoming a big hit
better for Korean artists to stay true to
thanks not only to themselves rather than trying to be
his work as a singer,
American.
but also for his
acting (right). Girl
group After School K-Pop Goes Global Now that K-Pop
joined with several
Japanese is catering to a global audience, the most
artists on their important asset is content with
albums (below).
international appeal. Producing music is
With its owerful
stage show, boy increasingly becoming a global project.
group 2PM has seen For instance, Girls’ Generation’s singles
its popularity soar.
(bottom). such as Hoot and Tell Me Your Wish
(Genie) were written outside of Korea. A
group of Danish writers composed Hoot
and a Norwegian composing group
named Design Music wrote Tell Me Your
Wish. Words are written and
songs are arranged in Korea,
and choreographers from the
US and Japan create the
routines. It’s truly a global
project. Because K-Pop songs
have such diverse
backgrounds, they are that
much more likely to be
accepted internationally.
Just because K-Pop music
99
Korean Wave
has become global doesn’t mean it has
lost its Korean character. As previously
mentioned, girl groups like Girls’
Generation found success in Japan
because they separated themselves from
their Japanese counterparts.
Japanese girl groups a cute image,
while K-Pop girl groups sought to
portray an air of confidence and sexiness.
Kara, unlike in Korea, enjoyed a quick
rise to stardom in Japan because it had
both the girly image of Japan and the
sexy image of K-Pop. If Girls’ Generation
100
members seem like goddesses that are
hard to approach, Kara girls have a
friendly, more down-to-earth image.
K-Pop artists and producers have
experimented with global music in an
attempt to reach out to international
audiences. In the past, Korean agencies
merely tried to copy the Japanese system
and musical trends.
Today, these agencies catch on to the
latest trends in the US and Europe and
apply a Korean twist. Because of this,
K-Pop has become the trendsetter for
pop music in Asia. The same can be said
for boy bands such as 2PM. These young
men have given K-Pop a clear identity.
The worldwide spread of Korean pop
music has, amazingly, reached all the
way to South America.
Chile, for instance, held the 2 K-Pop
nd
contest in Santiago last November. It
seems that K-Pop has many fans in that
country, with many expressing a great
interest in the Korean wave.
The syndrome doesn’t stop there.
Argentina also hosted Latin America’s
K-Pop contest last October, which was
attended by more than eleven teams
from six countries from throughout Latin
America.
Boy band SHINee is
popular among young
girls all over the world
(above). Girl group
T-ara are known for
their cute and friendly
image (right).
It’s Culture, Not Nationality For
the new Korean wave, which retains its
local identity as it moves globally, the
idea of nationality is no longer
important. What has become more
important is the distinct nature of the
culture. Lee Soo-man, producer of SM
Entertainment, was buoyed by Chinese
enthusiasm for the boy band H.O.T. and
saw the possibilities of K-Pop in Asian
markets early on. By joining forces with
Japan’s Avex, Lee helped build successful
Japanese careers for BoA and TVXQ.
That was the very start of the ongoing
success of the new wave.
Korean girl group After School
collaborated with Amuro Namie on the
artist’s greatest-hits compilation, the
success of which suggests there could be
more international collaborations
involving Korean artists in the future.
The album features songs on which
Amuro was featured. After School also
joined other Japanese artists such as
AI&Anna Tsuchiya, Kawabata Kaname
and Yamashita Tomohisa on working on
their albums.
M-flo, a leading black music artist in
J-pop, has an interesting lineup. The
group consists of VERBAL (born Ryu
Yeong-gi), a third-generation ethnic
Korean, and DJ Takahashi Taku. The
group itself is global, and they have
worked with such Korean artists as
Wheesung, BoA and Alex. They believe
that a cultural bond through hip hop is
more important than their nationalities.
Some K-Pop groups themselves have
broken down these barriers. Sandara
Park of 2NE1 started her career in the
Philippines, and Park Jae-beom, formerly
of 2PM, is an American born to Korean
parents. 2PM even recruited a foreign
national: Nichkhun, from Thailand. He
was born to a Thai-Chinese family and is
now a national star in Thailand. Victoria
Kim Hyun-joong, once a member of boy group
SS501, is widely popular in several countries,
including Taiwan, Hong Kong and Thailand
(above). Miss A is a global project group which
has Chinese members Zia and Fei (below).
and Amber of the girl group f(x), and Zia
and Fei of Miss A, are Chinese. This sort
of globalization has helped change the
perception of K-Pop groups. For fans,
Korean groups aren’t “them” but “one of
us.”
Such a strategic partnership that
transcends borders isn’t confined to
group members. The know-how for the
management system unique to K-Pop
has been key to building ties with
agencies in Thailand and Taiwan.
They’ve created synergy effects that cross
international boundaries.
K-Pop Changes the Industry
Once smartphones and tablet PCs
become more widely available, you will
likely experience an even bigger
revolution than ever. K-Pop’s contents
may go beyond songs and could well
blend with dramas, films or other genres.
A project such as Dream High serves as
an example, and the fact that more
recording companies are investing in
storytelling contents such as dramas and
films reflects this shift.
K-Pop is expanding its horizons
because of the obvious advantages of its
storytelling contents. K-Pop is pretty
competitive with its songs, but in order
for it to be constantly consumed and
talked about, it needs to tell stories one
way or another. Music videos have done
the job so far, and now producers are
trying to be more aggressive in dramas
and films.
This transition suggests that K-Pop
won’t be confined to music for too much
longer. K-Pop wields the biggest
influence as a champion of Korean pop
culture, but it may also have a more
practical impact on the industry. It’s
significant in many ways that Girls’
Generation has been tagged as the Asian
face of Intel.
It means multinational corporations
have recognized the global economic
values of K-Pop artists, and that those
companies have taken interest in the
rising popularity of K-Pop as its contents
have reached all over the world through
the Internet. The new Korean wave, led
by K-Pop, has moved on from music to
pop culture and now to an entire
industry.
101
Korean Wave
Stars and Fans
Connected
by SNS
Through Social Network Service (SNS) such as YouTube,
Facebook and Twitter, K-Pop stars are broadening their
horizons. This magic service that transcends time and space
helps turn Korean stars into global icons.
It took several years for the TV drama Winter
Sonata to find its footing in Japan before
leading to Yon-sama syndrome. At the time,
Korean pop culture contents could only be
moved along the retailing system. Contents
had to first reach the market and then be
signed on to local broadcasters or agencies
102
before making it to the program listing just
to reach an overseas audience. But K-Pop,
which is leading the second Korean wave, is
spreading across the globe at the speed of
light. The magic that is SNS enables K-Pop
stars to reach out to their fans all over the
world. It also carries K-Pop music videos and
footage from TV show programs to all
corners of the world in real time.
Compare, for instance, the situation for
TVXQ when it first entered the Japanese
market to what the market is like today.
TVXQ was virtually unknown in Japan and it
had to hit the streets first to build a name
for itself. A few years later, Girls’ Generation
didn’t have to do all of that work. The girl
group had already secured tens of thousands
of Japanese fans through YouTube, and their
first showcase drew 22,000 people. The girls
had to hold three shows to accommodate all
of their fans. It was all thanks to the power
of YouTube. With the group’s videos widely
available, some eager fans began to mimic
the girls’ dances and produced their own
videos. Those clips also made it to YouTube.
The video for the single Gee by a group of
Japanese high school girls was a sensation in
both Japan and Korea.
Today, you can easily find K-Pop music
videos on the list of the most viewed clips
on YouTube. Nobody by Wonder Girls in
2008 got the ball rolling, and Gee by Girls’
Generation hit the charts in the US and
Europe, too. To this day, Gee has been viewed
more than 33 million times on YouTube
alone. YouTube is now serving a launching
pad for K-Pop artists. With the term
‘YouTube Silk Road’ being tossed around,
K-Pop is actively using YouTube to reach out
to foreign markets. For instance, in October
2010, SM Entertainment introduced a teaser
clip for the new Girls’ Generation single Hoot
and then the full music video on YouTube.
Within two days, these videos attracted 1
million clicks. That’s almost on par with the
leading pop artists of the world. Last
September, YG Entertainment put music
videos by 2NE1 on YouTube and they had 10
million clicks in just two weeks.
Most recently, Tonight, the lead single off
a mini album by Big Bang, was spread
around the world through YouTube. It has
surpassed 3 million viewers, topping the list
in Korea. It also led all music videos in Japan,
enjoyed the most comments, made the most
favorites lists and received the highest
ratings. The video has also fared well in non-
Asian countries. It was the second-most
watched music video in Australia, fourth in
Hong Kong and Taiwan, and fifth and sixth in
New Zealand and France. Fans in India,
Sweden, Mexico and Spain also watched the
music video on YouTube. It’s truly a global
list. This is all thanks to the power of SNS.
Big Bang’s new album reached No 7 on
Billboard’s Heatseekers Albums chart, which
tracks titles from ‘new or developing acts,’
and No 3 on the World Albums chart. Last
January, TVXQ’s new single, Keep Your Head
Down, made it to No 4 on the United World
Chart at the German site Media Traffic.
Neither TVXQ nor Big Bang resorted to
direct local marketing, but still achieved
outstanding results, mostly thanks to SNS
and the new Korean Wave.
K-Pop stars can indulge themselves on
Wonder Girls recorded a big worldwide (above).
Big Bang throwed an exclusive concert, the Big
Bang Show, in February 2011 (opposite).
Facebook, Twitter or me2day, a Korean
equivalent of Twitter. Today, pop stars see
Twitter as the most important window of
communication with fans. And often,
Twitterians with the most followers are
celebrities. Super Junior boasts a massive
following. Donghae has 320,000 followers,
the top among Korean stars. Kim Hee-chul
has about 284,000 followers and Choi
Si-won is followed with about 283,000.
Nichkhun of 2PM has 267,000 people
following his tweets. Through Twitter, K-Pop
stars spread the word about their new
albums and keep fans up to date on what’s
going on with them in Korea.
SNS also wields a great deal of influence
on the activities of fan clubs. Last September,
when artists of SM Entertainment put on a
joint show at the Staples Center in Los
Angeles, some 2,000 members of SM Town
fan clubs had a spontaneous gathering. And
it all started with a seeming innocuous
Facebook posting by a 20-something female
American fan. When that message took a life
of its own, fans decided to get together for a
giant party, taking SM officials by surprise. It
was also encouraging that while most of the
audience was expected to be Korean-
Americans, there were more Caucasians and
African-Americans.
SNS won’t stop there. Once smartphones
and tablet PCs become more widely used,
the impact SNS will have on K-Pop will be
beyond your wildest imagination. With more
media platforms, cultural content will
transcend music videos or footage of
concerts, and dramas and movies —
so-called storytelling content — could take
over. After dramas and films started out the
first Korean wave, the second wave will be all
encompassing of all contents as it turns
global. The K-Pop will be placed on a
different pedestal.
103
Korean Wave

But these programs just might be the tip
of the iceberg. On the Internet, you can find
a string of websites where you can watch
Korean programs live and even add your own
subtitles. And Korean pop artists are the
hottest celebrities. Music programs are there,
and variety shows featuring idol stars have
helped show different sides of musicians
behind the stage to fans around the world.
Though countries may be divided by their
boundaries and languages, people in different
countries can enjoy their K-Pop music all the
same.
As K-Pop grows more popular, foreign
broadcasters are taking greater interest in
Korean music. Ura Kara, a Japanese TV drama
starring Korean girl group Kara, has drawn an
average of 3.13% ratings over seven shows,
which is a quite success in Japanese drama
field.
What’s really fascinating is a number of
K-Pop-related programs that air outside of
Asia. The Korea Foundation for International
Culture Exchange keeps track of K-Pop’s
popularity through its stringers, and it’s
getting some interesting news.
Last February, Sans Chichis, a program on
played 2NE1, 4Minute, BoA, Girls’
Generation, 2PM, G-Dragon, Super Junior and
SHINee.”
Lim Jeong-hee, a stringer in Brazil, said
Leitura Dinamica, an entertainment program
on Rede TV, a terrestrial network, played
Tonight by Big Bang. “The music video for
Tonight capped off the program after
midnight on Feb 28, after a series of world
famous artists were introduced,” Lim said.
The host of Leitura Dinamica said, “Big Bang
is the most accomplished group in Asia and
within just two days of the release, the
group’s new album was an instant hit in
Canada and New Zealand.” On this program,
Drunken Tiger and his wife Yoon Mi-rae
greeted their Brazilian fans with fluent
English and Korean.
In Uzbekistan, K-Pop become popular
among the Goryeoin, overseas Koreans in the
Soviet Union, according to the stringer Lee
Myung-sook. North Korean songs and
dances dominated the air until recently, but
Korea’s girl group Kara gets a fame overseas, especially in Japan (below). Super Junior is one of the
the youth of today mostly listen to Wonder
Girls, Girls’ Generation, Rain and TVXQ,
among other K-Pop stars. Older generations
have caught on and they’ve developed
interest in old Korean pop.
As K-Pop artists continue to make strides
in countries like Mexico and Brazil, where
actual performances are limited, local
agencies have turned their eyes to overseas.
Digital music files have narrowed the chasm
between publicity and revenues, and are
breaking down barriers between countries.
Through major satellite and cable
platforms, K-Pop is creating a new Korean
wave in almost real time. The K-Pop fever is
also attracting even more broadcasters. In
the Middle East and South America, K-Pop is
only just breaking ground. Still, it’s
encouraging to see international audiences
falling in love with K-Pop. The Korean wave
road that K-Pop is paving is delivering
Korea’s culture to television sets all around
the world.

K-POP Music Belgian public TV station RTBF, introduced

SHINee and Girls’ Generation as the leading
most well-known K-Pop star all over Asian countries (opposite).

Imagination artists of K-Pop. A reporter named Sophie

Frison walked into the studio to the beat of
Gee by Girls’ Generation and greeted her
audience with, “Annyeonghaseyo,” or “Hello”
K-Pop is heating up the tubes around the world. Korean music programs are readily in Korean. The panel discussed how stars are
available in living rooms across Southeast Asia via satellite and American and groomed and nurtured in Korea. They
European TVs are busy promoting K-Pop music, which has carved its niche through marveled at the music video for SHINee’s
the Internet. Hello, and one member of the panel proudly
claimed to have known long ago of SHINee’s
exalted status in Asia.
Music Bank on KBS often runs global events Bank in real time, at the same hour as also to American cable channels Comcast Park Geum-jeong, a Mexico-based
for international audiences. Leading K-Pop Korean viewers. Korean stations are all and Cox. Astro, Hong Kong Cable, Star Hub stringer, said a program on a Guanajuato
artists such as Big Bang, 2NE1, Girls’ available on major satellite and cable (Singapore), SCTV, Sky Cable, and Sansar TV local affiliate of Televisa showed K-Pop music
Generation and Kara can connect with their rotations. (Mongolia) across Asia. On Astro, the largest videos. “This program plays dance music and
fans in Southeast Asia. Those who are signed KBS World is providing its programs to satellite platform in Southeast Asia, KBS b-boy routines, targeting young people who
to Astro in Malaysia, SCTV in Vietnam and Direct-To-Home (DTH) channels such as programs rank among the top 10 in ratings are into dancing,” Park said. “Some viewers
Sky Cable in the Philippines can watch Music Echo Star and Time Warner in the US, and in 80 countries. requested K-Pop music, and the program

104 105
Korean Wave

Korea’s young classical artists are

sweeping global competitions.
With the world’s leading ballet
companies beckoning to dancers
and major symphonies searching
for the next big musician, the
country is proving itself a vibrant
cradle for young maestros. This
new generation of artists is
leading the way to success.
by Lee Se-mi | photographs by Kim Nam-heon

Taking classics to New Heights

106 107
Korean Wave
A t the 14th International Tchaikovsky
Competition in June, five Korean
musicians took home prizes in the
piano, violin and voice categories. The
competition, held in Russia every four
years, has been dubbed the “Classical
Olympics,” and the young musicians
shocked the world with their talent.
Soprano Seo Sun-young and bass
Park Jong-min won the top prizes in the
female and male voice categories. Son
Yeol-eum and Cho Seong-jin placed
second and third, respectively, in the
piano competition, while Lee Je-hye
took third place for violin. Additionally,
Son won several Best Performance
awards for her pieces by Rodion
Shchedrin, Rachmaninoff and
Tchaikovsky.
In May, soprano Hong Hae-ran also
made news by becoming the first Asian
winner of the voice competition at the 7
Queen Elisabeth Competition in
Belgium, one of the world’s top three
music contests besides the Tchaikovsky
Age of Achievement
Over the last four decades, Korean classical musicians have been
increasingly distinguishing themselves at international competitions.
The following musicians have made their mark at the world’s top
classical music events: the International Tchaikovsky Competition, the
International Chopin Piano Competition and the Queen Elisabeth
Competition.
108
when he was 15, receiving international
recognition for his performance of the
complete works of Maurice Ravel at the
so-called homegrown “classical kids” (as
they are known colloquially) has become
such a talked about phenomenon. Behind
the world classical music stage. In
addition, the Korean National Research
Institute for the Gifted in Arts (KRIGA), a
Lincoln Center in New York. Violinist a string of successes at international stepping stone for many on the way to
Chung Kyung-wha, the sister of Chung competitions are the educational support KNUA, has helped provide an early
Myung-whun, entered Juilliard at 12 and system and economic growth that have, education for gifted youth in music since
quickly became a star when she played a together, enabled Koreans to foster an 1994. Several graduates from KRIGA
Tchaikovsky concerto with the London interest in art and culture. later went on to win international music
Symphony Orchestra. Award-winning This generation studied at national competitions.
soprano Sumi Jo attended the Accademia institutions whose instructors were the Professors with a wealth of
di Santa Cecilia in Rome and sang at the very same people who had once studied experience and talent have been vital in
world’s top five opera houses as a prima abroad, and benefited from Korean helping these young artists. Choi Hyun-
donna. companies that now support the arts. In soo, winner of the 1990 Tchaikovsky
short, becoming an artist is no longer the Competition and the first male ethnic
Musical Guidance Apart from the pipe dream it once was, and the field of Korean singer to win, is now a professor
rare exceptions, most of Korea’s top classic arts in Korea is rapidly evolving at KRIGA. Acclaimed pianist and
veteran musicians have received their with the times. conductor Kim Dae-jin, a professor at
and International Chopin Piano part of the rise of local classical KNUA, actually taught two of this
Competition. Using the Brussels win as a musicians. Each of the winners was year’s Tchaikovsky winners and also
springboard, Hong is now poised to educated in Korea, demonstrating that it Kim Sun-wook, the winner of the 2006
launch her career with New York’s is no longer necessary for Koreans to Leeds International Pianoforte
th Metropolitan Opera House this month. receive their musical instruction abroad if Competition and the first Korean to win
Their accomplishments are they are to be successful. the event.
extraordinary, and these young artists — These steps toward classical Young musicians are no longer
whose ages range from 17 to 28 — are independence have been long coming. A looking west with wistful eyes. To study
number of successful veterans have been overseas is not a prerequisite to success
paving the way for decades, and past or even necessarily a stepping stone to
Cho Seong-jin, who
placed third for piano in winners of the Tchaikovsky Competition musical training overseas from an early Cho Seong-jin, one of the Tchaikovsky advancing on the global stage. “It really
the Tchaikovsky include pianist and conductor Chung age. As late as the 1980s, it was difficult Competition winners, is currently helped to study under such excellent
Competition, performs
at the international
Myung-whun, baritone singer Choi to get a strong musical education in studying at Seoul Arts High School. The teachers who had international
contest (above). Hyun-soo (also known as Hans Choi), Korea — a country where Western other four competition winners studied experience and at schools with well-
Soprano Hong Hae-ran,
pianist Paik Hae-sun and singer Kim classical music had not been introduced at the Korea National University of Arts organized programs. The only reason I
winner of the Queen
Elisabeth International Dong-seub (also known as Gerard Kim). until the 1960s — without some form of (KNUA) and soprano Hong also was able to win had to do with the
Competition, listens to Others have gained recognition both governmental support. If one wanted to graduated from KNUA. groundwork laid by my teachers,” says
Queen Fabiola of
Belgium (left). at home and abroad with their rigorous become a world-famous musician, the KNUA has positioned itself as a soprano Seo. Fellow Tchaikovsky winner
Opposite, from left: Seo international touring schedules and only way to achieve that goal was wellspring for talented musicians Son adds, “An artist’s identity comes
Sun-young, Son Yeol-
overseas activities. Paik Kun-woo, one of through one’s own network, and through an education system that focuses from a sense of originality, and I’m
eum, Cho Seong-jin,
Park Jong-min and Lee Korea’s leading pianists, went to the preferably overseas. on practice. Since its foundation in 1993, happy I have developed my own musical
Je-hye. United States to study at Juilliard School This is why the recent success of it has given rise to numerous winners on skills and identity in Korea.”
1974 1976 1985 1987
1990 1991 1994
Kang Dong-suk takes 3rd Lee Mi-kyung takes 5th for Lee Mi-joo places 6th Paik Hae-sun takes Paik Hae-sun comes in 3rd for
Chung Myung-whun takes 2nd place Choi Hyun-soo (Hans Choi) wins the
for violin at the Queen violin at the Queen Elisabeth for piano at the 4th for piano at the piano at the Tchaikovsky
for piano at the Tchaikovsky top prize for voice at the Tchaikovsky
Elisabeth Competition. Competition. Kim Chin takes Queen Elisabeth Queen Elisabeth Competition. Lee Kyung-sun
Competition, becoming the first Competition (competing for the US).
6th in violin. Competition. Competition. comes in 6th for violin.
Korean to place at the event.
109
Korean Wave
Fountain of Resources Koreans
no longer have to give up their dream of
studying music due to a lack of funds, as
major corporate sponsors of the arts are
stepping in to help. Four of the
Tchaikovsky Competition’s winners (Son,
Cho, Lee and Seo) have been the
beneficiaries of the Kumho Asiana
Cultural Foundation’s sponsorship
program, which has been supporting
young talent for the last decade. Their
initiatives include scholarships, free
airline tickets, opportunities to perform
and free instrument rentals.
Kumho accepts new musicians into
its sponsorship program twice a year, in
a cutthroat competition in which over
200 aspiring musicians apply. To date,
roughly 1,000 people have benefited
from the program.
Another noteworthy music sponsor is
the Daewon Cultural Foundation, which
specifically supports classically-trained
musicians. Korean Leeds winner Kim
received financial and administrative
support from 2005 to 2008, and has since
signed with Askonas Holt, an
international arts management company
whose client list includes the likes of
Sumi Jo, Chang Han-na and Chung
Myung-whun.
Dare to Dance Korean ballet dancers
are rapidly making their mark on the
world stage as well. Ten students from
the KNUA dominated the 6th
International Dance Competition “Sicilia
Barocca 2011” held in Modica, Italy, in
July, winning in the junior, student and
1995 2002
Park Jong-hwa takes Kim Dong-seub takes 3rd for
5th for piano at the voice at the Tchaikovsky
Queen Elisabeth Competition. Lim Dong-min
Competition. comes in 5th for piano.
110
senior categories.
Sim Hyun-hee and Yang Chae-eun
shared the top spot in the senior section,
while Sim took top honors in the pas de
deux with Kim Hyun-woong, a former
member of the Korea National Ballet and
a KNUA alumnus. Jung Ga-yeon and
Choi Ye-lim jointly won the first prize in
the junior category. Na Dae-han finished
second in the same section. In the student
category, Lee Sun-woo took the top prize,
with Lee Goh-eun and Lee Soo-bin tying
for second place, and Jun Joon-hyuk
taking third.
“There was a lot of interest in Korean
ballet because it was the first time our
country had joined the competition. We
were able to show that Korean ballet is
indeed of a quality high enough to win at
a major international competition,” says
Kim Sun-hee, a dance professor at
KNUA. Kim herself graduated from the
well-known Vaganova Ballet Academy in
2005
Kwun Hyuk-joo takes 6th for violin at the
Queen Elisabeth Competition. Brothers Lim
Dong-min and Dong-hyek tie for 3rd place at
the International Chopin Piano Competition.
St. Petersburg, Russia, which has
produced other legendary dancers such
as Vaslav Nijinsky and Anna Pavlova.
“Since the competition, there has been a
lot of inquiry about the Korean artform.”
Across the globe, there are more than
10 Koreans who dance as prima
ballerinas and soloists at some of the
world’s major ballet companies. Kang
Hyo-jung, a dancer with Germany’s
Stuttgart Ballet, was promoted to
principal dancer after her debut as Juliet
in Romeo and Juliet, a performance in
which she received 12 curtain calls. Kang
joined Stuttgart after winning a prize at
Switzerland’s Prix de Lausanne at 16 and
has danced as a soloist with the company
for the past years after dancing with the
corps de ballet.
On American shores, ballerina Seo
Hee became the first Korean soloist at
New York’s American Ballet Theatre. She
debuted as Giselle in the popular
2007 2008
Lim Hyo-sun takes Cho Eun-hwa wins the
5th for piano at the composition category
Queen Elisabeth at the Queen Elisabeth
Competition. Competition.
classical ballet of the same title and won
the prestigious Prix de Lausanne in 2003.
In Russia, Bae Joo-yoon joined the
Bolshoi Ballet in 1996.
Similar to classical music, however,
more and more dancers are getting their
start in Korea. While both Kang and Seo
studied abroad before joining
international ballet companies, recent
star Lee Sang-eun decided to join the
Universal Ballet Company (UBC), one of
only four professional companies in
Korea, upon graduating from Korea’s
Sun Hwa Arts High School.
Though Lee, a past winner of the
Grand Prix Award at the Seoul
International Dance Competition and a
silver medalist at the Shanghai
International Ballet Competition, later
left the UBC, it is remarkable that she
began her career entirely domestically.
Earlier this year in May, Lee danced one
of the leading roles in La Bayadère with
the Dresden Semperoper Ballet.
Park Sae-eun, a student at KNUA,
joined the Paris Opera Ballet in August,
while classmate Choi Young-gyu joined
the Dutch National Ballet in May. Park,
in particular, is the first Korean ballerina
to enter the ranks of the French company,
following in the footsteps of former-
company member ballerino Kim Yong-
geol, now a professor at KNUA. While
studying at KNUA, Park won the top
prize at the Lausanne competition in
2007, following it up with a gold medal
at Bulgaria’s International Ballet
Competition Varna in 2009.
Furthermore, Han Sung-woo, also a
2009
Jeon Min-je wins the composition
category at the Queen Elisabeth
Competition. Kim Su-yeon places 4th for
violin and Yoon So-young takes 6th.
KNUA alumnus, has become the first Active communication with overseas
Korean ballet dancer to join Great ballet companies has also enabled
Britain’s Royal Ballet after winning Korean dancers to take on new and
second prize at the 39 Prix de Lausanne,
th
different styles from Russia, as well as
a first for a male Korean dancer. More the latest trends from Europe and the
recently, Kim Ki-min joined Russia’s United States.
Mariinsky Ballet, the world’s top classical Koreans are creating their own
ballet company, as the first male Asian legends in the classical music and dance
dancer. fields. Young artists on the international
“Mariinsky, the Dutch National Ballet stage are presenting hope to future
and Great Britain’s Royal Ballet are all homegrown “classical kids” in Korea.
stages very much sought after by dancers Indeed, the country is emerging as a
around the world. It’s a first step for powerful source of classical arts with the
Korean ballet dancers to adorn the global continuing growth of education and
stage,” says KNUA dance professor Kim resources. Just as with K-Pop and the
Sun-hee. Hallyu Korean wave, unwavering
support and investment are needed to
Rise to Success How did Korean ensure promising young talents
ballet become so competitive? The continued success.
educational groundwork was laid in the
1980s and 1990s when
several ballet
institutions opened in
Korea, one after
another. It started with
the Universal Ballet
Company in 1984, then the
Culture School of Korea
National Ballet in 1993 and lastly
the Dance Division at KNUA in 1996.
The level of education has been
enhanced as dancers from world-class
ballet companies such as Bolshoi and
Kirov have returned to Korea as Park Sae-eun is the
professors and instructors. first Korean
ballerina to join a
Experts say Korean dancers have
French company
improved greatly as their overall (opposite). Seo
Hee is one of
physical condition strengthens and the
Korea’s leading
educational system here becomes better. dancers (left).
2010 2011
Kim Tae-hyung takes 5th Soprano Hong Hae-ran becomes the first Asian to win the Queen Elisabeth
for piano at the Queen International Competition for voice. Soprano Seo Sun-young and bass Park
Elisabeth Competition Jong-min sweep the top voice prizes at the Tchaikovsky Competition. Son Yeol-
and Kim Da-sol takes 6th. eum and Cho Seong-jin place 2nd and 3rd for piano and Lee Je-hye takes 3rd for
violin.
111
Korean Wave
By the early 20th century, Western classical
music had only barely begun to trickle into
Korea. The few that heard it were quickly
taken with its unfamiliar melodies, inspiring
musicians to venture into the genre.
A notable Korean composer from that
period is Ahn Eak-tai (1906-1965), the
creator of Aegukga, now the national
anthem of South Korea. The first Asian to
conduct the Berlin Philharmonic Orchestra,
Ahn was also the first Korean to study
conducting. He headed to the United States
112
Pioneering
Classical
Artists
The Korean arts have undergone
dramatic changes in the nation’s
tumultuous modern history. In less
than a century, Korean classical artists
have soared to the top of their
respective fields internationally. This
remarkable growth seen by today’s
musicians and dancers was made
possible due to the hard work and
sacrifice of the generations that came
before.
after learning to play the cello in Japan and, became his assistant conductor. By his 40s,
after realizing that Koreans had borrowed a Ahn had already conducted over 200
foreign song as their national anthem, orchestras, including the Royal Philharmonic
decided to write one himself. Aegukga would Orchestra, the Budapest Symphony
become the first piece of original Korean Orchestra and the Los Angeles Philharmonic.
music written and released overseas. Yun I-sang (1917-1995), born 11 years
In 1936, Ahn moved to Europe, where he after Ahn, was one of Europe’s leading
learned to conduct from some of the great musicians in his day. Today, he is seen as
maestros of his day, such as Bernhard someone who bridged Eastern and Western
Paumgartner and Zoltán Kodály, in Germany, music, helping open a new era in the history
Hungary and Austria. Later, he met with the of world music. After studying music in
world-famous composer Richard Strauss and Japan, Yun moved to France and Germany to
learn to become a composer. Yun excelled in Juilliard with the possibility of studying under
applying elements of Korean traditional the renowned Armenian violin teacher Ivan
music to the Western musical scale. For Galamian. In 1967, she entered the
instance, he would use the gayageum, a prestigious Leventritt Competition along
Han Dong-il,
one of Korea’s 12-string zither, as vibrato, or apply the with fellow alumnus Zukerman. The two
most well- singing styles of Korean traditional minyo or ended up tying for first place as the jury
known pianists,
made his debut pansori to the cello or violin. His works couldn’t select a single winner between the
at Carnegie include operas like Sim Tjong (performed at two.
Hall.
the opening ceremony of the 1972 Summer The history of Korean ballet overseas
Olympics) and orchestral music such as Silla. starts with Kang Sue-jin (1967-present). A
When a feeling of helplessness role model for many aspiring dancers, the
dominated a post-war Korea, celebratory modifier “the first” seems to follow Kang
news of 14-year-old Korean pianist Han everywhere she goes, as she was the first
Composer Yun
I-sang is known
Dong-il’s debut concert at Carnegie Hall on
April 28, 1956, was joyously welcomed by
Asian to win the Prix de Lausanne and the
youngest dancer to join the Stuttgart Ballet.
for integrating
traditional
music with
Koreans. In 1962, he was invited to John F
Kennedy’s White House to play Franz Liszt’s
She alone put Korea on the world map of
ballet.
classical. Mephisto Waltzes and Debussy’s Reflets dans
l’eau. Three years later, he won the 24th
Leventritt Competition, making Han the first
In 1993, Kang was asked to dance the
lead role in Romeo and Juliet in celebration of
the work’s 30th anniversary. In 1999, she won
Korean to have won an international classical the Prix Benois de la Danse, the veritable
Oscars of the ballet world, and in 2007 was
music competition.
bestowed the title Kammertanzerin (Royal
Along with Pinchas Zukerman and Itzhak
Chin Un-suk, Court Dancer), an honor only given to four
Perlman, Chung Kyung-wha (1948-present) is
a Germany-
people in the 50-year history of Stuttgart
based Korean one of the most respected violinists in the
composer, is a Ballet. Both were firsts for Asians.
world. Her success became an inspiration for
contemporary
many young Korean musicians, especially
pioneer.
after she was awarded a full scholarship to
Ahn Eak-tai is one of Korea’s first conductors (opposite). Ahn conducts an orchestra (below).
Pianist Paik
Kun-woo,
based in Paris,
is another
internationally-
recognized
musician.
Conductor and
pianist Chung
Myung-whun
directs the
Seoul
Philharmonic
Orchestra.
113
Korean Wave

Animation Department was invited to KNUA Graduates who Placed at

International Competitions Music
Switzerland’s Fantoche Animation Film Dance
Festival in 2007, along with the Royal 74
70
74

65
Academy of Fine Arts in Antwerp, Belgium,
38 38
and Italy’s National School for Cinema, 30

18 20

the stars
which has, in essence, been unofficial 8
13
8

recognition that KNUA is one of the top four 2006 2007 2008 2009 2010 2011 (until June)

animation education centers in the world.

Five young Korean artists took home prizes
at the 14th International Tchaikovsky
Competition in June, all of whom were
educated in Korea. The most interesting
aspect of their success is that they each
performed Western classical music with a
Korean spin.
Four out of the five winners from the
prestigious Russian competition were from
the Korea National University of Arts
(KNUA), and the 6th International Dance
Competition “Sicilia Barocca 2011” was
similarly dominated by 10 KNUA graduates.
In addition to classical music and ballet,
students from this national arts school are
finding success in fields spanning from
theater to moviemaking and animation.
Many KNUA graduates took part in the
production of the movie The Chaser, an edgy
of knua
Korea is turning heads as its most
talented young artists sweep
international classical music and ballet
competitions. At the center of this
success is Korea National University of
Arts (KNUA). Arguably the most
influential national arts school in Korea,
KNUA was established 18 years ago as
a cradle for classical education that
focuses more on actual practice than
mere theory.
thriller that made it to the final round of the professor at KNUA in 1995. His work has not
Cannes Film Festival in 2008, including changed in principle, however, as he still
cinematographer Lee Seong-jae, art director focuses on the beauty of humanity and
Lee Min-bok and director Na Hong-jin. believes that education lies in the challenge
Emerging director Yang Hyo-joo, another of uncovering people’s true talents.
KNUA graduate, won the Silver Bear Award at Although there are many great art
the Berlin Film Festival this year for her short schools in the world, from Juilliard School to
film The Unbroken. the Royal Academy of Dramatic Art, they are
“More than anything else, the all separate institutions that focus on one
government established KNUA with the major field. KNUA, however, has six different
intention of focusing on training and subdivisions: music, dance, drama, film and
practicing, as it was determined to have multimedia, visual arts and Korean traditional
Korea play a leading role in arts and culture arts.
in the 21 century,” says KNUA president
st
In 2007, KNUA’s Department of
Park Jong-won. Architecture acquired international
As a former film director, Park is an artist certification from the Royal Institute of
himself. He is known for his works Our British Architects (RIBA), the first time this
Twisted Hero and The Eternal Empire, and had certification had been awarded to a school in
an active career in film until he became a a non-English-speaking country. The
At the same time, KNUA is vastly
different from most other arts universities in
Korea, as it has established a curriculum of
expertise with a focus on training and
practicing. The school chooses a select few
new students every year, with an educational
program focused on private lessons, group
discussions and field training. Students also
have a number of opportunities to perform
their work.
The admissions process is also centered
on practical aspects to the arts, whereby a
student’s current skills are balanced against
their potential. A practical examination and
past school transcripts are considered too.
In addition, the school’s tuition is
relatively inexpensive and still manages to
offer excellent facilities, with generous post-
graduate support. For example, music
students are given 92 private practice rooms
and chances to perform over 140 times
annually, on different stages that include an
ensemble room, a percussion room, an opera
recital room, a large-scale orchestra hall and
KNUA Hall. Upon finishing school, KNUA
graduates frequently get jobs at art
organizations or launch careers as
professional artists. As of 2010, 5,222 men
and women had graduated from KNUA, with
2,684 of them (51 percent) gaining
employment in the arts.
KNUA tries to find gifted children as early
as possible, in order to focus on nurturing
creativity from as early an age as possible. In
some cases, KNUA’s Art Talent Center will
These statistics show the number of graduates and current students from the Korea National
University of Arts (KNUA) that placed at international music and dance competitions. They include
combined statistics from the music and dance departments of KNUA.
spend up to 10 years helping one child hone perform at the Lincoln Center or Carnegie
their skills. From 2011, it has also become an Hall, or winners of international
educational center for teachers of gifted competitions, are all world-leading artists. At
children, making full use of KNUA’s the same time, those who perform in a small
accumulated expertise and know-how. town and can capture the value and beauty
“KNUA’s educational programs produce of life through their art are no less
world-renowned artists under a vision of important.”
nurturing creative professionals. It’s
important for artists to express the values of
society through their art, and to become a
leader in the art world, one should
understand the importance of people’s
inherent abilities,” Park says.
As Korea’s only national art school, and
the institution most responsible for
heightening the nation’s arts, KNUA’s vision
is clear and simple. As Park puts it, “KNUA’s
vision is to foster beautiful artists, ones who
can help make others happy. Musicians who
Park Jong-won, president
of the Korea National
University of Arts, speaks
with KOREA in his office
(opposite). Students
practice Korean
traditional instruments
to perform Gugak
(traditional music) at
KNUA (above). KNUA is
the only national arts
university in Korea, and
has six major
departments, including
drama (left).

114 115
Sports and Arts

In the world of sports, Korea is no longer an underdog. Already

renowned for its remarkable economic growth in the aftermath of
the Korean War (1950-53), Korea has increasingly proven itself as a
sporting power, too. In South Africa this year, the small peninsula
nation will be competing in its seventh consecutive World Cup
and, around a year ago, took second place in the World Baseball
Classic. At the most recent Vancouver Winter Olympics, Korea
took gold medals in speed skating and figure skating to achieve an
impressive fifth-place overall finish. In addition, Korean athletes
consistently score big wins in both men’s and women’s golf. Here,
KOREA meets some of the country’s most talented sports stars,
whose success has swept through the nation on a wave of
adulation. by Jeong Se-yeong

Kim Yu-na, 2010 Winter Olympic champion in ladies singles figure skating

116 117
Sports and Arts

Gold medalist Mo Tae-bum competes at the Vancouver Winter Olympics

(opposite). Kim Yu-na, gold medalist in ladies’ singles figure skating,
reacts to the crowd (above left). Team Korea poses with their medals
(above right). Gold medalist Lee Seung-hoon is lifted onto the shoulders
of his fellow athletes at an awards ceremony (below).

A t this year’s Vancouver Winter Olympics, Korea

claimed six gold, six silver and two bronze medals
to accomplish its best ever finish. As Korea’s athletes
repeatedly prevailed against sporting powerhouses from
Europe and North America, the international media
hailed a remarkable achievement by a country that had
traditionally been a winter sports minnow.
As much as these results triggered pride in a jubilant
home nation, the success will be felt in more lasting
ways. According to the Korea Sports Promotion
Foundation, the economic ripple effect of the Olympics is
approximately 6.5 trillion won (US$57 billion), while the
Samsung Economic Research Institute (SERI) predicts
that the 2010 Vancouver Winter Olympics will generate
about 20.2 trillion won (US$17.8 billion) worth of
promotional benefits for Korea.

victory in vancouver Though Korea had tasted

gold at previous Winter Olympic events, prior to the
2006 Turin Games they all came via short track, which
earned the country the rather unflattering epithet of “The
Short Track Republic.” Desperate to shed their reputation
as a winter sports one-trick pony, Koreans all over the
country were willing their team to bring back medals in
other events this time around.
Their prayers were answered. Right at the beginning
of the Vancouver Games, 22-year-old Lee Seung-hoon
won silver in the men’s 5,000m speed skating event. As
well as being a delight for his fans, Lee’s victory was also
a considerable surprise: in a sport traditionally

118 119
Sports and Arts
dominated by the European racers, Lee’s medal was the
first won by any Asian in speed skating events of 5,000m
or longer.
But Lee had more surprises up his sleeve. On
February 24, in an event he had competed in just twice
before at the international level, Lee stunned the skating
world by winning gold in the 10,000m speed skating
event, after all-time favorite Sven Kramer was
disqualified for a lane violation. The silver and bronze
medalists who shared the podium with Lee Seung-hoon
celebrated the arrival of a new champion by hoisting Lee
on their shoulders.
As hoped, Korea continued its winning streak in its
traditional stronghold, short track. In the 500m women’s
and men’s speed skating events, Lee Sang-hwa and Mo
Tae-bum won respective golds, marking the first time in
the history of the sport that skaters from the same
country were victorious in both events.
On top of being gold medal winners, Lee Seung-
hoon, Mo Tae-bum and Lee Sang-hwa share deeper
bonds. All hail from Korea National Sport University and
are close friends. All three are recognized at the top level
of skating despite coming from very modest
backgrounds. After failing to make the short track team
last year, Lee Seung-hoon was so short of money that he
had to borrow skates to practice speed skating. Mo, a
picture of happiness at the ceremony, had been the
archetypal bad boy in his teenage years, choosing to ride
his motorbike rather than study or even train sports.
life changing moments As for Lee Sang-hwa, the
hardships she had overcome made her a symbol of hope
for many back in Korea. With so little money in her
family, Lee’s brother had been forced to forgo his own
dreams of skating glory so that Lee herself could
continue with her training. Lee’s parents, too, made
tremendous sacrifices for the success of their daughter,
and Lee never forgot the debt of gratitude she owed
them. Aged 12, she wrote her parents a letter saying, “If I
become a successful skater, I’ll buy you everything from
a washing machine and a gas stove to a fridge.” Later on,
Lee demonstrated her burning ambition with an entry in
her diary that read, “I want to be famous. I want to be in
the news. I want to make the national team.” And, as her
big day approached, Lee marked it on her calendar with
the simple words “Life-Changing Moment.”
120
Speed skater Lee Sang-hwa carries the Korean flag at the
Vancouver Winter Olympics (opposite). Cha Bum-kun was the
first footballer to advance overseas (above left). Footballer
Park Chu-young plays for AS Monaco (above right). Park
Ji-sung, who plays for Manchester United, is the captain of the
South Korean national team (below).
Nevertheless, Korea’s greatest triumph came with the
girl the Korean press were to dub “Queen Yu-na.” In two
near-perfect rounds of jumps, pirouettes and ornate hand
gestures, Kim Yu-na blew away her closest rival with a
record-breaking score of 228.56. Hillary Clinton, the U.S.
Secretary of State, said she stayed up well into the night
to watch Kim’s performance, which she described as
“extraordinary.”
Indeed, Korea’s overall performance stunned the
sports world. “I’m sure I could sense a hint of envy when
overseas journalists asked me how such a small country
could have done so well,” said Park Sung-in, the Korean
team’s captain. “But as well as being a great measure of
pride, Korea’s excellent performance in Vancouver has
greatly boosted our chances of hosting the 2018 Winter
Olympics in Pyeongchang.”
The Park Ji-sung Effect But as much as Korea’s
recent success may have appeared to have come out of
nowhere, it is in many ways a culmination of ever-
increasing sports prowess stretching back several
decades. The story largely began in 1978, when Cha
Bum-kun, the first Korean athlete to make it big
overseas, began his career in the Bundesliga, the top
league in German soccer. Scoring 98 goals in 308
appearances with Eintracht Frankfurt and Bayer 04
Leverkusen, and 55 in 121 games for the Korean national
team (still a record), Cha was later named “Asia’s Player
121
Sports and Arts
The South Korean national football team pose before the test game
against C e d’lvoire (above left). Chu Shin-soo finished the 2009 season
with a record batting average (above right). Pitcher Park Chan-ho is the
first Korean player in major leagues (below).
of the Century” by the International Federation of
Football History and Statistics (IFFHS).
Though several Korean football players since Cha
have plied their trade overseas, none came close to
repeating his success until Park Ji-sung. A star of the
national team that stormed all the way to the semi-finals
during the 2002 Korea-Japan World Cup, Park followed
then national team manager Guus Hiddink to the
Netherlands, where the pair worked together at PSV
Eindhoven. Thriving in his new environment, Park was
an integral part of a team that reached the semi-finals of
the 2004-2005 UEFA Champions League. It was this run
that brought Park to the attention of his next club, and
one of the biggest teams in the world, Manchester
United.
Today, players such as Park Chu-young, Lee Chung-
yong and Ki Sung-yong — who play, respectively, for AS
Monaco in France, Bolton Wanderers in England and
Celtic in Scotland — are making their mark in some of
Europe’s top leagues. And they are, in large part,
beneficiaries of the “Park Ji-sung Effect.” “In a way,” said
a Korean sports agent working in Europe, “the fact that
Park Ji-Sung is playing for Manchester United is more
influential in opening up Korean sports to the rest of the
world than the 2002 World Cup was.”
On the other side of the Atlantic, Park Chan-ho, now
a pitcher with the New York Yankees, has played a major
role in boosting the image of Korean sports since joining
the Los Angeles Dodgers back in 1994. As of 2009, he had
122
120 wins (95 losses) and a 4.35 ERA. He needs only four
more wins to become the Asian pitcher with the most
wins in history.
With news of his victories streaming in from the
United States, Park helped provide the Korean public
with hope and courage amid one of its darkest hours in
the modern era, the Asian Financial Crisis of 1997-1998.
Since then, several Korean baseball players have since
followed Park into the Majors, such as, Choo Shin-soo
(27, Cleveland Indians) who is now a member of the
20-20 club (20 homers, 20 steals), and who finished the
2009 season with a .300 batting average, the first Asian
baseball player to accomplish this feat in the Majors.
Yang Yong-eun is the first Asian golfer who won PGA championshop
(above). Pak Se-ri is one of the most famous and successful Korean golfer
The SE-RI KIDS In the world of gold, Pak Se-ri has had who actively plays in both of Korea and the US, who has won 30 events
in total (below).
similar success on the fairways. Since turning pro in
1996, she has won 30 events, including the Korean LPGA
Tour, as well as victories in majors, the McDonald’s
LPGA Champion-ship and the U.S. Women’s Open. In
November 2007, at the very young age of 29, she was
inducted into the World Golf Hall of Fame.
Her outstanding performances over the years has
inspired a new generation of Korean golfers.
Affectionately dubbed “Se-ri Kids,” these golfing
proteges are now growing to dominate the LPGA. As of
2009, Korean women have won 88 tournaments on the
LPGA. On the men’s side, Yang Yong-eun wrote himself
into the record books in 2009 when chasing down Tiger
Woods to become the first Asian to win the PGA
Championship.
In fact, the most encouraging part of Korea’s growing
sport’s prowess is that the generation of athletes inspired
by the likes of Park Ji-sung and Pak Se-ri, who are only
29 and 32, respectively. The new, young wave of Korean
sports stars exude a confidence and fearlessness often
absent in their trailblazing predecessors. Dubbed the
G-generation (due to their being born in the “global
era”), these youngsters point to a bright future — a
future where Korea becomes acknowledged, not for its
sporting upsets, but for a consistent, exhilarating run of
success.
123
Sports and Arts

“I’m dying for a sleep,” says Lee Kyou-hyuk,
as our interview commences. Given his
punishing schedule since returning from
Vancouver — a seemingly endless
procession of TV shows, receptions and
interviews — it is a testament to his
dedication and good nature that he has
managed to show at all.
Though team Korea excelled in
Vancouver, Lee, one of Korea’s greatest ever
speed skaters, failed to break his medal duck.
At his fifth consecutive Olympics — a series
that began in 1994 at Lillehammer — Lee
came 15 in the 500m and ninth in the
th
1,000m events. Given his success in other
competitions, sports fans throughout Korea
were aching for him to win a medal that his
dedication surely warranted. But it wasn’t to
be. At a press conference in Vancouver, Lee
preferred just to run away. “I never felt I was Olympic Games. I don’t know when it will
actually outskated in the races by the happen exactly, but I’m confident my last
younger athletes,” he says. “But in Vancouver Olympics will be as a coach.” For Lee Kyou-
I think I lacked the tenacity to overcome the hyuk, Vancouver was definitely not the end
huge amount of stress I was facing and to of his Olympic journey.
fully concentrate on the task at hand.”
During the Olympics, Lee envied his
younger teammates, who were clearly
enjoying their time at the Games. “Even
though this was my fifth Olympics, I’ve
never been able to enjoy the experience. I
don’t think I know how to enjoy them,” Lee
says. “I always thought that you couldn’t win
a medal if you stopped and relaxed. I
believed that I had to compete in the
Olympics with total intensity. I guess that
approach got in the way of my ability to
perform.”
Asked about the future, Lee says he isn’t

the ups said simply, “It’s sad to compete for

something that is unattainable.”
ready to quit just yet. “To be honest, I’d like
to skate a little longer, not because of my

and downs “Although I was disappointed that I failed

to win a medal, it was uplifting to receive
desire to win a medal, but because I want to
end my career as a professional skater on my

of a five-time such tremendous support,” says Lee. “It felt

good to have my entire career as an athlete
own terms.” There will be no more Olympics,
though. “I wish I was four years younger and

skating hero recognized.” Indeed, such was the attention

Lee Kyou-hyuk, 32, is a legend in Korean
speed skating. Over the past decade and a
half, he competed in five consecutive
Winter Olympics, making his name
synonymous with the sport. Yet, despite a
string of great achievements in world
championships, Lee never managed to
land an Olympic medal. A streak that,
sadly, he was unable to break at the
Vancouver Olympics this year. But his
passion and refusal to give up have
inspired and moved sports fans
throughout the country. Today, KOREA
salutes Lee Kyou-hyuk.
by Jin Jung-eon
he received, he says he now feels a little
guilty for deflecting the limelight from some
had one more shot. But I know I’ll be too old
for the Olympics four years from now.
Perhaps I can compete in my own mind.”
of his younger teammates who had actually “Whatever I do,” Lee says, “I would like to
won medals. be with my fellow athletes at the next
Before the Olympics, Lee had scored a
second place finish in the 500m and a third
in the 1,000m events during the
International Skating Union (ISU) World Cup
season. Expectations grew further when he
won the World Sprint Championships in
Japan in January. So why couldn’t he
reproduce this form at the Olympics? “I
anticipated the pressure of the Olympics in
advance and never stopped preparing for it,”
he says. “However, when it came to the
races, I couldn’t perform at the same level I’d
been practicing at. I think I was overwhelmed
by the notion that this was my last chance.”
As a result, so nervous was Lee before
the 500m race, he says he would have

124 125
Sports and Arts
reaching for the stars:
korea’s new wave of sports
hopefuls
From skating, soccer and golf, to baseball, archery and swimming,
potential young Korean athletes are displaying their skills like
never before. With dazzling performances in pro sports around the
world, Korea’s international sports stars are bright beacons for the
country’s children, filling them with equal hopes of making it big
one day. Here, we meet some of the youngsters who dream of
becoming the next Kim Yu-na or Park Ji-sung.
by Seo Dong-cheol | photographs by Kim Hong-jin
126
As of late, Korea has spawned a generation
of dreamers. Inspired by Korea’s success at
the soccer World Cup, the Olympics and
assorted world championships, an army of
children has swarmed to parks, pitches and
rinks in an attempt to emulate their heroes
and eventually claim sporting glory for their
country. Though still very young, these kids
boast a passion and dedication that would
put most adults to shame.
Yet for all the new waves of interest now,
Korea’s recent success was the result of
already having a sizeable pool of talent,
assiduously developed from early childhood.
Lee Seung-hoon, who at the Vancouver
Olympics became the first Asian to win the
men’s 10,000m speed skating, learned his
skills at Lila Elementary School, which is
renowned for its skating classes. Lee Sang-
hwa and Mo Tae-bum, who won respective
golds in the 500m women’s and men’s speed
skating events, are graduates of Eunseok
Elementary School, which runs trial skating
classes for all its students. From this nurtured
beginning, promising youngsters are chosen,
groomed, and turned into tomorrow’s
champions.
However, with the recent success of Kim
Yu-na, who chalked up world record scores
while enroute to figure skating gold this year,
skating’s popularity has gone into overdrive.
Jeon Hyo-jeong, who teaches at Kim’s
occasional practice rink at Korea University
in Seoul, says they have been getting three
times as many calls asking about skating
classes since the Vancouver Olympics.
“We now teach around 20 kids, which is
more than double the number we had before
the Olympics,” Jeon says. “Some of them are
accompanied by their parents, but there are
also a lot of middle school students who
come on their own.”
International success has bred enormous
interest in soccer, too. Beginning with Korea’s
sterling run at the 2002 FIFA World Cup,
Korean players have enjoyed a much higher
profile in world soccer in
recent years. Today, a slew of
local boys ply their trade at
some of the world’s most
famous clubs, including Park
Ji-sung at English titans,
Manchester United, and Ki
Sung-yong at Scotland’s
Celtic.
Hong Myung-bo, captain
of Korea’s national team
during the 2002 World Cup,
runs two soccer schools: one
in Seocho-gu, Seoul, the
other in Suwon in Gyeonggi-
do Province. Hong oversees
the tuition of some 450
students at his academies,
including, with an
undoubted touch of family
pride, his own sons.
Hong’s schools pride
themselves on their non-
elitist approach, and focus
on creating an atmosphere
where kids can enjoy
learning soccer skills free
from other pressures. And
those who take
seriously are
here too.
mini
interview
Interview with Ju Eun-seo, Korea University Arena/Grade 2
student at Donam Elementary School
“I want to fly on ice!”
When asked why she likes figure skating, 8-year-old Eun-
seo doesn’t hesitate. “The ice feels just like the sky,” she
says. “If I could skate across the sky, it would definitely be
like flying.”
Eun-seo stepped into ice skates for the first time at the
age of six, during a winter visit to an arena at a hotel in
downtown Seoul. She may scarcely have been able to
skate upright that day, but she couldn’t
have enjoyed it more. Harboring dreams
ever since of becoming a figure skater,
the recent success of Kim Yu-na has made
little Eun-seo even more determined than
ever.
She has already made tremendous
progress, as her skating teacher would
attest. After just
eight weeks of training, Eun-seo passed
the basic level of figure skating, an
achievement that usually takes most students
upward of six months. “The axels are the
toughest,” she says, “but I want to try hard and
do triple axels and skate beautifully like
Kim Yu-na.” Not yet 9-years-old, Eun-seo is
like a tiny bird learning to fly on skates — in
a sky made of ice.
“We have a special advanced class for
their soccer more kids who want to become professionals,”
very welcome says Park Seung-hyeon, who manages one of
the academies. “Today, we have 55 kids who
are all training hard to become the next Park
Ji-sung, Ki Sung-yong or Hong Myung-bo.”
While facilities and opportunities have
improved tremendously, the final arbiter of
success is the work, sweat and occasional
tears of the aspiring athletes themselves.
And whatever their level, and whatever their
game, these future sports stars — thanks to
Korea’s avalanche of sporting success — are
more inspired than ever before.
127
Sports and Arts

Korea’s
Non
Verbal
performance
In the late 1990s, a new genre was born in
Korean theaters. Though the name initially
sounded, within 10 years “non-verbal
performances” grew up to become a central
pillar of Korean theater. It introduced the
world, and much of Korea, to the dynamism
of the people and modern culture. Now, a
successful decade later, non-verbal
performance continues to expand the
possibilities for performing art. by Jang Say

A typically boisterous scene from Nanta .

128 129
Sports and Arts
I t can last anywhere between an hour
and 90 minutes. For that time, all you
can hear from the stage is the sound of
heavy breathing, Korean words and
occasional shrieks. Some of the words
are then translated into English for the
benefit of foreigners in the audience.
But as for dialogue, that’s pretty much
it. All the rest of the hilarity comes via
the actors’ motions, outlandish facial
expressions, and interaction with an
invariably game audience.
In what has come to be known as
“non-verbal performance,” the actors
communicate in a wordless language,
making it possible to reach out to all
cultures and appeal to audiences
around the world. Because the
performances are inspired by elements
of traditional Korean culture, that
communication retains the ability to
teach foreign viewers about Korea itself.
Here, we meet the people who took
this distinctly Korean, yet profoundly
universal form, beyond national
borders. We also get a sneak peek of
upcoming non-verbal shows and delve
into what the future is.
The Legend OF Nanta In Korean,
Nanta means “to strike violently,” but
today, the word has become
synonymous with the smash-hit show
of the same name. Before Nanta
debuted in 1997, the most popular
Korean shows among foreigners were
pansori, or traditional narrative song,
and gugak, Korean classical music. There
were, of course, successful modern
plays or other non-musical
performances, but thy were almost
entirely limited to speakers of Korean.
So when Nanta came along, it caused
a sensation. Apart from conventional
dance performances and mimes, shows
without dialogue were completely
unknown in Korea. For this reason,
neither the producers nor the
audiences really knew how it would
go across. But within just a few
performances, word of mouth about
Nanta had reached fever pitch, and
the show became a smash hit.
From the beginning, audiences
marveled at this enthralling new
genre, with many returning to see it
time and again. “I’ve never seen
anything like this,” became the
standard refrain. If you asked them
what it was about, they’d often reply
that the story wasn’t really the point.
The main characters in Nanta are
a master chef who can’t face up to
his manager, a male chef who tries to
rely on his sex appeal rather than his
cooking, and a female chef whose
youthful looks belie a deep inner
strength. While working in their
kitchen one day, the manager bursts Cast members from Nanta play with fire (opposite
top). It doesn’t take long to work out why this show
in and gives them just one hour to is called Jump (opposite bottom). Nanta ’s spirit
prepare for a previously comes from rhythms played in unlikely settings -
even on chopping boards (above, below). Jump
unannounced banquet. Worse, he
keeps the audience laughing from the beginning to
saddles them with his end (bottom).
troublemaking nephew. In the
ensuing melee, the chefs dash
around the kitchen, clattering pots,
banging drums, and chopping food
in time to pulsating rhythms.
Through it all, as they rush to get
everything done, the nephew causes
all sorts of mishaps, bringing the
three chefs no end of comic anguish.
Throughout the action, hardly a
single word is uttered. Yet the
audience is often doubled up with
laughter, a sense of tension growing
palpable as the deadline nears. With
only five actors on stage, Nanta
packs all the dynamism of a show
with a cast 10 times its size.
With rhythms borrowed from the
traditional Korean percussive form
131
Sports and Arts
A scene from Jump features dynamic martial
arts performances (above). Fanta-Stick
combines non-verbal performance with Korean
classical music, gugak (opposite).
samulnori, Nanta’s drumbeats provide
the energy underpinning this live-wire
show. The wonderful choreography, the
pulsating interplay between the cast,
and the seemingly irregular rhythms all
serve to keep the performance
compelling from beginning to end.
Though based on traditional rhythms,
the backing track is so joyful and
accessible that even first-time listeners
can’t help but be carried away by it.
And this is precisely why Nanta has
proved such a hit wherever it has
played.
PMC Production, which produced
132
Nanta, says that it had
international markets in
mind from the outset, and
the show continues to play
to packed houses overseas.
To satisfy enthusiasm,
PMC now plans to build a
resident theater for Nanta
somewhere else in Asia, as
well. None of this has
detracted from a focus on
the domestic market. PMC
says it’s trying to make
more use of its own theater
in Seoul, while also
commissioning a new
score for the whole
production. Using this
background music, a
renowned Korean musical
director added stronger
beats and accentuated the
Korean sounds. Highlights
of the show, such as the
striking of the chopping
boards, the cooking
elements and conclusion,
have been rendered richer and more
colorful.
Having taken Nanta around the
world, PMC is now gearing up for a
second act. As with Nanta, the company
is looking close to home for inspiration.
TAAL, a visual performance, draws on
the Hahoe Masks of Andong, where the
show is being staged this month.
Produced in collaboration with the
Korean musical company, Creative
Team, TAAL shows there is plenty of
inspiration left in PMC yet.
Jump into Another World Jump,
the other great non-verbal success,
combines the comedic, live-wire action
seen in Nanta, with Korean martial arts.
As with Nanta, the tradition has been
given a distinctly theatrical spin.
Drawing on taekwondo and the lesser-
known martial art taekkyeon, Jump
throws in acrobatics, dance moves, and
slapstick to create a form that producers
refer to as “extreme martial arts.” The
fluid, creative yet graceful, nature of
these moves is a constant throughout
the entire show.
“In the middle of the night, two
thieves climb over the fence of a home,
only to discover that they’ve run into a
family of martial artists,” runs the
tagline for Jump, covering the whole
plot. Within this simple framework,
however, can be found a doddery
grandfather with hidden strengths, and
a seemingly ordinary middleaged
couple with slick moves of their own. In
one scene, the couple begins dancing a
tango and ends up fighting a battle,
neatly showing just how flexible and
inventive the show is. Also inside the
house, an uncle grabs a bottle of booze
and gives his best impression of Jackie
Chan in Drunken Master. Each character
toys with the others, showing off
masterful skills in the process. By
combining extraordinary physical
action with moments of suspense, Jump
manages to keep you laughing and on
the edge of your seat at the same time.
Yegam, the company behind Jump,
came up with the idea after mulling
how they could incorporate taekwondo
into a stage performance. In early
versions of the show, conventional
acting played a big part, but as time
progressed, martial arts came to the
fore.
Success came quickly, but Yegam
wasn’t prepared to sit back and relax. It
began changing and improving the
show almost immediately, and has
continued to do so ever since. In
practically every show, the actors ad-lib
lines and try out slightly different that year’s 2,050 shows by The shockwaves through theaters in Korea
moves. This keeps the performance Scotsman newspaper. The show has and around the world. It was a breath of
fresh and interesting, prompting since enjoyed an illustrious, if short, fresh air for a dance world that had, in
spectators to return for repeated history: it has played 40 times on some countries, seemed to run out of
viewings. Broadway, drawn more than 800,000 new ideas. It became a social and
In its early days, Jump received viewers in four years; and will take up commercial phenomenon that even
numerous and often unfavorable residency in a special theater in Beijing business figures and politicians paid
comparisons with foreign martial arts this October. attention to. President Lee Myung-bak,
shows, but as time went by, it gained Initially derided as little more than the prime minister, cabinet ministers
recognition for being something entirely coarse street culture, b-boys are now at and legislators have all attended the
unique. In a run that has continued the forefront of Korea’s performance show, as have leaders in education and
virtually unbroken since its debut, Jump culture. Ballerina Who Loves B-Boy religion.
has played in 40 towns and cities took this critical rehabilitation even The plot is very straightforward. On
around Korea and, after being named further by melding breakdancing with a street where a ballet hall is located,
an “excellent performance” by the ballet, a combination that sent some breakdancers set up a square
Korea Cultural & Arts Centers
Association, it will tour more than 40
more venues this year. Jump now has
two dedicated theaters in Seoul alone,
and two more each in Busan, Korea and
New York, the US. It has filled theaters
in Britain, Greece, Japan, Taiwan,
Malaysia, Singapore and Australia. Last
year, Jump played its 5,000th show, a feat
for which it was awarded the 2009
Korea Contents Awards.
As with Nanta, what makes Jump’s
success particularly gratifying is that it
embraced Korean cultural sentiment
and took it around the world. The hope
now is that people who danced to these
ancient samulnori rhythms will go on to
take a wider interest in Korean culture.
Whether they do or not, Nanta and
Jump have shown that Korean shows
can have a universal appeal, a crucial
stepping stone for Korean companies as
they spread out into the world.
The Growing Voice of Non-
Verbal Performance Following
in the footsteps of Nanta and Jump,
Ballerina Who Loves B-Boy played 30
shows at the 2007 Edinburgh Festival
Fringe. A huge success, it was
designated the top production among
133
Sports and Arts
“Masterpiece Drawing,” one of many artistic
moments from Drawing Show (top). Ballerina Who
Loves B-Boy is a compelling combination of non-
verbal performance, ballet and b-boy dance (above,
opposite bottom). A scene from Fanta-Stick
(below). “Light Drawing,” one of the performances
of Drawing Show , features several dazzling scenes
(opposite top).
134
where they can practice, leading to
friction between the b-boys and the
eponymous ballerina. As time
passes, however, the ballerina falls
for one of the b-boys and chooses to
become a street dancer instead.
Though choosing life on the
opposite end of the spectrum and
giving up something she had been
doing since childhood, the ballerina
achieves genuine happiness. The
story is designed as a wake-up call
to the many of us who don’t
recognize just what it is our loved
ones want, as well as those of us
who forget out true dreams.
In stark contrast to the b-boys,
ballet has long been the preserve of
the cultural elite. The genius of
Ballerina Who Loves B-Boy was that
it brought these two disparate
genres together, opening each up to
the other’s audience. Yet in marrying
breakdancing and ballet, Ballerina
Who Loves B-Boy didn’t just
showcase the two styles, it created a
new one. Producing a kind of Jekyll
and Hyde hybrid, the show managed
the fine balance between ballet and
breakdancing, and enjoyed a hugely
successful run as a result.
More recently, Fanta-Stick, a live
music show incorporating gugak, is
another hugely enjoyable non-verbal
performance. Mixing the ancient
Korean fable Jamyeonggo Tales with
Shakespeare’s classic Romeo and
Juliet, Fanta-Stick delivers a riveting
re-interpretation of traditional forms,
including pansori, violins and
percussion.
The excitement in Fanta-Stick is
built around the live music
performances. Virtuosos in
percussion, pansori and the violin all
have key roles in the show, and all
the music is performed right before the
viewers’ eyes. In addition, Fanta-Stick
covers all genres — from pop to gugak
— meaning there is something for every
kind of music fan.
Drawing Show, a so-called “picture
concert,” is a non-verbal performance
detailing the magical process of how a
piece of art comes to life. Combining art,
theater, and musical, it introduces
original artistic concepts, including
sculpture, frottage and marblework.
During the creation of the art work, an
image in the painting might change into
something completely different, or a
new picture may be added. At one
point, a crying statue of Korean military
hero Yi Sun-sin is used to convey
Koreans’ anguish over the fire that
engulfed Namdaemun, an ancient gate
in Seoul. The high-speed drawing and
changes to the pictures occur right
before the audience’s eyes, letting
imaginations run riot. All the drawings
have an element of magic to them.
With its long and rich history,
Korean culture offers a wealth of
material that can be channeled into
stage performances. Samulnori in Nanta
and taekwondo and taekkyeon in Jump
are only two examples. The genre of
non-verbal performance in Korea is
blessed with a sea of other sources from
which to choose, spanning music,
dance, martial arts and art. Finding out
where it will be go next will be just as
exciting as attending one of the shows.
135
Sports and Arts

Jump, we realized actions were what brought
us closer to the audience.”
Both Nanta and Jump incorporate non-
verbal elements of traditional Korean culture.
For its show of chefs banging out pulsating
rhythms using kitchen utensils, Nanta drew
inspiration from a traditional Korean
percussive form samulnori. Jump uses
elements of the Korean martial arts
taekwondo and taekkyeon with joyous
Korean music in the background. With the
exception of taekwondo, none of these
forms are well known outside Korea, but all
were crucial in creating the shows’ successes.
Besides their embrace of traditional
Korean culture, the other key part of the
shows’ long-term success, Song says, has
been their decision to open up their own
resident theaters.
“We opened the theater in 2000 and
we’ve been performing there ever since,” he
said. “I think that was the biggest key to our
Song Seung-hwan, head of PMC Production
success. The show itself is important but
stability from the specialized theaters has
remnants of Hallyu — the “Korean Wave” of
popular culture that swept across the region
— in Asia. If we keep our focus on countries
where people are more positive about our
culture, then it could ultimately have a great
effect on Korea’s national brand and
recognition.”
The first step to further enhancing
Nanta’s standing overseas, Song says, is to
open specialized theaters in Asia, and then to
try and elevate the show to the level of long-
running Broadway hits such as The Lion King.
Jump is also trying to reach more foreign
fans. Through the second half of 2010, Yegam
has planned 25 shows in 13 Chinese cities.
They are also hoping to open up specialized
theaters — in the U.S., Japan, China and
Singapore.
Both companies are also working on
follow ups to their hit productions. PMC has
been trying out several new shows, including
The CAR and TAAL. Later next year, Yegam
plans to tour a new martial arts blockbuster
a similar to Jump. Called Break Out, the
show, which incorporates elements of b-boy
dancing and hip hop music, has already
previewed to good reviews.
“As with Nanta and Jump, we have to
keep developing creative and original
content,” Song says. “Rather than going with
what’s hot at the moment, you have to
develop new content and keep making
necessary changes to pursue a long-term
project. If you stick only to what’s
distinctively Korean, you may not win over
too many fans outside the country. So it’s
important to have some universal values.”
“Quality and originality are essential
elements,” says Kim, echoing Song’s ideas.
“You also have to find a common sensibility
that everyone in the world can relate to.”
With Nanta and Jump, Song and Kim
achieved exactly that. Wherever they go next
in search of those universal values, it
promises to be an exciting ride.

Pioneers of Korean Non-

Kim Kyung-hun, CEO of Yegam Inc.
produced synergy effects. We can host
foreign tourists at the same venue and we’ve

verbal erformance
Song Seung-hwan, head of
PMC Production and creator of
the mega-hit show Nanta, and
Kim Kyung-hun, CEO of
Yegam Inc., the company that
From the beginning, Nanta was created with
overseas markets in mind. In the mid 1990s,
when Nanta was written, the home market
was fairly small and success was far from
certain, so it is made sense for an ambitious
producer to create a work with something
with international appeal. Still, there were no
guarantees with an untried genre like non-
actors, we were able to overcome the
disadvantages of non-verbal performances.
Because there is no dialogue, anyone can
watch our show and laugh.”
Jump faced similar problems, but Kim
Kyung-hun, CEO of Yegam Inc., turned those
challenges into strengths by focusing on
motion.
been able to maintain partnerships with
many travel agencies.”
The huge success of Nanta and Jump has
done much to heighten the profile of Korea
overseas. This hasn’t necessarily led to
increased knowledge of the country’s culture,
as Song discovered when pitching Nanta to a
foreign buyer a few years ago.
“He said to me, ‘You perform in Korea?’
There are three things I know about Korea:
North Korea, South Korea and the DMZ,’”
recalls Song. “And things aren’t that much
different today. According to a 2009 study by

produced Jump, recently sat verbal performance. But Song Seung-hwan, “Motions aren’t constrained by language. Korea Brand and the Korea Trade-Investment

down with KOREA to discuss
the success of Korean non-
verbal performance, their
vision, and where, after years of
huge success, they plan to go
next.
the producer of the show, overcame
potential difficulties with originality,
determination, and an excellent storyline.
“We wanted to create a drama where we
could clearly deliver our story,” Song says.
“Thanks to the perfect performances of our
Actually, movement is a form of language in
which everyone in the world can
communicate,” says Kim. “But it’s still very
difficult to do comedy without dialogue
using just martial arts, acrobatics,
gymnastics, and straight acting. By doing
Promotion Agency, people in America and
Europe still mostly associate Korea with the
Korean War and North Korean nuclear
issues.”
“If you look at Asia, it’s more
encouraging,” Song adds. “There are s till

136 137
Sports and Arts

For Korean Korea specifically to see it. Within months,

Nanta had opened its own purpose-built

Shows,
venue.
Nanta was performed during the opening

all the World

ceremony for the 14th Asian Games in Busan
in 2002, instantly elevating it to the status
of Korea’s signature show. The following year,

is a Stage Nanta’s astonishing run of success continued

Nanta, which kick-started the genre of “non-
verbal performances,” wowed audiences at
the Edinburgh Festival Fringe in Scotland,
before taking New York by storm. Jump also
played to packed houses in Edinburgh and
now has its very own resident theater on
Broadway. This is the story of two boisterous
shows born in Korea, but now very much a
part of the world stage.
When Nanta first traveled to play the
Edinburgh Festival Fringe in Scotland in 1999,
the company felt an equal measure of
excitement and concern. Though a huge hit
in Korea since debuting in 1997, Nanta
hadn’t played outside the country before,
and no one could be sure that its live-wire
mix of acrobatics, and percussion — all set
in a Korean kitchen — would capture the
imagination of foreign audiences.
In order to perform in Edinburgh, Song
Seung-hwan, the show’s producer, had
reached deep into his own pockets, in
addition borrowing 100 million won
(US$85,000) from a friend. Though
proclaiming his confidence that Nanta would
be a hit, he kept the loan a
secret from his wife. Song had
everything riding on the
success of the show. In the
end, he needn’t have worried.
Nanta was an instant
smash at Edinburgh, drawing
reviews that were as ecstatic
as the crowds who came to
see it. Deals were signed to
take Nanta to other theaters,
and Song was soon able to
repay his debt. Such was its
success that the next year,
tour groups of Japanese
students were traveling to
when it became the first ever Asian show to
have its own theater off-Broadway. To date,
Nanta has been staged in 250 cities in 40
countries, becoming one of the most
successful ambassadors for Korean
culture that the country has ever
seen. Its travels have taken it across
Asia, Europe, the United States,
South America, and Oceania. In
visiting Tunisia in 2009, Nanta had
played all six continents.
Despite Nanta’s success, it
didn’t inspire an immediate legion
of imitators. But just as people
began to think the appeal of the
non-verbal performance was a
flash-in-the-pan, along came Jump.
Arriving seemingly from out of
nowhere, Jump — a frenetic show
about a family of martial arts experts
defending their home from burglars —
followed a similarly astronomical trajectory,
from debuting in 2003 to opening its own
theater in Seoul in 2006 and another on
Broadway in 2007.
Today, Jump has two venues in Seoul and
one each in Busan and New York. In a first for
this kind of show, the 500-seat New York
theater was opened under license to CAMI
(Columbia Artists Management Inc), one of
the world’s largest show management
companies, which pays royalties to Jump’s
creators.
On first performing in New York, Jump
soon caught the attention of The New York
Times, The New York Post and CBS. It has
played during halftime at an NBA basketball
game, and it counts Brad Pitt and Angelina
Jolie among the thousands of people to have
seen it. In March 2003, the Broadway show
marked its 200th performance.
In 2005 and 2006, Jump played the
Edinburgh Festival Fringe, where it received
a Sell-out Show Award — given to all
productions that sell out every performance
— and became the first Korean show to win
the Comedy Award and Cavalcade Best
Walking Group prize. Jump later became the
first Asian show to perform at the Royal
Variety Show, an annual performance put
on for Britain’s royal family. If anything,
Jump’s success exceeded that of the wildly
popular Nanta, and confirmed non-verbal
performance as a major international
attraction.
From mid-2006 to mid-2007, Jump was
performed in 16 cities in 12 nations, raking
Jump ’s resident theater in
New York (opposite).
Festival-goers in Edinburgh
check out a poster
advertising Nanta (above). A
Jump actor goes airborne (far
left). A seasonal poster for
Nanta (left).
in US$1.1 million. In an unprecedented
event for a theater production, Jump also
won the Export Tower Honors, awarded by
the Korea International Trade Association to
highly successful exporters, along with
US$1 million in prize money.
In 2003, when the Korean theater
market was growing, Jump embarked on
wildly successful world tours — taking in
Israel, Spain, Japan, Singapore, China,
Thailand, South Africa, Russia, United Arab
Emirates, Malaysia and France — and
opened purpose-built theaters on its way to
becoming a bona-fide cultural
phenomenon. As it continues to entice
crowds around the globe, the future for
Jump and its production company Yegam
can only get better.

138 139
Sports and Arts

KOREA’S
FAVORITE GAME
Professional baseball in Korea began with a slam — a grand slam, that is. Lee
Jong-do’s grand slam on the opening day of the first professional baseball
season in 1982 proved to be a good omen, as pro baseball would grow into
the nation’s most popular sport. Today, fans turn out in droves to see the
titans of Korea play ball. by Park Kwang-min | photograph by Kim Hong-jin

Jamsil Stadium was a packed house on April 9 for the Doosan Bears vs Kia Tigers game.

140 141
Sports and Arts
I t all started on March 27 in 1982—
that was the day professional baseball
began in Korea. This year, Korean
professional baseball celebrates its 30
year, and it has only become more
popular with time.
In its inaugural year, there were only
six teams with 141 players in the
professional league, compared to the
current eight teams with three times the
number of players. This year, a ninth
team, NCsoft, is set to make its debut.
There are also rumors of further
expansion that could see the start of a
two-division professional league within
the next few years.
Last October, Steven C.Rockefeller,
Jr, a world famous oil baron and a fifth
generation member of the Rockefeller
family, visited Seoul’s Jamsil Stadium to
watch Game Four of the playoff series
between the Samsung Lions and the
Doosan Bears. Rockefeller fully
immersed himself with the Korean style
of cheering, smiling at fans screaming
from the top of their lungs, and never
taking his eyes off every play on the
field. When the Doosan shortstop Son
142
Si-heon came to the plate, Rockefeller
clapped to the beat of his so-called fight
song, and took pictures of the home
th
fans along the first base. When the Bears
clawed back with five runs in the
seventh after trailing 7-2, Rockefeller
gave a standing ovation and high-fived
people around him.
Calling himself “an avid New York
Yankees fan,” Rockefeller says he was
“deeply impressed” with the way
Korean fans kept cheering on their
favorite teams for the entire game. “I
don’t know much about Korean
baseball but I’ve just started to learn,
and I want to find out more,” he says.
“And the culture of fans of a team all
becoming one is surprising. It’s full of
energy. It’s passionate. I want to take
this culture to the Yankee Stadium in
New York.”
History of Baseball in Korea
Philip Gillett, an American missionary,
was dispatched to Korea in 1901 and
founded the Young Men’s Christian
Association (YMCA) two years later. In
1905, he started teaching baseball, then
a Western ball game, to members of the
YMCA, and that was the birth of
baseball in Korea.
The professional league was
launched in 1982, and now in its 30 th
season, baseball is the nation’s most
popular sport. It has captured the
imaginations of not just Koreans but
also foreigners living in Korea.
Marking its 30th season, the Korea
Baseball Organization decided to
expand with a ninth club, and looks to
make it a 10-team, two-division league
by 2014. This year, the league hopes to
draw more than six million fans a
season for the first time, and the players
have worked hard themselves to keep
people in their seats.
The 2011 season kicked off on April
2, with all eight teams in action. Fans
who had been dying for some baseball
over the long winter flocked to the four
ballparks in Jamsil of Seoul, Gwangju,
Busan and Incheon. Each team will play
133 regular season games, and the top
four teams will reach the postseason,
with the champion determined in
October. The opening day was as wild
(1996-2007) before being reborn as the
(From opposite left to right) Korean traditional
fan dance performance before the opening
game of Korea’s first pro baseball league in 1982;
Woori Heroes in 2008.
The Haitai Tigers celebrates its eighth victory, The MBC team was sold to become
tossing the coach into the air in 1996; Lee
the LG Twins in 1990, while Haitai
Seung-yeop is cheered after his 56th home run,
Asia’s best record, in 2003; A reception to became the Kia Tigers in 2001. The
commemorate the 30th season of Korea’s Tigers have won 10 championships,
professional baseball league on March 28, 2011.
more than any other franchise, and
they’re the Korean equivalent of the
New York Yankees.
as had been expected, with all four In 1986, the Binggrae Eagles joined
games sold out for the third-straight the league as the seventh team and
season. became the Hanwha Eagles in 1994. In
Pro baseball here was founded with 1991, the Ssang Bang Wool Raiders
six original clubs: Samsung Lions, became the eighth team, and in 2000, SK
Haitai Tigers, Lotte Giants, Sammi bought out the team to turn it into the
Superstars, MBC Blue Dragons and OB SK Wyverns.
Bears. Over the ensuing three decades, Korea has steadily developed into a
the Superstars franchise went through world baseball power. Starting with the
ownership changes, with the Chungbo bronze medal at the 2000 Sydney
Pintos (1985-1987), the Pacific Dolphins Olympics, Korea finished third at the
(1988-1995) and the Hyundai Unicorns inaugural World Baseball Classic (WBC)
korea’s professional baseball teams (2011 Season)
doosan bears kia tigers sk wyverns nexen heroes lotte giants
Basement City : Seoul Gwangju Incheon Seoul Busan
Established Year: 1982 1982 2000 2008 1982
in 2006, second at the 2009 WBC, and
won gold medals at the 2008 Beijing
Olympics and the 2010 Guangzhou
Asian Games, going undefeated in nine
and five games, respectively.
“Since its inception, professional
baseball has been beloved by people all
over the nation,” says You Young-koo,
commissioner of the KBO (Korea
Baseball Organization). “We had some
down periods in the 1990s with the
foreign reserve crisis, but thanks to the
passion of the teams and fans, we’re
experiencing a renaissance again.
Entering our 30th year, pro baseball in
Korea is at a crossroads,” You adds. “We
will work even harder for fans who love
our game.”
The KBO is trying to look back on its
30 years, holding a special photo
exhibition in commemoration of the
samsung lions hanwha eagles lg twins
Daegu Daejeon Seoul
1982 1986 1990
143
Sports and Arts
anniversary. At the reception to mark
the start of the 30 season, the KBO laid
th
out five major objectives: to introduce a
two-division league with 12 clubs by the
year 2020; to draw 10 million fans to
ballparks; to start turning profits; to
restructure the minor league system and
to support youth baseball; and to open a
baseball museum and hall of fame.
In addition to Gwangju, the KBO
pledged to build new ballparks in
Daegu and Daejeon — currently home
to downtrodden stadiums — that can
hold at least 30,000 people, and to have
seven stadiums with at least 25,000 seats
nationwide by 2017. The KBO turned in
40 billion won (US$3.6 million) at the
gate last year, and wants to raise the
revenue to 90 billion won by 2020. With
improved infrastructure, the KBO
predicted its total revenue, from the
gate, marketing and other sources,
would reach 300 billion won by 2020.
To help meet its goals, the KBO will
establish KBO.com in 2015 and open its
own broadcasting channel to generate
revenue online and offline. Modeled
after MLB.com in the majors, the new
144
channel could also help push up the
revenue of KBOP, a marketing affiliate
of the KBO, to 100 billion won by 2020.
The KBO will also reorganize its
minor leagues, the main source of
young talent, and support independent
leagues, while helping youth clubs set
(From left to right) One of the biggest Korean
stars Sun Dong-yeol pitches at a KS (Korean
Series) game in 1995; Hanwha’s Ryu Hyun-jin is
well-known for his nickname “Monster,”
because of his excellent pitch; A dynamic scene
from Busan Sajik Baseball Stadium, home of the
Lotte Giants; Slugger Lee Dae-ho hit his 200th
home run on April 11, 2011.
up across the nation. Lastly, the KBO
will determine sites for the baseball
museum and hall of fame in 2011, with
plans of opening doors in 2012.
Stars of Korean Baseball Korea
has seen its share of stars over the past
three decades of pro baseball. Among
the best, Sun Dong-yeol, former
Samsung manager, is by far the greatest
pitcher. He made a splash as a super
rookie with the Haitai Tigers in 1985.
His arsenal included a four-seam
fastball reaching 155km/h and a slider.
Unlike normal sliders, which often
break away from the right-handed
batter, Sun’s slider broke down
vertically, almost like forkball. Sun had
such an aura about him that he could
scare his opponents just by warming up
in the bullpen. Splitting his time as a
starter and a closer in 11 seasons in
Korea, Sun helped his Tigers to six
championships, putting up 146 wins, 40
losses and 132 saves with a 1.20 earned
run average.
Sun also pitched for the Chunichi
Dragons in Japan and earned the
nickname “Sun of Nagoya.” Then in
2005, Sun won the Korean Series in his
first year as manager and defended the
title in 2006. After 417 wins, 340 losses
and 13 ties in six seasons, Sun resigned,
months after finishing runner-up in
2010.
The Korean league last year saw two
world records. On the mound, Ryu
Hyun-jin of the Hanwha Eagles,
nicknamed the “Monster,” put together
29 straight quality starts (at least six
innings and three earned runs or fewer
allowed) dating back to 2009. In the
majors, Chris Carpenter of the St. Louis
Cardinals pitched 22 quality starts in a
row from May 13 to Sept 9 in 2005. Bob
Gibson, also of the Cardinals, had 22
consecutive quality starts in 1968. Ryu
has been the ace for Korea at the WBC
and the Beijing Olympics.
At the plate, Lee Dae-ho, slugger for
Lotte Giants, homered in a record nine
games in a row. He began his streak on
Aug 4 against Doosan and set the record
against Kia on Aug 14. In the majors,
Ken Griffey Jr. and two other players
have hit home runs in eight straight
games, but Lee topped them all. Last
year, Lee also led the KBO in an
unprecedented seven offensive
categories. He has been in the heart of
the order, the cleanup trio, for Korea in
international tournaments like Olympic
Games and WBC.
The league has more impressive
stars. Lefty Kim Kwang-hyun of the SK
Wyverns and right-hander Yoon Suk-
min of the Kia Tigers are both fixtures in
the national team rotation. Choi Hee-
seop, “Big Choi” formerly with the
Chicago Cubs and the Los Angeles
Dodgers, has returned home, along with
former New York Mets and Los Angeles
Dodgers pitcher Seo Jae-weong (Kia),
and ex-Washington Nationals pitcher
Kim Sun-woo (Doosan), much to the
delight of Korean fans.
What to Look for in 2011 Aside
from these Korean stars, foreign players
with Major League experience have
joined the KBO.
Radhames Liz, a starter for the LG
Twins, wowed the crowd with his
160km/h fastballs. Dustin Nippert,
pitcher for Doosan Bears, has been
firing fastballs from his 203cm frame.
“Korean baseball is very fast and
dynamic,” Liz says. “Hitters have great
techniques and there’s not much
difference from the major leagues.”
Nippert was also impressed, saying,
“I’ve not so much experienced Asian
baseball before, but baseball players
here have tremendous passion and
talent. I am having an unusual
experience in Korean baseball.”
Fans have been packing stadiums
from early on, hoping to get their
glimpse of stars such as Ryu Hyun-jin
and Lee Dae-ho.
Group cheering is one of the major
features of Korean baseball. Ryan
Sadowski, who re-signed with Lotte
Giants, says, “I think the ‘Ma! [a unique
cheering word catered to the Lotte
team]’ cheer for Lotte is fun. I stayed
put in Korea for the fans’ passionate
cheers.”
Travis Blackley, a new starter for Kia
Tigers, mentions, “This is my first
season in Korea and the fan support is
awesome. I am experiencing things that
I’ve never had before.”
All eight teams have traveling
cheering squads for road games. Their
Thunder Stix and amps blasting loud
music fire up the fans.
With baseball’s surging popularity,
Little League baseball has also grown
exponentially. Kids who would kick
around soccer balls on playgrounds are
now picking up gloves and baseball
bats, breaking a few windows here and
there. And amateur club baseball has
exploded in recent years.
There are 200 officially registered
leagues with about 10 teams each. And
counting unofficial clubs, there could be
around 5,000 teams around the nation.
Though pro baseball is just 30 years
old, the league has ushered in a
renaissance with eight teams duly
catering to their local fans. For its part,
KBO has set up an executive committee
to handle development of the sport and
implement necessary policies.
Players are improving by the day,
and quality foreign players are coming
to the Korean league to add new twists.
And with the support of enthusiastic
fans, the Korean league has already
transcended Asia to become among the
top competitors in the world.
145
Sports and Arts

Park was a key member of the bullpen

for the World Series runners-up Philadelphia
Phillies in 2009. In 2010, he joined the New
York Yankees, but was traded mid-season to
the Pittsburgh Pirates after an injury-plagued
first half. In 17 major league seasons, Park
pitched for seven clubs, throwing 1,993
innings in 476 games. He posted a record of
124 wins, 98 losses with an earned run
average (ERA) of 4.36, 1,872 hits and 1,715
strikeouts. Park’s 124 wins are the most by
an Asian pitcher in the majors, one more
than Nomo Hideo of Japan.
After mulling over another season in the
majors or joining the Korean league, Park
decided to go to Japan to experience a new
country and league. Though he failed to win
a World Series, Park, the “Korean Express,” high. Despite a thumb injury suffered during (Clockwise from opposite) Choo Shin-soo
rounds third base after hitting a home
left a huge mark in the majors. the season, Choo enjoyed the best season of run against the Boston Red Sox on
Choo Shin-soo signed with the Seattle his career. April 6, 2011; Lim Chang-yong
pitches at Japan’s All-Star
Mariners for US$1.3 million in 2001. A In the majors, only two other players —
Game in 2010; Park Chan-ho
prototypical five-tool player, Choo made his Carlos Gonzalez of the Colorado Rockies and records his 124th win on Oct 2, 2010, with
major league debut on April 21, 2005. But Hanley Ramirez of the Florida Marlins — had the Pittsburgh Pirates.

despite all his talent, Choo rarely got to play a .300 batting average with at least 20 home

Korea’s Baseball Ambassadors in Seattle and was traded to the Cleveland

Indians in 2006.
runs and 20 steals. In 110 years of history of
the Cleveland franchise, Choo is the very first Choo just hit a jackpot at the salary-

In the Global Spotlight In Cleveland, Choo began to live up to his

expectations and has developed into the
team’s offensive leader. Last year, Choo
player to put up back-to-back seasons of
.300 average plus 20 homers and 20 steals.
After the Major League season, Choo
negotiating table this time. He signed a one-
year deal worth US$3.9 million dollars, a
ninefold increase from his previous salary.
batted .300 with 22 home runs, 90 runs donned the Korean national uniform to This season, Choo is back in the heart of
From former Major League All-Star Park Chan-ho to the “Choo-Choo Train”
batted in and 22 stolen bases. He also put up represent the country at the 2010 the team’s offense. During the team’s spring
Choo Shin-soo in Cleveland, Korean baseball players are making a name for
a .401 on-base percentage for a new career Guangzhou Asian Games, and led Korea to training in Arizona last February, Choo said,
themselves abroad. These men are promoting Korean athletics as “baseball
ambassadors” and picking up hefty paychecks along the way. the gold medal. Choo had been “I am feeling great, and I have high
exhausted after playing in 144 expectations for the club since we have a
games in the majors in 2010. lot of good prospects. I am proud of being
But he came to Korea right a Korean playing baseball in the majors.”
While slugger Lee Dae-ho and fireballer Ryu Park is a pioneer among Koreans playing after the season ended and Choo says he will gun for a season of
Hyun-jin capture the hearts of fans in Korea, ball abroad. He became the first Korean in started getting ready for the at least 30 home runs and 30 steals
“baseball ambassadors” have served Korea the majors in January 1994, signing with the Asian Games. People couldn’t this year.
well in the US and Japan. Leading envoys Los Angeles Dodgers for US$1.2 million. On help but love the man who “My goal is to get better and
have been Park Chan-ho, a 37-year-old April 7, 1996, he picked up his first Major gave everything he had for the better every year,” Choo says. “I
pitcher for the Orix Buffaloes, Choo Shin- League victory against the Chicago Cubs at national team. want to put up better
soo, a 28-year-old outfielder for the Wrigley Field. During his heyday with the Coming off the most numbers this year than
Cleveland Indians and Lim Chang-yong, a Dodgers, Park regularly clocked in at 99mph productive season of his career, the last, and I also want
34-year-old pitcher for the Tokyo Yakult (159km/h) on his fastball and fooled hitters plus the military service to play in the
Swallows. with breaking balls. exemption in the offseason, postseason too.”

146 147
Sports and Arts
Jerry Royster
Korea’s First Foreign Manager
American baseball manager Jerry Royster is a great leader. After taking over the Lotte Giants in
2008, he guided the team to three straight postseasons. Today, he’s back in the United States,
providing commentary for Major League ballgames. But he says he’d like to manage again in
Korea someday. Is there a place for Royster in future Korean ball teams?
In the history of Korean baseball, only one
manager has ever walked on a red carpet all
the way from the ballpark to the parking lot
after every home game. It’s Jerry Royster, a
former manager of the Lotte Giants and the
first foreign manager in Korean professional
baseball.
He became the manager of the perennial
underachievers in 2008 and led them to the
postseason for three straight years. A former
Major League manager, Royster ran his club
on excellent strategies and communicated
openly with his players. Currently working as
148
an analyst for Major League games, Royster
would like to return to Korea to manage
again.
He won over players by running efficient
practice regimens that gave players some
leeway, rather than indiscriminately grueling
routines. As befit a former major leaguer,
Royster pursued a daring brand of baseball
and asked his charge to never fear anything.
Under his watch, Lotte became the most
aggressive team in the eight-team league.
Hitters started swinging at the first pitch,
and they became more aggressive on base
was a monumental moment of my life. I am
really, really grateful.”
Looking back on those three seasons,
Royster says, “When I first took over, the
team.”
Interestingly, the first general manager
When asked why he thought fans had team was not that strong. But I tried to find for NCsoft is Lee Sang-goo, a former Lotte
remained supportive, Royster says, “While out more about each individual player and general manager who brought in Royster in
managing Lotte, I stayed in close contact tried to customize lessons for each player 2008. That connection has fueled rumors
with fans. I exchanged e-mails with them rather than teaching all of them the same that Royster would be the team’s
and sometimes invited them to games. It’s thing. More than anything, I stressed that inaugural manager. Royster
important to instill in kids hopes and they had to have the right attitude as says he had a “good
dreams.” baseball players.” relationship” with Lee
After the Korean postseason last fall, By having Royster, NCsoft could sign while with the
Royster reflects on his experience: “Just as some big-name foreign stars to draw fans Giants. “We know
the three years in Korea went by quickly, the early and quickly establish its identity. each other well
past six months in the US have been very Royster would have an edge in that respect and I think he is a
hectic too. I am finally spending some great over all other managers in Korea. And he still capable general
time with my family,” he adds. “I love being loves the country, saying, “I still miss my manager,” Royster
paths, putting fear into opposing batteries.
around my two daughters. They’re both time in Korea.” Royster adds, “I think I can says. “But I haven’t
Though he’d been a position player,
aspiring actresses and they’re going to be in demonstrate my talent on an expansion heard anything from
Royster also stressed aggressiveness to his
films soon.” Royster later quips, “I made my
pitchers. He preferred guys who could throw
film debut before my daughters in the
inside, and he came down hard on those who
Korean film Haeundae or Tidal Wave [where a
got away from the inside part of the plate.
Lotte baseball game was included in an early
Royster ultimately emphasized confidence.
scene].”
Asking pitchers to go inside was designed to
Royster said his three seasons in Korea
help them develop more confidence on the
were “unforgettable,” and that he would like
mound. And pitchers and position players
to manage again in Korea if an opportunity
alike all bought into his “No Fear” baseball.
arises. Royster has been mentioned as a
As a result, Lotte reached three straight
future potential manager for an expansion
playoffs and got stronger each season. Over
Korean team, owned by game company
three seasons under Royster, the Giants put
NCsoft. Royster can offer a lot to a new club.
up 204 wins, 185 losses and three draws for
He is a trusted man among Korean fans and
a winning percentage of .520. On top of that,
has already proven his leadership by guiding
the Giants had more fun playing baseball
Lotte, formerly a doormat, to three
than any other team.
postseasons in a row. He is a players’
But the lack of playoff success ultimately
manager who reaches out to his charge and
did in Royster. Though the Giants made three
has a wide network in baseball that includes their camp. I’d like to become a manager if I
playoffs in a row, they also lost in the first
major league coaches. receive an offer. If not NCsoft, then I’d like to
round in all those three years. Following the
As an expansion team, NCsoft will be manage any Korean team.”
latest defeat, Royster returned to the United
able to acquire four foreign players and place On Korean baseball, Royster says, “Korea
States.
three on the active roster, one more than was the runner-up at the second World
When rumors surfaced late last season
existing teams. And when scouting overseas Baseball Classic in 2009 and won every
that Lotte would not re-sign Royster, Giants’
talent, perhaps it’d be better for the team to game it played to win the gold medal at the
fans started putting up signs to support their
rely on Royster and his network than to 2008 Beijing Olympics, beating the U.S.,
manager and even paid out of their own
employ Korean scouts to do the work. Lotte’s Cuba, Japan and Canada in the process.
pockets to run newspaper ads. Royster
pitcher Ryan Sadowski, who joined the team (Clockwise from opposite) Jerry Royster at his Korea has transcended Asia and it’s world
thanked his fans, saying, “You can’t imagine house in LA; Royster cheers his team players
last year, says he signed with the Giants class in baseball.”
this kind of support even in the majors. This during a game in 2009; Lotte Giants fans hold
because of Royster. up a banner inscribed with “We Want Jerry.”
149
Sports and Arts

The definition of Korean dance is being stretched to include not just

traditional dances from the past, but new ballets depicting Korean stories,
dances that weave traditional motions into the modern and even the
remarkably popular iterations of b-boy crews featured in tourism
advertisements. by CedarBough T Saeji | photographs by Park Jeong-roh

Dancers perform in the National Dance Company of Korea’s 2009 Gaya.

150 151
Sports and Arts
A solo violinist in a black suit and
fedora walks across the stage,
playing a haunting melody from the
classical Western tradition as an
overhead spotlight leaves his face
shadowed by his hat brim. As the music
changes, the stage lights reveal five
women in white, shoulder-baring
dresses, gliding dramatically across the
stage on their toes before pausing in
long-limbed extension. Although still
performed on Western instruments, the
music changes to the tune of a Korean
folk song sped up to double time to
accompany the now violent and
explosive movements of the dancers.
This is the opening of Soul, Sunflower, a
full-length modern dance concert
borrowing elements from Korean
traditional dance. It is also one of the
major touring pieces in the repertoire of
the National Dance Company of Korea.
National dance companies tend to
feature the cultural heritage deemed
authentic to their own locale, so it is not
surprising that the company, founded in
1962, originally focused on Korean
traditional dance. However, the
company’s works such as Soul,
152
Sunflower have increasingly used
Korean traditional movement
vocabulary and stories as elements in
modern dance works. Many regard the
integration of Western and Eastern
elements as the future of dance in Korea.
INTEGRATION OF MODERNITY No
discussion of modern dance in Korea
would be complete without mentioning
the queen of modern Korean dance Ahn
Eun-me. One of Korea’s most active and
innovative choreographers, Ahn has
presented around the world and
frequently works with non-Korean
dancers. Ahn’s choreography includes
traditional elements in some of the most
creative ways since she first
incorporated gayageum (12-string
Korean zither) into the piece Please,
Catch Me.
KOREA sat down with Ahn in a
quiet cafe in Itaewon to talk with her
about traditional dance, her most recent
work, Dancing for Grandmother, and her
upcoming presentation of her piece
Princess Bari at the Edinburgh Fringe
Festival in August 2011. Princess Bari is
the well-loved Korean story of a fearless
and devoted daughter who ventures to
the underworld to bring back the water
of life for her ailing father. In this
performance, Ahn incorporates four
traditionally-trained dancers, a pansori
singer to belt out the tale and musicians
playing Korean traditional instruments
to fuse Korean tradition with modern
dance. Combining these traditional
elements with a more empowering
re-interpretation of the tale, Ahn fuses
traditional and modern dance to create
a moving, award-winning production,
which showcases the best of dance in
Korea. An MBC reporter closed her
news spot on the Princess Bari series
saying, “Culture from Korean antiquity
has been given new life in this
unstoppably modern work,” a
sentiment that properly encapsulates
much of what is happening in the
modern dance world in Korea today.
“I am much interested in
incorporating traditional elements into
my choreography,” Ahn says. “People
usually believe that tradition has to be
presented in a certain specific way, but I
don’t think so. Tradition continues to
change, and I also want to take my
roots, these Korean stories and Korean
consciousness, and create something
new.” A similar motivation seems to
have even spread to the world of ballet.
Although ballet, a classic of the Western
dance canon, is unlikely to adopt the
use of Korean movement or dancers
trained in Korean traditional dance, the
Universal Ballet Company has added
the ballets Shim Chung and The Love of
Chunhyang to their repertoire, and the
Korea National Ballet Company has
developed Prince Hodong. The story of
Chunhyang is a true Korean classic (it
has been made into an award-winning
movie by Im Kwon-taek, a popular
Korean TV drama and a modern dance
piece by both the National Dance
Company of Korea and Ahn Eun-me).
Chunhyang is best known as an epic
narrative pansori song; it is the Korean
Lee Jeong-yun, a longtime member of the
National Dance Company of Korea, performs in
a modern work alongside fellow company
dancers (above). Dancers perform in the
domestic production Model House at the
International Modern Dance Festival (MODAFE)
in late May (opposite below). A female lead
strikes a stance during a performance of Model
House , choreographed by Park Hae-joon, which
explores the many roles of family in life.
Romeo and Juliet. The original version
tells the story of Chunhyang, the
daughter of a gisaeng (Korean geisha),
and Mongryong, the noble son of a
governor, who secretly marries her.
They are separated by fate and social
obligations, and in Mongryong’s
absence, Chunhyang’s great beauty is
noted by a corrupt local politician.
These new Korean ballets have
begun touring extensively overseas,
with the current schedule presenting
The Love of Chunhyang, Shim Chung and
Prince Hodong in more than 40 cities
including Naples, Italy; Singapore;
Taipei, Taiwan; Moscow; and
Johannesburg between 2011 and 2013.
In fact, Korean ballet has grown up
quickly. With several Korean ballerinas
and ballerinos winning major
international competitions in 2010,
ballet has become a hot trend, especially
with the new emphasis on Korean
stories which renders the art form more
approachable to the Korean public.
Some of these works have appeared
in MODAFE, the International Modern
Dance Festival held annually in the late
spring (May 18 to 29) which has become
153
Sports and Arts
one of Korea’s most exciting
international modern dance showcases.
Each year the festival includes
not only a selection of
established and emerging
Korean modern dance stars, but
also several overseas dance
companies. Since MODAFE began
in 1982, performers from countries
around the world including
Israel, the Netherlands,
Belgium, Australia, the
United States and France
have presented their
choreography in sold-out
halls. After
performances,
MODAFE’s format
frequently allows for
dialogue between the
choreographer and
the audience, an
opportunity for insights that eager
young dance students relish.
Given the wide popular
support and quick explosion of the
Korean b-boy sensation in
recent years, tourism
advertisements here are helping
spur the genre of the modern iteration
of 1980s break dancers as Korea is
currently home to half of the top
competitive b-boy crews. Korean crews
are highly regarded overseas and have
become a fixture on the international
circuit, winning acclaim and awards at
events such as Battle of the Year, Red
Bull BC One and R-16 Korea. R-16 was
started in Korea only a few years ago,
but it has already become one of the
biggest hip-hop and b-boying festivals
in the world.
THE INFLUENCES OF HISTORY The
innovative appropriation of traditional
dance vocabulary into modern dance is
154
a natural step forward, both for modern
dancers and for Korean traditional
dancers. Surprisingly, the Korean
government — which once focused
almost exclusively on the protection of
the traditional arts, particularly during
the Park Chung-hee, Chun Doo-hwan
and Roh Tae-woo administrations —
is now embracing the fusion of
Korean dance and
contemporary dance from
around the world.
In the past, Korean
dance was inseparable
from Korean society.
(From left to right) The lead
dancers in the Korea National
Ballet Company’s modernized
piece Prince Hodong embrace in
a singular movement; Ballerinas
dance en pointe for the Universal
Ballet Company’s retelling of the
classic Shim Chung folk tale;
Company members perform
scenes in hanbok , Korean
traditional dress, for the
National Dance Company
of Korea’s Dance
Chunhyang .
Court dances were needed in the era of
a court that received international
envoys and wanted to show some form
of sedate and Confucian entertainment.
Koreans danced, sang and played
musical instruments as part of the daily
life in cooperative agricultural
communities, lightening group work,
building community and enlivening
important annual festivals and village
rites. In the modern era, people no
longer believe in village tutelary
guardians and they use tractors to
harvest their barley, reducing or even
erasing the relevance of the traditional
folk arts. Many of the arts that remain
strong in Korea are part of the lineage of
the professional entertainers called
gisaeng, because only the arts of the
gisaeng were created for an audience,
allowing them to translate well to the
proscenium stage.
In Korean traditional dance, the
performers are generally clad in
voluminous skirts of the hanbok, or
Korean traditional dress. In addition to
the ubiquitous hanbok, there are certain
key elements to be found when staging
Korean traditional dance. For example,
Korean dance does not have intricate
placements or gestures with the fingers
and hands — the hands are often
relaxed and move together with the
wrist and arm. Most of the typical
gestures trace interesting curving
patterns in the air and the shoulders are
loose, relaxed and even slightly
hunched, particularly in folk dance. The
basis of movement is a duck-footed
stance and dancers step heel to toe. But
in the fastest folk dances the legs stay
close to each other with the feet close to
the floor, although they lift to knee
height in the most physically
demanding folk dances.
Dance performed by gisaeng
entertainers was on occasion suggestive,
but suggestive motions in Korean dance
do not isolate or feature the hip,
backside or chest. All of these traits can
be seen in the National Dance Company
of Korea’s major touring work, Korean
Fantasy, a medley of 10 Korean
traditional dances. This dance concert
contains all the elements an audience
expects in Korean traditional dance,
including dancers in swirling pink,
manipulating oversized fans trimmed
with feathers dyed fuchsia in Korean
classic fan dance.
However, many other dances are
credited with deeper ties to Korean
history; amongst the most fascinating of
Korea’s staged performing arts are the
mask dance dramas. Combining
elaborate masks, music, dance motions
and stories that reflect a snapshot of
Joseon Dynasty (1392-1910) society, the
preserved mask dance dramas remain
crowd-pleasing favorites. One of the
most captivating is Goseong Ogwangdae,
from the small town of Goseong on the
south coast near Busan, so focused on
dance that little to no dialogue is
included.
The dances within the traditional
drama are so widely loved that in the
modern era this deotbaegichum is staged
by unmasked dancers alongside major
classics of the dance canon, such as
Salpurichum (shamanic ritual exorcism
dance) and taepyeongmu (great peace
dance). The distinctive motions show
the dancer casting off the undesired,
even drawing an invisible sword to
scare away unseen forces. Yi Yun-seok,
National Living Treasure for Goseong
Ogwangdae, explains, “Traditionally this
motion was to banish ghosts or
malevolent spirits. In the modern world
where many regard belief in ghosts as a
superstition we can think of this motion
as casting off stress, heartbreak or
failure and banishing it from our lives.”
Dance in Korea, whether the
movements are modern Korean or the
story alone harkens back to an idyllic
past, is vibrant and well established
with myriad institutions for training,
promotion and production. As the
barriers between different forms grow
more permeable, we can expect to see
ever more creative works arising on the
Korean stage.
155
Sports and Arts
An Ideal Life
Lee Jeong-yun says his life is ideal the way it is right now. A
principal dancer at the peak of his career, Lee has the respect of his
colleagues and the satisfaction of loving his work.
Within a few moments of meeting Lee
Jeong-yun of the National Dance Company
of Korea, he is posed in front of the
photographer on the balcony of the National
Theater of Korea. Lee, 34, is confident and
not the slightest bit afraid to strike a
dramatic pose, but his personality escapes
between shots in a grin that extends to his
eyes, the bandaged wrist and part of a black-
ink tattoo peeking out from above his
waistband.
Adjourning to a studio for an indoor shot,
he can’t restrain himself from tearing into a
fast-paced beat on a set of drums, his hands
156
flying through a series of motions so
dynamic they seem a blur. Commenting on
Lee’s comfort level with the photography, I
find he has made a conscious effort to learn
to be a natural in front of a lens.
He explains his frustrations with popular
reality TV shows such as I Am a Singer, where
stars of the past are forced to prove their
chops all over again. Compared to such
programs, Korean dance has been relatively
neglected, so now Lee takes every
opportunity to publicize its traditions and
the new creative works which draw from
traditional movements. A desire to build a
more favorable environment for Korean
dance, particularly to the benefit of the next
generation of dancers, is a recurring topic of
conversation.
At one time he had been one of those
young hopefuls himself, and with the
support of his parents and teachers he made
the decision to pursue dance when he was
15 years old. After a period of learning
modern dance, he happened to attend a
performance by noted traditional dancer Kim
Choong-han. Lee describes the concert as
the moment he was hit with the beauty of
Korean traditional dance. Just watching was
enough to convince young Lee that he had
to move to Seoul and become the
performer’s student. Kim was also a student
of Jeong Jae-man, a National Living Treasure
for the Salpurichum (shamanic ritual
exorcism dance). Had Lee learned it from his
teacher?
“More than saying I’ve learned
Salpurichum, I would like to say that
traditional dance takes a very long time to
master,” he says, showing a respect for
tradition. Lee’s background is in more than
just Salpurichum. His traditional dance
training has extended through most of the
classics, including seungmu (monk’s dance)
and mask dance dramas like Bongsan
Talchum, Hahoe Byeolsin Gut Tallori and
Goseong Ogwangdae.
Hahoe Byeolsin Gut Tallori, the mask
dance drama from Hahoe Village near
Andong, Gyeongsangbuk-do Province, was
incorporated into one of Lee’s performances
in April. The concert Lee Jeong-yun and Etoile
was the first time in the history of the
National Dance Company of Korea that a
single dancer was able to present a full-
length show on the main stage.
Coinciding with Lee’s 10 year with the
th
company, the performance showed the
depth of his training, creativity and
influences. Lee passionately explains that
dance is dance, no matter if it’s ballet,
modern, creative or Korean. Hence, his
concert moved through the spectrum of
genres without regard for artificial
boundaries, using Korean sentiment and
thought as its foundation. Lee chuckles, his
eyes twinkling, as he describes the great
pride and happiness he felt when rehearsing
and presenting the piece with his friends.
One of those friends was female lead
Kim Joo-won, the prima ballerina of the
Korea National Ballet Company and Lee’s
girlfriend of the past several years. The two
dancers are both so busy with their
rehearsals and performances all around the
National Dance Company of Korea member Lee
Jeong-yun poses in front of the National Theater
of Korea (above). Lee, who has studied both
traditional and modern dance forms, extends
his body gracefully in a piece for the company
(opposite).
world, Lee explains, that they rarely even
meet. When they do, however, their dates
might include watching other dance
performances. On occasion they have even
met up while both were touring shows
overseas.
Lee obtained all of his dance training in
Korea. For his bachelor’s, he attended
Sungkyunkwan University, where he spent
half of each day in classes devoted to theory
and the other half practicing dance. At that
time, the Korea National University of Arts
(K-Arts) dance program had only recently
opened. Through friends, Lee learned that at
K-Arts, the students were focusing on
practice to the extent that no one changed
out of their dance clothes; a shockingly
radical but highly appealing approach.
Lee entered K-Arts for his Masters
degree, where he excitedly rushed from class
to class auditing a wide variety of
undergraduate practices, while carrying out
thesis research on nabichum, the Buddhist
ritual butterfly dance. Following a period of
post-graduation independent study, Lee
entered the National Dance Company of
Korea in 2002.
Lee explained that the company is about
displaying the best of Korean dance, no
matter what type. Dancers rehearse Korean
dance from 10am to noon everyday and
receive special training from leading
traditional dancers such as Jeong Jae-man
for Salpurichum. Likewise, they are taught by
various experts in modern dance and ballet,
as well as rehearse choreography. The
bottom line, according to Lee, is that some
people have a negative opinion of Korean
traditional dance. They think it’s slow, boring
and for the older generation, and this is an
attitude Lee wants to change. He wants to
show the dynamism of traditional in
partnership with modern dance, see the
dance world freed from the fantasy that
tradition does not change, and allow a
natural evolution of the traditional
performing arts.
Lee’s eyes glint with pride as he describes
the staging of ogomu, the five drum dance,
comprised of a line of 13 men powerfully
beating on the instruments in perfect
synchronicity. When I ask him about
memorable roles, he highlights the romantic
male lead in Dance Chunhyang. He describes
his realization of growth in his own ability
brought about by performing Mongryong in
the story, 10 years after his first performance
of the part. His joy in his own development
shows the passion that has made him an
indispensible member of his company. After
the interview winds down, Lee heads back
inside, the empty practice room’s siren call
echoing in his ears.
157
Sports and Arts
Dancing for Life
A large number of organizations associated with Korean dance in all its many enumerations
are keeping Korean traditions alive. These institutions help Korean dancers receive the
support they need to excel in classical and contemporary dances of the Western world, and
to blaze new conceptual trails.
Education is the key to the future of the arts.
According to the latest government
statistics, there are 32 middle and high
schools for the performing arts, five of which
focus specifically on traditional arts. These
programs for young, talented individuals
allow students to get the head start needed
to develop a solid foundation. Once they
graduate, though, there is one university that
has increasingly become the preferred
destination: the School of Dance at the
Korea National University of Arts.
The K-Arts university dance program,
158
founded in 1996, features three
departments: Dance Performance, Dance
Theory and Choreography. Students in the
Dance Performance major are divided into
four areas: ballet, Korean dance, modern
dance and creative dance. The students are
taught under the guidance of faculty
members such as Kim Hyun-ja, the former
director of the National Dance Company of
Korea, and Jung Seung-hee, a master of
seungmu (monk’s dance). In addition, some
dance majors also attend the K-Arts School
of Traditional Korean Arts, where one can
Korean dramas (in this case, Lie to Me).
The company is housed at the large
National Theater of Korea complex, a warren
of practice rooms and theaters of various
sizes, along with the National Orchestra of
Korea, the National Drama Company of
Korea and the National Changgeuk Company
of Korea. The company employs more than
50 dancers, most of whom have a solid
rooting in Korean traditional dance. A typical
day at the theater complex runs from 10am
to 5pm, with rehearsal supervised by senior
company members, and classes under the
artistic director. At present the company has
three major works: Korean Fantasy, Dance
Chunhyang and Soul, Sunflower. In 2011,
they will present more than 40 full-length
dance concerts in Korea and make seven full-
length international appearances. Whether
Princess Kongji will join the regular repertoire
has yet to be decided.
In 2010, the Ministry of Culture, Sports
and Tourism created a new state-funded
company specifically to explore the field of
contemporary dance. The Korea National
Contemporary Dance Company is based out
A ballerina warms up for rehearsal at the Universal Ballet Company (below). Dancers perform sanjo
chum , a composition that uses traditional dance vocabulary (opposite left). A character from the
mask dance drama Dongnae Yayu performs (opposite right).
collaborate with students from other music
or performance fields. Two full-time
professors in this entirely practice-based
program are noted performers of
taepyeongmu (great peace dance) and
hakchum (crane dance).
cornucopia of companies The
National Dance Company of Korea, founded
in 1962, premiered a new work in May called
Princess Kongji. This work, like many of their
other pieces, capitalizes on well-known
Korean folktales that have been made into
of the Seoul Arts Center and for the moment
is comprised of a 10-person staff. Unlike
other nationally supported performing arts
groups, the Korea National Contemporary
Dance Company secures dancers for each
individual performance through auditions,
instead of keeping a permanent company.
The inaugural director, Hong Sung-yop, was a
ballerino before his 20-year history as a
choreographer, and will remain in the
position for at least the first three years of
the company.
The Modern Dance Promotion of Korea is
the powerhouse at the center of the Korean
modern dance world. Their major goals
include providing support for modern dance
in Korea, promoting the academic study of
and research on dance, nurturing
choreographers, creating opportunities for
international exchange and fellowship and
maintaining a database of Korean modern
dance works and individuals. Some of the
activities that the association has engaged in
while pursuing these goals include running
the Seoul International Choreography
Festival since 1992, hosting the Seoul
International Youth Dance Festival since
1997, publishing the dance magazine Images
of Dance since 1989 and giving out awards
to recognize the promotion of Korean
modern dance since 1990.
domestic and abroad Traditional
dance in Korea is protected under the
auspices of the Cultural Heritage
Administration, a subsidiary of the Ministry
of Culture, Sports and Tourism. The seven
protected dances are Salpurichum (shamanic
ritual exorcism dance), seungmu,
taepyeongmu, Cheoyongmu (dance of the
hero Cheoyong), Jinju geommu (Jinju sword
dance), seungjeonmu (victory dance) and
hagyeonhwadae hapseolmu (hakchum, that
is, crane dance).
The online Keep Korean Rockin’ (www.
koreanroc.com) is the go-to site for
information on the b-boy/b-girl scene from a
local perspective. The same organizers also
oversee the quarterly Korean competitive
performance called Rockin’ Sensation. For
non-Korean speakers, the website supplies a
rich trove of videos and links to the major
Korean b-boy/b-girl crews, as well as
international crews, dancers and websites for
major competitions.
There are several overseas organizations
that concentrate on maintaining Korean
traditional dance culture. The Korean Dance
Studies Society of Canada can be found in
Toronto and the OngDance Company is
located in the San Francisco area. The East
Coast is overseen by the Korean Traditional
Performing Arts Association, Inc in New York
and the Halla Huhm Foundation covers
those located in Hawaii.
159
K o r e a’s L e a d i n g I n d u s t r i e s

computer
graphics:
A New
star
in korean
movies When a massive tsunami approached the shores of Busan’s Haeundae
Beach, the excited chatter of vacationers was instantly transformed into
hellish screams. In the summer of 2009, Koreans packed movie theaters to
watch Haeundae, the nation’s first natural disaster blockbuster. The film,
which sold more than 10 million tickets, owes its success to computer
graphics technology.
by Min Yong-jun

160 161
K o r e a’s L e a d i n g I n d u s t r i e s

make almost any image into reality.

However, the use of CG is not some effortless, quick and simple wave of a magic wand.
CG is only a part of VFX, which functions as a means to artificially portray extraordinary
scenes normal cameras are unable to capture. The increasing incorporation of CG in Korean
films means VFX supervisors are playing a more important role than ever. As Jeong Seong-jin
of EON Digital Films (the VFX supervisor for Take Off) puts it, “For the last 30 minutes of Take
Off, the whole crew had to make a huge collective effort. Creating an explosive finale, while at
the same time giving viewers a sense of realism, was important to us. It was also vital that CG
supported the dramatic emotions of the main characters, who were facing the risks of ski
jumping in spite of bad weather, while delivering a sense of real speed.”
Jeong underscores that CG is not simply a device used to buttress movies on a technical
basis; it’s a catalyst that enables more effective drama, but is an addition that should not
interfere with the overall flow of the film.
Jang Seong-ho, president of Mofac Studio (the VFX supervisor for Haeundae), also said,
“We could have achieved a better quality of CG than we did if the production company had
told us to look for ways to create CG with our own technology from the beginning of the
project. [Furthermore,] we could have done it for half as much as was spent in the US (when
we outsourced the material). In any event, it’s a relief that we were able to bring the level of
CG up to a point that viewers found acceptable, though I would not be honest if I said the
project was completed with total satisfaction.” In fact, the quality of the computer-generated
data in Haeundae’s water scenes bought from the American company was originally so bad, in
part due to a lack of budget, that Jang completely reworked the data he was given. Mofac
Studio ended up changing the texture and lighting of the CG cuts, rendering them over and
over, and adding extra details. They spent roughly two months focusing on the final
composition of more than 640 CG cuts.

CG on the Korean Screens

A still from the movie Haeundae (opposite), CG
works from the TV drama Legend (left, right
above) and also from the TV drama Tamra, the
Island (right below). before

A film chronicling the rise of a hopeless group of ski jumpers quickly garnered fame in Korean
theaters. Take Off (2009) follows the tale of five young men who train in ski resorts without
any proper ski jumping facilities, in the hopes of someday winning an Olympic gold medal.
The hit film sold more than 8 million tickets and combined with Haeundae, the two
after
blockbusters sold nearly 20 million tickets domestically — more than 10 percent of the entire
nation’s 156 million movie ticket sales in 2009. Both films took advantage of Korea’s own
virtual effects (VFX) technology, particularly in the area of computer graphics (CG).
But even before recent box office hits like Haeundae and Take Off, CG played a prominent
role in Korean cinema. Blockbusters such as Tae Guk Gi: Brotherhood of War (2004), director before
Kang Je-gyu’s Korean War epic that breathtakingly recreated the misery of the battlefield on
the silver screen, and fantasy film The Restless (2006) also made extensive use of CG. In 2007,
Dragon Wars: D-War took the technology’s potential to a new level, setting the bar higher
within the Korean film industry. Director Bong Joon-ho’s The Host (2006) was also recognized
for its use of the technology. In essence, CG has grown to become a "secret weapon" that can after

162 163
K o r e a’s L e a d i n g I n d u s t r i e s

VFX company become one of the world’s most respected in its field by bringing it in to help
in the making of his hugely successful movie project.
It’s not practical to always depend on just one company do all the work. At the same time,
overcoming huge challenges is a prerequisite for positive growth. Previously, Insight Visual
before took part in the production of Kang Je-gyu’s Tae Guk Gi: Brotherhood of War, and is now
working on D-Day (working title), Kang’s first overseas project that is still in the planning
stages.
“At the time when Tae Guk Gi was being made, Kang didn’t trust our CG team very much,”
says Son Seung-hyeon, Insight Visual’s production director. “But afterwards I think he learned
after to trust the role CG plays in movies. I think he’s decided to use CG a lot more from now on.”
The most important part of D-Day is location, as the movie is based around the
Normandy invasion. The production department is planning on shooting in China, Germany,
Hungary and Korea, but continues to discuss the necessity of each location. Additionally,
they’re examining different ways to get the effects they need without spending too much of
before the budget to film in all those locations.
Although the movie has substantial funding of around US$27 million, shooting will be
hard to execute because of its sheer scale, which is why CG is bound to play an important
role. It is likely that “matte painting,” a cost-cutting technique used to copy and paste
people’s movements for a particular shoot in the form of digital data, will be used in D-Day
after because of the way it positively impacted Tae Guk Gi.

Still and CG works from TV drama, Iris (top

and above, below).
Still and CG works from the movie The
Forbidden Kingdom (top, below), CG

Learning from Experience works from the movie The Restless

(bottom).

The experience of learning to use CG provides another opportunity. Director Yoon Je-kyoon
and JK Film are now in the early stages of putting together an underwater “monster movie”
called Sector 7. Mofac Studio is working on preproduction together with JK Film for the
project.
The creature in The Host was brought to life by an American VFX company called The before

Orphanage. Back then, a movie featuring a huge monster was an unprecedented challenge in
the Korean film industry. For a blockbuster that cost around US$9.1 million to make, the
producers had to be careful when making choices to ensure they didn’t lose money, which is
why The Orphanage was chosen over every other Korean company. While The Orphanage was
known for the CG work it did on a texture called “hard surface,” through its work for The Host, after

the company acquired the necessary technology to create a new kind of monster, which in
turn helped raise its own standard of quality.
Not to be outdone, the making of Haeundae was also an amazing achievement. JK Film
stipulated in its conditions that all technology would transfer to Mofac Studio when it signed
a contract with the foreign VFX company. The resulting data from Haeundae thus became the before

property of Mofac Studio, which ultimately helped improve Korea’s own VFX technology.
In a similar move, Weta Digital, a New Zealand visual effects company, grew leaps and
bounds with Peter Jackson’s The Lord of the Rings trilogy. More recently, it helped work on the
science fiction epic Avatar (2009). Keep in mind that although New Zealand’s movie industry
is, relative to Hollywood, underdeveloped, Peter Jackson helped his own New Zealand-based after

164 165
K o r e a’s L e a d i n g I n d u s t r i e s

is an educational benefit for the film crew — they can gain an intimate understanding of the overall
flow of each movie or TV drama they work on — it is born from a grueling work process.
Today, Korean VFX companies are turning their sights to overseas markets. In an effort to
promote Korea’s VFX industry, the Ministry of Culture, Sports and Tourism and the Korea Creative
Content Agency jointly sponsored Korea’s seven leading VFX companies by participating in the
American Film Market (AFM) — the largest motion picture trade show in the world — in 2009.
Before the event, few Korean companies received requests to help make foreign movies. One
notable exception was when DTI Pictures, Macrograph and Footage all took part in the
postproduction of The Forbidden Kingdom (2008). Yang Seok-il of DTI Pictures explained it this way:
“The price difference wasn’t very big. Breaking into Hollywood doesn’t guarantee success. What you
need to do is respond to business strategically.” Mofac Studio also took part in the production of the
soon-to-be released movie, The Warrior’s Way (2010). While it won’t be easy Korean VFX companies
to become an inseparable part of extravagant Hollywood films any time soon, they will need to
search for more long-term targets when considering overseas markets.
The expansive achievements of Korea’s CG technology will be rendered useless if not given the
chance to be properly used, but opportunities aren’t created solely through the efforts of a single
individual. So far, there have been the select few who have worked hard to develop the industry, but
now it is time to understand where the country stands, from an industrial and international
perspective. The CG industry’s ambition to re-create the future of Korean cinema with its
technology can only begin to be realized after this understanding comes about. Looking only at the
progress so far, the results are encouraging. Based on the diverse range of experiences Korean VFX
companies have had so far, they will one day be able to create such comparable CG works as that of
Avatar.

The Future of Korean VFX

CG work from the movie Hong Gil-dong (opposite),
a still from the movie Tae Guk Gi (left), CG works
Perhaps the greatest benefit of CG technology is that it allows for more diverse storytelling. From from the movie Modern Boy (right above) and from
Haeundae and Take Off, to a recent movie called Woochi (2009), Korean cinema is attempting to the movie Private Eye (right below).
before
deal with genres and subjects that would have been impossible in the past. The same applies to TV
dramas. The Legend (2008) and Iris (2009) were both large-scale projects that captured the
attention of viewers with their unique use of CG. As a result of technological developments,
Korea’s movie and video game industries gained new freedoms in sharing their stories.
At the same time, it’s important to think seriously about how efficiently CG will be used in the
after
future. Yang Seok-il, a manager at DTI Pictures, cautions, “Some producers just hate CG but others
heavily depend on it. For example, when shooting a car chase scene where a car is flipped over,
producers need to think about whether their action team or CG team can reconstruct it better, and
then also consider which one is more within their budget. I’m not saying you have to use CG and
spend more money, but it is important to decide which part of a movie definitely needs proper before
CG.”
The box office success of Haeundae and Take Off is definitely encouraging. Indeed, the success
of big budget movies that make liberal use of CG has led to the planning of other such movies,
with companies able to study and apply the new technology to them. Korean VFX companies
usually work on several projects simultaneously — three to four at any given time. Although there after

166 167
K o r e a’s L e a d i n g I n d u s t r i e s

Francisco in 1996. I then worked on three during which an efficient

feature films and one short animation at the
Walt Disney Studios before landing a job at
Weta Digital. In the past, I’ve also worked for
Paramount Studios and Sony Computer
Entertainment, the maker of the Sony
PlayStation. Early on in my career I spent
three or four years in the field of game
cinematics, working for companies like SNK,
Activision and Sony.
Park Jee-young In character animation at
the California Institute of the Arts (CalArts), I
started work at an indie movie production
company as a 2D key animator. At the time,
many 2D animators were transitioning into
3D, and I was no exception. Three years ago, I
saw an announcement saying James
Cameron’s Avatar was going into
preproduction and of course, that’s when I
applied to join Weta’s animation team.
production plan is drawn up,
while developing the necessary
software and technologies and
creating a coherent storyline at
the same time. Such thorough
preparation, combined with an
efficient work environment,
saves a lot of time. During the
preproduction of Avatar, which
lasted several years, James
Cameron and 20th Century Fox
developed a new camera
technology called the Pace Fu
sion 3D camera system.
Another strength of the
Hollywood VFX industry is that
there are so many artists who
know how to use all these new
technologies really well.

Q What exactly did you do on Avatar? Q How do you think Korea’s

A Jung In November 2008, for the first eight
months of production, I worked as a texture
artist, developing colors and textures for CG
character backgrounds and objects, and then
for the last four months I worked as a
interview lighting technical director, designing the
lighting for scenes to create the final images.
VFX technology is coming
along?
A Park Thanks to Korea’s
soaring interest in VFX and how
it’s revitalizing the
entertainment industry, investment turning their attention outside the country
in VFX movies is growing every year and to cut costs. So as long as you have solid

Korean Artists This transition between departments

enabled me to experience a wider range of
movies out there are becoming more and
more expressive. The use of VFX is only going
qualifications and a good command of
English, there’s a good chance you can sign

to lead cg blockbusters the movie’s production process.

Anyone who has been paying close attention
to the end credits of Hollywood blockbusters
for the past several years will have noticed
the occasional Korean name scroll by. Today,
there are actually quite a few Korean VFX
artists working on some of Hollywood’s top
productions and at some of America’s
leading studios. These talented men and
women represent the future of the Korean
VFX industry.
Koreans had a hand in Avatar (2009),
James Cameron’s epic 3D motion picture
that has fundamentally altered the movie
industry. The list includes lighting technical
director Jung Byung-gun (above), digital
modelers Chang Jung-min and Lo Eung-ho,
senior facial modeler Lee Jin-woo, modeler
Lee Sun-jin, visual effects artist Im Chang-
eui, FX ATD Sean Lee, motion editor Kim
Ki-hyun and senior animator Park Jee-young.
A total of nine Korean artists were involved
in the historic cinematic project, two of
whom sat down to talk with KOREA about
their lives and the VFX industry.
Q How did you end up working overseas?
A Jung Byung-gun After graduating from
Hongik University with a degree in
Department of Art Studies, I enrolled at the
Academy of Art University (AAU) in San
Park I worked on Avatar as a senior animator.
All of these creatures, none of which exist in
the real world, were created from scratch
through nothing but animation.
Q What did you think was special when
you first saw how Hollywood productions
were made and became a part of it?
A Park The first things that come to mind
are the massive amounts of capital
investment, the systematic production
pipeline in place, and the abundance of
trained professionals. A particular focus is
placed on preproduction and planning,
to increase in Korea in the future. It’s also
noteworthy that there are a growing number
of professionals who are well-versed in this
field.
Q What do you think about Korea’s
intention to take its VFX overseas?
A Jung It’s great that Korean VFX companies
are collaborating on overseas projects and
making inroads in other markets, and they
should definitely keep up with this. It’s
difficult to expect the Korean VFX industry
to grow if companies just target the limited
domestic market with its small number of
moviegoers. Producers in Hollywood are
some kind of a deal with an overseas
company for VFX or animation production.
We have to figure out what our strengths
and weaknesses are, and deal with the
particular problems we face. Korea has a
domestic movie and game market base, and
a professional workforce. On the other hand,
there is a lack of experts with high-end
production experience and a language barrier
in place. You also have to keep in mind that
most of the countries doing VFX and
animation work for the US right now are
English-speaking ones like Canada, India,
New Zealand, Singapore, India and the UK.

168 169
K o r e a’s L e a d i n g I n d u s t r i e s
Helping the Cg Industry
gain ground worldwide
In November 2009, seven Korean VFX
companies shared a booth at the American
Film Market (AFM), the largest motion
picture trade show in the world. The
companies were involved in a project aimed
at actively promoting the technology of
Korean VFX companies through business
meetings with international film
professionals, an endeavor spearheaded by
Korea’s Ministry of Culture, Sports and
Tourism (MCST) and the Korea Creative
Content Agency (KOCCA).
The two government groups backed the
companies’ promotional efforts by arranging
business meetings with buyers from
Hollywood, which Jo Ha-sup, an assistant
manager at KOCCA’s Future Convergence
Content Group, expounded on when he said,
“It is very difficult for small Korean
companies to open booths at international
festivals because of their limited budgets.
That’s why the government provided an
opportunity for these small businesses to
share a booth.”
Park Sang-uk, who works at the MCST’s
Convergence Content Team, adds, “The AFM
is part of the bigger promotional package
picture. The main part of the program is
aimed at supporting Korean CG companies
participating in movie/broadcasting projects
both in Korea and overseas by paying for
part of the production costs. The goal is to
help these companies enhance their price
competitiveness and the quality of their
product. In this context, participation in the
AFM can be seen as an additional marketing
170
technologies emerging around outcome of their hard work to coordinate
the world. The MCST plans to these demands was the establishment of the
spearhead participation in Korea Computer Graphics Industry Alliance
overseas projects involving
Korean companies and to
(KCGIA) in 2009. The idea of a council was
conceived in 2008 and came to fruition in
provide further marketing August 2009 as an advisory committee to
opportunities by bringing the government. In a nutshell, the success of
relevant businesses together in this policy depends on how well government
overseas markets, including the officials are informed of what is really going
Cannes International Film on in the industry. People are paying
support tool.” Festival and the American Film attention to whether this meaningful first
The industry welcomes the move. Market. If all goes according to step can lead to an even bigger leap.
“Hollywood tends to keep going back to plan, this will create sales of 100
companies that have proven themselves billion won and 30,000 new jobs
time and again. Initially, we predict we will by 2013.
not achieve exactly what we want, but I do The government’s policy
think that we will be able to improve our initiative was brought about
relations on a lasting basis once we after Korean companies would
successfully complete our first project,” says not leave the issue alone. The
Son Seung-hyeon, production director at Stills from the recently released movie Woochi (above) and
last year’s hit movie Take Off (below).
Insight Visual. In essence, government
support is like fertilizer, supporting the
industry until companies can stand on
their own two feet.
The Ministry of Culture, Sports and
Tourism made an official announcement
about the project to promote Korean CG
companies in foreign markets on January
14, 2010, with Minister Yu In-chon
explaining, “The government plans to
inject around US$181 million into its
computer graphics industry by 2013.”
The action plan includes creating a
special CG fund of around US$45 million,
offering tax breaks that include refunding
the cost of production, and providing
support in the form of equipment to
small companies to enhance their
technological competence.
On top of that, the government will
help individual companies which have
had difficulty finding investment for their
technologies, with their R&D efforts. The
project aims to improve the
technological prowess of all Korean VFX
providers and secure new 3D
171
K o r e a’s L e a d i n g I n d u s t r i e s

Korea’s Motor Ways

on the fast
track
to success
On the global stage, Korea’s automobiles rise rapidly nowadays.
The Hyundai-Kia Automotive Group, in particular, strongly spotlighted
on its own quality and reliability. Yet the company’s success overseas
certainly hasn’t been an overnight affair. It has been built through
exhaustive research into local conditions and, in part, its factories’ role
in helping revitalize local economies.
And as Hyundai-Kia’s star has continued to rise, other
Korean automakers are being vitalized, too.
by Shim Hui-jeong

172 173
K o r e a’s L e a d i n g I n d u s t r i e s
“It was like a desert here, and Kia
was the fountain.” So said
Annie Davison last February as she
breathlessly thanked the Korean
automaker for setting up shop in her
hometown of West Point, just south of
Atlanta, Georgia. In an astonishing
turnaround for the area, which had
suffered a long, slow economic decline,
construction began on the Kia plant just
before the subprime mortgage crisis
engulfed much of the U.S. economy. In
2008, Kia Motors America started hiring
online, a first for the U.S. automotive
industry. In addition to 1,100 local hires
of its own, Kia’s 25 business partners,
which all entered the country together,
has hired another 4,000 people thus far.
As a result, Kia’s Georgia plant has
created 5,100 new jobs.
Kia is planning to hire a total of
3,300 people by 2013, with its business
partners upping manpower to 7,500
over the same period, for a grand total
of 10,800 employees. The Georgia Tech
Research Institute has forecast that Kia’s
plant will create over 20,000 jobs in nine
neighboring counties by 2012 and its
overall economic impact will be as high
as US$6.5 billion.
A Global Concern Among major
automakers, Hyundai-Kia — a group
formed in 1998 when Hyundai bought a
controlling interest in Kia — is fast
becoming a global company with local
characteristics. Just a few years ago,
however, nobody was predicting
Hyundai would be one of the major
auto-making success stories. Though
today one of the fastest growing car
brands in the United States, Hyundai
Motor Company (as it was known back
then) was long hamstrung by a —
largely deserved — image as a low-cost,
low-quality producer. Selling 126,000
174
cars in its first year in the market, 1986,
and 264,000 cars the following year,
Hyundai was undone by a reputation
for being shoddy and unreliable. As a
result, sales suffered and secondhand
Hyundai’s could be had for practically
nothing. But things started to change in
1999, when Chung Mong-koo became
the CEO and president of Hyundai-Kia.
Meetings were scheduled twice a month
just to address quality issues, and
employees from every single
department — acknowledging that
quality had to be tackled from the
ground up — conducted product
quality management with a renewed
sense of purpose.
By 2009, just eight years after they’d
placed rock bottom, Hyundai cars were
recorded top on a product quality
analysis list compiled by J.D. Power and
Associates, a marketing information
firm. In March 2010, Hyundai ranked
sixth in J.D. Power’s durability
performance analysis, a measure of
automobile reliability three years after
purchase. Coming higher than stalwarts
of trust such as BMW and Volkswagen,
Hyundai reveled in its second top 10
finish in two years.
turning crisis into
opportunity When asked to select
the most intimidating automaker to
emerge in recent years, automakers
around the world named Hyundai. This
success has brought increasing attention
from international media, who are
analyzing just how a company that was
something of a joke less than 20 years
ago has grown into the world’s No. 5
automaker (by number of cars produced
and sold).
Just as Hyundai made a name for
itself 10 years ago with its America’s
Best Warranty promotion campaign, the
An exterior of Korean car company SsangYong
Motor’s Chairman H (top). A dashboard of
Lacetti Premiere of GM Daewoo Auto &
Technology — another Korean automobile
company (above).
company again adopted an astute
marketing strategy targeting the United
States in the midst of the global
financial crisis. In January 2009, under
its Hyundai Assurance Program,
Hyundai succeeded in making hesitant
Americans open their wallets with an
astonishing promise to pay up to three
months of installments for people who
were looking for work, or to buy back
the cars if employed customers lost their
jobs. In a month when automakers
suffered the biggest decline in U.S. car
sales since 1963, Hyundai actually
posted a growth of 14 percent.
Bringing the World Together
In 2000, Hyundai-Kia had only 3
overseas plants. As of April 2010, the
group has 11 overseas production bases.
In addition, Hyundai is currently
constructing a factory in Russia with a
production capacity of 100,000 cars, and
is preparing to build other plants in
Brazil and China.
As Hyundai-Kia becomes more
global in scope, it is investing heavily in
locally customized community services. GM Daewoo’s compact car model Gentra
In China, the group is taking the drive along winding roads (above). Kia opened
a production factory in Georgia, U.S.,
initiative in preventing desertification positively affecting the local economy
and helping the environment by (below). Korean cars are exported to all over
the world (bottom).
conducting a five-year project to turn 50
million square meters of arid land in
Inner Mongolia into grassland by 2012.
In the Indian market, where Hyundai-
Kia is the top seller, the group donates
100 rupees to the Hyundai Motor India
Foundation (HMIF) for each car it sells
there. This year, Hyundai-Kia donated
approximately US$750,000 to the
foundation, a 67 percent increase over
the previous year. The company is also
helping improve medical and
educational conditions in remote and
marginalized regions of the country.
Last March, the Hyundai-Kia Group
provided US$200,000 in relief funds to
earthquake-stricken Chile. Also, in
cooperation with Hyundai Mobis, an
affiliate that provides auto parts, the
group conducted repair tours for cars
damaged by the earthquake and offered
discounts on auto parts. In previous
years, Hyundai-Kia has looked to fulfill
175
K o r e a’s L e a d i n g I n d u s t r i e s
its social responsibilities by providing
funds and resources following disasters
such as the 2003 Bam earthquake in
Iran, the 2004 Indian Ocean tsunami, the
2006 Java earthquake in Indonesia and
the 2007 Greek forest fires.
In the United States, Hyundai Motor
America employees travel across the
country in white Santa Fe to offer
financial support to child cancer
patients. The company is also working
as a sponsor of the Soccer for Hope
program, which raises awareness for
children with cancer by teaching them
how to play the sport.
Korean automotive Brands
Gaining Leverage Overseas GM
Daewoo, whose parent company is the
new GM, is being revitalized as the
global automotive industry shows signs
176
of recovery. From January to March this
year, GM Daewoo exported 116,479
cars, while selling 259,508 complete
knockdown (CKD) kits to overseas
markets. Those numbers represent a
19.7 percent and 38 percent increase,
respectively, over the same period last
year.
The rising status of GM Daewoo can
be seen through at the Beijing Motor
Show 2010. Ambitious entries from the
company are next-generation vehicles
that GM Daewoo has taken the initiative
in developing. CEO Mike Arcamone,
who has held his position since last
October, said, “It shows the importance
of GM Daewoo that the next-generation
global cars, whose development was led
by GM Daewoo, were shown as major
models from Chevrolet at a recent
international motor show.” The
177
K o r e a’s L e a d i n g I n d u s t r i e s
company is playing a leading role in
designing cars for the future as it also
develops parent company GM’s
compact cars. This is seen in GM
Daewoo’s Seoul Advanced Design
Studio, which analyzes trends of the
global automobiles’ design for GM
develops. At present, only four
countries have more than two GM
design centers, Korea, the US, UK, and
Germany.
Renault Samsung Motors Company
is enjoying the greatest boom in its
history thanks to high sales of its new
cars this year. In April 2010, the
company celebrated its 10th anniversary
since acquiring Samsung Motors. Over
that time, Renault Samsung has
established itself as a premium brand in
Korea and has earned the respect of
customers around the world by
exporting models melding Renault’s
cooperative development platform with
Korea’s unique style. Indeed, Renault
Samsung’s decade of success clearly
shows the brand power of Samsung.
178
Furthermore, as Renault Samsung
achieves substantial results with its
great product power in Korea and
overseas, the Renault Group has
prolonged its contract to use the
trademark and Samsung name until
2020. Renault is paying 0.8 percent of
domestic sales (2 million to 3 million
Korean won) as royalties to Samsung
every year.
In addition, Renault Samsung
Motors Company is exporting more cars
than it ever has since its launch in 2000.
Starting with the export of its SM3
model, the company has increased the
total number of cars it sends overseas,
with exports making up 48 percent of
total sales in 2008. This year, Renault
Samsung’s exports from January to
March increased by 171.5 percent over
the same period last year. Renault
Samsung exports its SM3 CE model
under various names — Scala, Sunny,
and Almera — to the Middle East,
Europe, and Russia, while its SM5
model is sold as the Safran and the QM5
SsangYong Motor’s Super Rexton continues its
fame as SUV maker (top). The Hyundai-Kia
Automotive Group supports several sporting
activities (above). Renault Samsung Motors,
another Korean car company, unveiled its New
SM5 model last January (below).
An orange-colored Gentra of GM Daewoo
(above). Hyundai is an official sponsor of the
2010 FIFA World Cup (below). The Busan
International Motor Show 2010, a biennal
motor show, is held from April 29 to May 9
(bottom).
as the Koleos to over 60 countries market. Hyundai-Kia disposed of its old
worldwide (except North America). image — selling low-priced cars — and
The SsangYong Motor Company is is instead transforming itself into a
noted for its creation of a leading global brand with amazing
characteristically Korean SUV. The product quality and design. GM
company was a breath of fresh air to the Daewoo and Renault Samsung have
country’s automotive industry with the also contributed to raising the status of
Korando series, Korea’s first four-wheel Korean brands, while SsangYong is also
drive station wagon. Since then it has continuing with production of its
continued to make SUVs like the Musso Korando model in domestic and
(the epitome of Korean four-wheel drive overseas markets.
vehicles with its unique style and
excellent performance), which was first
released in 1993, the luxury SUV Rexton
in 2001, and the Kyron and Actyon in
2005. SsangYong named its new
crossover utility vehicle (CUV) the C200
Korando C, with the aim of reviving the
legendary success of its predecessor, the
company’s best known model during its
heyday and moving forward as the new
SsangYong.
Korea is the world’s fifth largest
carmaker. Many automobile companies
have succeeded in distinguishing their
unique characteristics in the global auto
179
K o r e a’s L e a d i n g I n d u s t r i e s
Throughout Southeast Asia, Korean cars are
increasingly vying for road space with more
established Japanese brands. Korean
automakers’ more recent success in a region
long dominated by Japanese cars is a
testament both to Korean cars’ value for
money, and their ever-improving standards of
engineering. And as sales improve, so do
peoples’ perceptions. In Vietnam, for instance,
being made in Korea has become such a
stamp of quality for cars; many people make a
point of not removing Korean-language
stickers and brochures from the car after
they’ve bought it.
When Korean cars entered the Chinese
market in 2002, they became the vehicle of
choice for taxi firms throughout Beijing, for
their high product value. Building on this
success, Korean automakers have already
constructed two manufacturing plants in
China with plans to build a third. Indeed,
with sales so healthy in the country, Korean
car makers plan to roll out new models for
sale only in the Chinese market. In India,
meanwhile, small Korean cars are having a
big impact — thanks to canny localization
policies. After thorough research into local
needs and tastes, Korean automakers worked
out that a slightly higher roof in their cars
Korean Cars: Making
would be very helpful for the large number
of Indians who wear turbans.
In the United States — long the most
Inroads Overseas
competitive market for automobiles —
Korean-made cars are also enjoying great
success. While top Korean brands continue to
do well there, some American automobile
brands manufactured in Korea — notably
the Chevrolet Aveo — are also selling well,
Korean cars are going places. Thirty years after first selling cars worldwide, Korea is now
demonstrating Korea’s increasing importance
the fifth biggest car producer in the world, according to research carried out by the Korea
in all aspects of the automobile industry. The
Automobile Manufacturers Association (KAMA). This commanding position is evident in
success story stretches right across the world
the global expansion of local automakers. In addition to Korean cars’ success in the United
to Russia’s Far East, where consumers have
States, practically every growing market is home to auto plants run by Korean companies.
been attracted by Korean cars’ combination
Furthermore, one domestic brand has recently announced plans to establish an
automotive plant in Brazil, the heart of the South American market. Today, Korean cars are of good value and reliability.
a truly global presence. In response to the competition, Japan,
by Kwon Yong-ju whose carmakers have traditionally been the
180
strongest here, has begun offering state
support for exports of its used cars, in order
to enable dealers in Russia’s Far East to sell
Japanese automobiles at lower prices. As yet,
however, the measure has had only a limited
effect in stemming the general consumer
tide toward Korean cars.
A key part of Korean automakers’ success
overseas has been their stringent efforts to
adapt to regional market conditions. When
Korean car firms initially set up a plant in a
foreign country, their first priority is to
establish relations with consumers as a
means of gauging local sentiment and
adjusting their sales strategies accordingly.
Perhaps most important in the ascent of
Korean car firms, though, has been their
willingness to diverge from most major car
makers — who tend to rely on unchanged
existing models when they build plants
overseas — and release new models that are
adjusted for different markets. This has served
to reassure local consumers, who seem more
willing to trust the commitment of a firm that
brings new models to a foreign market. In
India and China, for instance, brand-new
Hyundai models such as the i10 and a
customized version of the Avante have been
big sellers.
Korean car makers have gone to great
lengths to connect with local employees, too.
Korean managers overseas have tried hard to
adopt local cultural practices and to give
workers plenty of opportunities to air their
grievances or make suggestions. Having had
time to fine-tune their employee relations
policies, Korean companies are gaining an ever
better reputation as desirable places to work.
This emphasis on human resources and on
adapting to cultures has won Korean
automakers a lot of respect around the world.
Thanks in large part to these localization
strategies, the overseas production of Hyundai,
Korea’s largest automaker, now eclipses that of
its domestic factories. Between January and
March, 2010, Hyundai produced 397,000 cars
in Korea, as compared with 442,000 cars at
overseas plants, providing still more evidence
of just how international the Korean auto
industry has become.
From being considered cheap knock-offs
of better brands, Korean cars are now
regarded as some of the best quality, yet
reasonably priced, cars in the world. Today,
the Korean car industry is increasingly
snapping at the heels of the big boys, with
sales forecast to account for as much as 7
million units — 10 percent of the global
market — by 2015. Korean cars, it seems,
have plenty of places to go yet.
181
K o r e a’s L e a d i n g I n d u s t r i e s

Eco-friendly:
Cleaner
and Greener
The term “green” has recently become a
buzzword in the automobile industry. Although
there is a national drive to respond to the global
financial crisis, there is also a collective need to
deal with climate change, which is why Korea is
moving foursquare into the field of eco-friendly
automobiles. The Korean automotive industry has
already come up with the LPi hybrid, an LPG
engine installed within a hybrid vehicle, and is
about to release a next-generation hybrid in the
form of an electric vehicle (EV). Today, as with the
rest of the world, Korea’s automotive industry is
thinking green in order to cut carbon.
by Kwon Yong-ju

When people think of eco-friendly cars, they
usually imagine some form of alternative fuel:
EVs, say, or fuel cells. Much of the focus,
however, is in fact on cars with a higher fuel
efficiency or reduced gas emissions. Today, all
major efforts at cutting the use of fossil fuels
in cars include ideas on how to use oil and gas
more effectively, while not compromising on
looks or performance. This is why, at last year’s
Geneva Motor Show, Hyundai’s next-
generation hybrid concept car caused such a
stir.
Called the i-flow, the car drew at least as
many plaudits for its sleek design as for its
hybrid-system power unit. At just 0.25, the
i-flow’s drag coefficient (Cd) is less than that
of a sports car, meaning low resistance while
driving and greater fuel efficiency. As the
whole concept of eco-friendliness with car
fossil fuels refers to getting more kilometers
to the liter, the lower Cd on this hybrid car
was a big development.
Also increasing the car’s eco-friendliness
is its weight and its power generation
system, which has reduced the car’s co2
emissions to a minuscule 85 grams per
kilometer. Getting a whopping 33 kilometer
to the liter, it’s no exaggeration to say that
the i-flow has raised the bar for hybrid
technology.
However, even more important than
hybrids, at least if the volume of interest in
Geneva was anything to go by, are electric
cars. Representing 80 percent of the eco-
friendly cars on show at the Swiss car show
last year, electric cars seem finally to have
come of age, and Korean researchers and car
makers are taking note.
Last March, KAIST, a prestigious Korean
technical university, developed an “online
electric vehicle” (OLEV), which works by
drawing on electric power carried in
underground cables. Another notable
emerging technology is neighborhood
electric vehicles (NEVs), which are loaded
with lead storage batteries and lithium-ion
batteries. Designed for driving within cities
at speeds of less than 60 kilometers per
hour, NEVs are already being developed by
some small- and medium-sized companies.
For those who like a bit more bite in their
green cars, Korean automakers are planning to
start production of full EVs by next year.
Though not, yet, quite as powerful as cars
powered by internal combustion engines, EVs
are getting closer, and when one manages to
go 200 kilometers at 160 kilometers per hour
on a single charge, the age of electric vehicles
will truly have arrived.
To date, what we’ve seen is just a taste
of the potential for eco-friendly cars. But if it
can combine all the eco-friendly car
technologies it has accumulated through the
development of fuel cells and EVs, Korea has
a good shot at being a contender in the
global eco-friendly market.

182 183
K o r e a’s L e a d i n g I n d u s t r i e s

These are heady days for Korean electronics. Everywhere you look,
there are electronics gadgets that bear the “Made in Korea” stamp,
whether they are cell phones and TVs or components in other firms’
products. Korea is now also a world leader in broadband connection —
but the journey’s only just begun.
by Song Yeong-rok

Korea’s Elect ronic dreams

184 185
K o r e a’s L e a d i n g I n d u s t r i e s

guide, the exhibition draws student information technology firsthand. Since

field trips from Japan and China, as well
as delegations from Harvard Business
School and other top colleges in the
United States.
“Lately, we’ve had corporate
visitors from the US and developed
European countries, and also from
rising countries like Vietnam, China and
India,” says Bong Ju-hwi, a manager at
Samsung D’light.
Samsung D’light is also famous for
unveiling the company’s latest
electronics products. The 9000 series of
3D TVs; the NX10, a high-end digital
camera; the N310, a mini notebook; and
the Omnia 2 and Galaxy S smartphones
were all unveiled for the first time in the
exhibition hall.
T.um, SK Telecom’s ICT (information
and communications technology)
opening in October 2008, the hall has
hosted government officials, business
figures and academics from 19 OECD
members. Visitors include the US,
Britain and France; major trading
partners including China, Thailand and
Vietnam; and from more unlikely
locales like Mali and Tajikistan. In
February last year, Nathalie Kosciusko-
Morizet, France’s Minister of State, paid
a visit and saw Samsung’s DMB and
IPTV, two kinds of mobile TV services,
in action.
In March, T.um replaced its Ultra
Mobile Personal Computer corner with
smartphones and, after some more
renovations that included the A spectator tests out an IT product, a body
installation of a system that tracks scanner, at SK Telecom’s ICT interactive hall,
T.um (above). Visitors react to seeing their
visitors in real-time, the hall was reborn
pictures on the screen of a wide monitor at
as T.um 2.0. Every exhibit is Samsung D’light (below).

Samsung Electronics’ new smartphone, Galaxy
S is seen (top). HIMS Korea’s portable braille
computer, Hansone, was developed for the
blind (above). Samsung D’light is an exhibition
hall for the company’s latest electronic products
(below).
A ndrea Bocelli, the world famous
Italian tenor, is a big fan of Korea.
Unlike most Koreaphiles, however,
Bocelli’s affection is not a result of food
or traditional culture, but of a braille
computer created by local firm HIMS
Korea. Having been blind since the age
of 12, Bocelli’s life was improved
immensely by the device, which enables
him to write music, send e-mails and
documents, and doubles as a braille
score for when he’s performing operas.
Korean IT, Bocelli said, changed his life.
World-renowned physicist Stephen
Hawking is also a beneficiary of Korea’s
IT industry. Though only able to move
two fingers due to the degenerative
effects of Lou Gehrig’s disease,
Hawking can communicate through a
Korean-made speech synthesizer.
Produced by a firm called Voicewear,
the device turns computerized text into
a human-sounding voice. Hawking
picked it, he said, because it was the
best available anywhere.
With high-profile successes like this, interactive hall, serves as another venue smartphone-interactive: With the body
Korean technology is making a name for visitors to experience Korea’s latest scanner, patrons can create an avatar of
for itself around the world. And having
heard these stories, visitors are coming
from far and wide to learn the country’s
electronic secrets.
IT Lessons Ask a Korean what the top
must-see tourist attractions in his capital
are, and he’ll no doubt say the all-night
market at Dongdaemun or perhaps the
traditional stores along Insa-dong.
However, rising quickly in the ranks of
that list is Samsung D’light, an
exhibition hall at Samsung Electronics’
headquarters in Seocho-dong, southern
Seoul. In just 18 months, this showcase
of high-tech gadgetry has attracted
more than 800,000 visitors, or roughly
3,000 people every day.
Samsung D’light has built its
reputation as an “interactive digital
space,” managing to attract hordes of
visitors from overseas. Listed as a
recommended stop in a Japanese travel

186 187
K o r e a’s L e a d i n g I n d u s t r i e s
Samsung Electronics held an consumer event,
Super Smart Day, to introduce the Galaxy S’s
functions and applications on July 17 in Seoul
(above). Samsung recently unveiled its latest 3D
TV series, the Samsung PAVV hybrid 3D PDP TV,
in two models (below).
188
themselves and try on virtual costumes,
while pressing certain keys on their
smartphones will open the door of a
sports car they can take for a spin.
T.um 2.0 also includes the Play
Dream hall, where you can experience
the ICT services of the future, and the
Play Real hall, which showcases SK
Telecom’s current technology and
services. The Play Dream hall lets
visitors sample home networking
services using motion-detection
technology, futuristic games, real-time
conversion of 2D into 3D, and shopping
services using image recognition. The
Play Real hall, meanwhile, has an array
of core technologies currently under
development at SK Telecom, plus
mobile network management systems
and high-tech services that are being
provided or are in development today.
Electronic politics Korea’s
government is also playing a central
role in transforming the country into an
IT powerhouse. Demonstrating the
nation’s pioneering role in the move
toward e-Government, Ministery of
Public Administration and Security of
Korea’s Minister Maeng Hyung-kyu
and UN Under-Secretary-General Sha
Zukang last June agreed to jointly
develop the “UN Public Administration
Knowledge System,” a project under the
auspices of the UN department of
economic and social affairs in Barcelona,
Spain. The system will collect
information related to e-Government
policies, infrastructure and evaluation
among the 192 UN member states, with
a view to creating a UN-centered global
e-government in the future.
On behalf of Korea, Maeng also
received the top prize at the 2010 UN Electronics and LG Electronics are
Global E-Government Survey Special ranked second and third in the world
Award, a recognition of Korea’s leading mobile phone market, and occupy the
position in the field. Looking to learn top two spots in the global TV market.
from Korea’s success, officials from 11 Nor are Korean firms focused only on
developing countries visited in March, finished products. If you’re using a
taking classes in Korea’s e-Government Nokia or an Apple handset, the chances
policies and information technology. are that some parts were made in Korea.
The tour included visits to agencies that Check your HP or Dell computer, and
have already embraced the new the DRAM memory chips will almost
e-Government system, such as the certainly be from Samsung or Hynix.
National Computing and Information In the 3D industry, a booming field Participants of the World IT Show 2010, an IT
exhibition held in Seoul from May 26 to 28,
Agency and the Korean Intellectual since the release of James Cameron’s watch LG’s 72-inch LED 3D TV (top). People play a
Property Office. According to the epic Avatar, Korea is also playing a videogame at SK Telecom’s T.um (above). The
Korean government hosts a civil affairs website,
National Information Society Agency, pivotal role. “I think Korea will firmly
G4C (below).
over 3,000 public servants from about establish itself as the world leader in the
100 nations have taken part in new industry of 3D TV,” Cameron said
specialized IT training programs in on a visit to Korea in May. “Korean
Korea since 1998. consumers tend to be early adopters,
adjusting to new technologies quickly.
leading the World Nowadays, no And that will help companies like
matter where you are in the world, Samsung and LG supply 3D TV sets,
you’re never far from a Korean mobile starting with Korean households and
phone, TV, washing machine or air then the rest of the world.”
conditioner. Korea’s Samsung During his time in Korea, Cameron
189
K o r e a’s L e a d i n g I n d u s t r i e s
announced a deal with Samsung in
which his Avatar production crew
would shoot music videos for Korean
pop stars — including BoA and TVXQ
— to be displayed in Samsung 3D TV
retail outlets worldwide.
Korean firms, as major players in the
mobile phone market, are also working
to increase their presence through
smartphones. Samsung’s flagship
smartphone, the Galaxy S, will be
offered through more than 100 mobile
service providers as the company seeks
to sell 10 million units.
In the global semiconductor
industry, Korea’s strength is even more
pronounced. According to a recent poll
by the market research firm iSuppli,
Samsung and Hynix respectively
accounted for 32.6 percent and 21.7
190
A Bhutanese IT official tests out the U-City
Environment program, supported by the
Korean government, at Digital Media City in
Seoul (top). Hynix’s semiconductor chip, 44nm
2Gb LPDDR2, is seen (below). James Cameron,
director of the famed 3D movie Avatar , visited
the Samsung Digital City in Suwon on May 13
(below right)
Fans watch the American NCAA men’s final game in April on the LG Electronics 3D
TV at Lucas Oil Stadium in Indianapolis, US (top). LG Electronics launched a new
3D computer package, which provides 3D-effects for 2D images (above).
percent of the global semiconductor
market in the first quarter of this year.
While competitors have been holding
back, Samsung and Hynix have
continued to make bold investments,
ensuring their dominance. Samsung
recently announced a 9 trillion won
(US$7.5 billion) investment in its
semiconductor sector, while Hynix
plans to pour in 3.5 trillion won.
In terms of sales, Samsung is ranked
first with 26.5 percent and LG Display
second with 23.7 percent. In February,
both firms surpassed an accumulated
production of 500 million large LCD
units — enough to cover 10,000 soccer
fields — since beginning their
operations in 1995.
For all their success, there still
remains a feeling that Korea’s
electronics industry still has the
potential to grow. Soon 3D TVs will
come without glasses, chips will be
smaller yet even more powerful, and
smartphones will do things we’d never
imagined. And when they do, you can
be sure that Korea’s electronics giants
will be a part of them.
191
K o r e a’s L e a d i n g I n d u s t r i e s
Kim Si-hyun, head of the Chinese Character Education Research
Institute, is one of the most famous lecturers of Chinese in Korea.
Every semester his lectures at Hankuk University of Foreign
Studies, Dongguk University and Sookmyung Women’s University
draw more than a thousand students. Despite his common touch,
however, Kim long shunned the digital lifestyle. Social media or
mobile phones, he felt, only served to undermine human-to-
human contact. But this lifelong Luddite recently transposed his
conventional popularity into a more high-tech form, with the
hugely successful “Kim Si-hyun’s Chinese Dictionary for Everyday
Living,” which shot to No 3 in the Korean store for applications
for Apple’s iPhone. So why the big change?
The story began in February of this year when Kim, who
didn’t even own a mobile phone, was asked by his students to
develop an app for their iPhones that would help with their
studies. Kim gave it some thought, consulted with business
192
Korea Sets
Sail on
a Sea
of Apps
Though somewhat late to arrive to the
party, iPhones have taken off in Korea with
a vengeance. And as the iconic smartphone
has seen its sales soar, its applications, or
apps, have become a local phenomenon
too. Just as amateur app designers have
reflected local needs and tastes around the
world, Koreans are coming up with their
own games and solutions — with
intriguing, lucrative, results.
by Son Jae-kwon
partners and, overcoming his technophobia, decided to give it a
go. Besides a Chinese dictionary containing 2,300 key characters,
Kim built several other apps that offered help in studying for
Chinese tests, then watched as his creations became an
overnight success.
Apple’s iPhone arrived in Korea on November 28, 2009. In the
nine months since then, the handsets and apps have become a
phenomenon. After joining the revolution late, Korea’s App Store
now offers some 6,500 apps (there are around 134,000 available
in total).
In Korea, app development is no longer the exclusive domain
of techies. From corporations and public agencies to teachers and
restaurateurs, app makers are popping up in all walks of life. As
for apps themselves, their influence is being felt in economics,
industry, politics and culture. For Korea, “The Age of the Apps” has
truly arrived.
“Compared to just three months ago, the demand for new
apps has tripled,” says Yang Soo-yeol, research chief at Inpion
Consulting, a web services company. “To meet this demand, we
see more and more app developing companies and individuals
appearing almost every day.”
As wildly successful as it’s been, Kim’s Chinese app is just one
of a flurry of hits designed by and for Koreans. Seoul Bus,
designed by second-year high school student Yoo Joo-wan,
became a smash hit by telling Seoulites exactly how long they’d
have to wait for their bus, whichever stop they were at. Since its
release last December, Seoul Bus has been downloaded 560,000
times.
Seoul Bus also served another, hugely important role:
teaching civil servants the value of openness. When the app was
first released, the governments of Seoul and Gyeonggi-do
Province — on whose data Seoul Bus relied to work — tried to
have it banned, saying that Yoo required their express permission
to use the information about the buses. The public made their
objections known, arguing that the information in fact belonged
to them. The governments soon relented, and an app sensation
was born.
For many Koreans, it was inspiring to see a student preparing
for Korea’s notoriously tough university entrance exams find the
time to create an app. The moral seemed to be that whoever you
were, and whatever your background, you could develop and
make money from these programs.
Another app that’s been clocking up big sales is Facial
Recognition Physiognomy. Tapping into the old belief in assessing
people’s character through their faces, this app lets users access
facial shots saved in their photo album then breaks them down
into five areas. From this, it divines insights into what the future
holds for him or her. In a country where fortune telling remains a
popular pastime, the physiognomy app has been a big hit.
As anyone who’s spent time in Korea will tell you, delivered
food is a staple of the local diet. Little surprise, then, that apps
have appeared to cater to this demand, too.
Apps like Delivery Box and People of Delivery provide
locations and phone numbers for chicken places, pizzerias, and a
host of other take-out eateries. The apps offer access to menus
and coupons that are only available through online orders, and
even keep tabs on how long it’s been since the order was placed.
More than 30,000 establishments across the country have signed
As the smartphone
gains in popularity
in Korea, several
applications have
become hits.
People of Delivery,
Kim’s Chinese,
Seoul Bus and
Facial Recognition
Physiognomy apps are seen (from top left).
up with these “delivery apps,” and more are doing so every day.
While catering to specific local needs, apps such as Delivery
Box are also creating brand new experiences and new business
opportunities. This, in turn, is creating a self-perpetuating cycle of
profit: As more innovative apps appear, more people want to buy
iPhones.
Within just two months of iPhones and apps going on sale in
Korea, the amount of online data used by Koreans more than
doubled. Today, Korea’s iPhone users log an average of 442 MB
per month, 44 times higher than regular cell phone holders. This
exponential growth has had a positive knock-on effect to the
economy. In the first quarter of this year, there were 6,689 job
notices in the mobile communication and software sectors, up 51
percent from the same period a year ago. Between December
2009 and February 2010, there were also 1,325 companies newly
registered in the publication, video, broadcasting and optional
service provision sectors, an increase of 39 percent year-on-year.
This vast increase, of course, coincided with the introduction of
iPhone and the App Store in Korea.
According to KT, the Korean telecommunication company
that brought the iPhone to Korea, the mobile data market could
jump by 4.5 trillion won (US$3.8 billion) over the next three
years. The paid contents market could rise by 1.9 trillion won
over the same period, KT estimated.
From a country that held out against the iPhone longer than
most, its arrival has been nothing short of revolutionary. Korea
may not have been an early adopter of apps, but it’s a major
player now.
193
K o r e a’s L e a d i n g I n d u s t r i e s
korea’s early
adopters set
the tone for
electronics
giants
You may have never heard of them, but
Korea’s “power bloggers” are affecting the
goods you buy. By making their online
voices heard in one of the world’s most
wired countries, bloggers and “power
users” have changed the way electronics
companies do business — to the benefit of
consumers everywhere. by Son Jae-kwon
194
Earlier this year, as it prepared a conference to unveil the world’s
first LED TV, Samsung Electronics called in the bedroom scribes.
Inviting regular reporters and journalists for a morning session,
the company held a second event in the afternoon, which was
attended entirely by bloggers. Around the same time, NHN, which
operates Korea’s top portal site, Naver, did the same thing,
holding a conference for bloggers as it announced changes to its
homepage.
In fact, more and more Korean tech and IT companies are
realizing the value of blogger opinion. Whether it’s launches of
TVs, smartphones or digital cameras, bloggers can increasingly
expect to be invited along to the party. In a few cases, the
boundaries between bloggers and old-school media have
disappeared altogether. At recent product launches, LG Uplus
(formerly LG Telecom) and Taiwan’s smartphone company HTC
invited bloggers and journalists along to the same event —
though the reporters’ less than ecstatic response suggests that
not all of them are quite ready for that level of intimacy yet.
Perhaps more than in most countries, Korean bloggers have
enjoyed a stellar rise in importance and status. In a nation with
one of the highest rates of broadband penetration in the world,
and where upwards of 25 percent of the population, according to
surveys, consider themselves “early adopters” of new technology,
Korea’s bloggers have risen from minority tastes to wielding real
influence on what consumers decide to buy.
And Korean tastes matter to more than just domestic
companies. With Korea increasingly known worldwide for its
demand for the very latest technology, the San Francisco
Chronicle recently ran a feature story detailing how several Silicon
Samsung hosted an
event for smartphone
users on May 14 in
Seoul (opposite).
Power bloggers
discuss LG cell phones
at a meeting hosted
by the company
(above). Korean
Navigation company
Thinkware’s
navigation (left).
Valley companies try out their latest products there as a
barometer of how they’ll work worldwide. Of course, Korean firms
have been doing this for a long time. In releasing their products in
Korea six to eight months earlier than anywhere else, Samsung
Electronics and LG Electronics look to find out what early adopters
think of their goods and iron out any problems through consumer
feedback.
Canon, the world’s top digital camera maker, once altered its
production process for its DSLR cameras following suggestions
from a Korean “power user,” as Korea’s influential early adopters
are known. Having bought a DSLR camera from the company, the
user wrote that photographs he took with it had some ring-
shaped distortion. He complained to Canon’s Korean branch, who
forwarded the camera to the company’s Japanese headquarters,
where technicians discovered problems in the production process.
As a result, Canon issued an apology on its global websites and
offered a free clean up of the camera’s mirror box for users who’d
experienced the same problem.
Cowon, a Korean manufacturer of MP3 players, had a similar
experience. Having received a complaint that a 16GB player had
taken three hours to fill with music files, rather than the expected
20 minutes, the firm responded by saying that their own tests
showed no such problem with the product. The disgruntled owner
then fixed the problem himself and posted his solution, along with
a strongly worded complaint, on the company’s homepage. Cowon
subsequently admitted that after further tests, certain models
were slower than advertised. Its online apology included a reprint
of the solution suggested by the irate power user.
These influential voices are an increasingly important
component of Korea’s high-tech industries. For about three years,
Samsung and LG, among others, have been managing “prosumer”
groups of 20 to 50 people. They are sent on overseas inspections
and their creative ideas and exacting standards are frequently
reflected in the companies’ services or new products. And while an
average of one out of 25 products reportedly made it past the
focus groups last year, this year, that number fell to just one in 40.
Some groups made proposals that were so radical, they got
engineers thinking in entirely new ways.
Power users are also making their presence felt in the
electronic map sector. M&Soft, a Korean electronic map maker,
update its maps six times a year thanks to power users.
Consumers who have used the company’s GPS navigation systems
find discrepancies between real maps and the company’s
electronic versions, and then post their complaints online. The
company said there are about 150 comments a day and more
than 3,000 per year, with the numbers increasing by more than 20
percent each year.
In Korea, early adopters are a very distinct breed from “opinion
leaders,” the trendy, often high-profile folk who both pursue and
shape what’s “cool.” Early adopters here are real consumers, as
eager to find high quality as the very newest in electronics goods,
and determined that their opinions will be heard. Though you may
not know their names, they are a powerful force, whose voices
increasingly influence not just electronics in Korea, but in products
internationally as well.
195
K o r e a’s L e a d i n g I n d u s t r i e s

Since the late 1990s, Korea’s online gaming industry has

grown as quickly as access to high-speed Internet. Today,
gaming is a central part of Korean life. And in a country that
has long had to rely on science and technology over natural
resources, the gaming industry seems set to become even
more relevant in Korea. by Baek Bong-sam

KOREA’S GOT GAME

196 197
K o r e a’s L e a d i n g I n d u s t r i e s

European affiliates. Dungeon Fighter,
Nexon’s other signature title, once had
2.2 million players connected
simultaneously in China and was picked
as one of the most popular games at the
WebMoney Award 2010 in Japan.
Cross Fire, a first-person shooting
(FPS) game, is also in the elite club of
games to have registered 2 million
simultaneous connections in China.
Though it only enjoyed marginal
success in Korea, players in China,
Taiwan and Vietnam made the game a
huge hit overseas. Along with The
Legend of Mir 2 and Dungeon Fighter, it is
one of the three biggest Korean games
in China.
The Secrets of their Success As
ever more Korean online games find
fans overseas, gaming has established
itself both as an industry and as a
three game makers, alongside the US
and Japan, by 2012. To help the industry
develop even further, the government
plans to focus more on promotion, while
also easing certain regulations.
A major reason that Korean online
games have thrived away from home is
their success in adapting to local needs
and tastes. Just as high-speed Internet
connections became more widely
available around the globe, Korea
marched into Japan, China and Taiwan,
as well as the US, Europe and Russia.
By setting up overseas affiliates, Korean
companies hired local talent to help
infuse local culture into games and
create marketing strategies that would
appeal to local players.
It hasn’t all been plain sailing,
however. Since the late 2000s, China has
looked to protect its own developers by
restricting access to its gaming market.
In response, Korean companies began
forming partnerships with local
publishers like Shanda and Tencent.
Still, the rapid growth of China’s
indigenous gaming industry has seen
Korea’s market share drop from 80
percent to 25 percent. Some gamers in
North America and Europe continue to
find Asian games a little exotic for their
tastes, and not all countries enjoy the

K orean online games have gone
beyond their home turf and are
now reaching out to the US, Europe,
China and Japan. No matter where you
live, you can play Korean games and
strike up cyber friendships with fellow
gamers around the world. At big
gaming tradeshows overseas, such as
Gamescom and the Tokyo Game Show,
Korean online games are some of the
most hotly anticipated, wowing
seasoned gamers with their dynamism
and creativity. Korean game developers
have also been quick to adapt to the
latest trends, building a host of hot new
social games, functional games that are
educational as well as fun, and open
platform games that are staking claim in
the booming realm of smart devices.
rocking All Over the World
Guild Wars by NCsoft, Maple Story by
Nexon, and Cross Fire by Neowiz Games
are among the most popular Korean
Screenshot from the online games overseas.
online game Aion ,
which is one of the
Guild Wars first took off in North
most popular America and Europe markets where
games not only
console video games have
in Korea but
all over the traditionally been dominant.
world (above). Developed by ArenaNet, the
Muguk, one of
the striker
North American affiliate of the
characters of leading MMORPG (Massively
Dungeon Fighter
multiplayer online role-playing game)
(right). Main poster
of the game maker NCsoft, Guild Wars sold about 6.3
Dungeon Fighter million copies outside Korea, raising
(below).
huge expectations for a sequel.
When it arrived, Guild Wars 2 didn’t
disappoint, winning NCsoft’s “best
online game” award at the 2010
Gamescom, a German gaming
exhibition. It was the second year in a
row that NCsoft took the prize,
following Aion’s victory in 2009.
Maple Story is also available in about
70 countries across Asia, North America
and Europe, with Nexon offering
officially serviced versions of the game
through its North American and
cultural phenomenon in Korea. Suitably
for Korea, games don’t require much in
the way of natural resources, instead
relying on a highly skilled and
inventive workforce. As such, gaming is
one of the highest value-added
industries in the country. Aion ’s characters are seen on its screenshot
According to the “2010 Korea Games (above). Attendees for G-star 2010, an annual
game trade show held in Busan, Korea,
White Paper,” published by the
experience online games on the iPad (right). A
Ministry of Culture and Korea Creative screenshot from Metro Conflict (below).
Content Agency, the local game market
recorded 6.6 trillion won in annual sales
in 2009. In the same year, Korea
accounted for 3.1 percent (US$3.58
billion) of the overall international
market (US$117.3 billion), and exports
increased 13.6 percent year-on-year to
US$1.24 billion.
In 2010, exports of Korean games
were estimated to have grown by a
further 29 percent to surpass US$1.6
billion, with many predicting that figure
could top US$2 billion in 2011. Korea has
set out to become one of the world’s top

198 199
K o r e a’s L e a d i n g I n d u s t r i e s
fastest of Internet connections.
But the increasing presence of online
games in the global gaming market is
enormously encouraging for Korean
companies. According to market
researcher DFC Intelligence, the world
online games market in 2011 is expected
to grow by 17.2 percent to surpass
US$18 billion. Korea, long on experience
and technology in online games, is
poised to become more competitive
overseas.
A Perfect Pastime An online
teaching site recently showed that
Korean middle school students spend
200
57 percent of their free time surfing the
Internet and 10 percent of the time
playing online games. The 2010 white
paper on games said more people (28.3
percent) selected playing games as their
favorite pastime than watching TV (22.1
percent) and going to the movies (19.7
percent). In Korea, gaming is a part of
the cultural furniture.
G-Star, an annual game trade show,
served as further proof of this. Held
over four days in the BEXCO center in
Busan, Korea, G-Star 2010 attracted
around 283,000 visitors from Korea and
One of the opening shots of The Legend of Mir 2
(above). Some of NCsoft‘s games were featured
overseas. Some 316 companies from 22
at Gamescom 2010, held in Germany last year countries conducted 3,550 rounds of
(far left). Ferres, a new
export consultations, with 166 deals,
character in Arche Age ,
showed up at G-Star worth around US$20 million, being
2010 for the first inked in total.
time ever (left).
Screenshot from
Every year, the crowds at BEXCO
Arche Age have been growing, with the geeks
(below).
being joined by growing numbers of
families and couples. This in itself marks from their studies and shuttered up in Attendees of G-Star 2010 enjoy online games in gaming industry. Potentially the biggest
the middle of the event room (above). The main
a major shift, as games in Korea have smoky PC rooms. Some games have characters from the educational PC game by
platform in this new gaming world are
traditionally been seen as a baleful drawn controversy for their racy or the UN World Food Programme, Food Force , social networking sites such as Facebook
bring to gaming an awareness of worldwide
influence that keeps youngsters away violent content. Though the Game and Twitter, where social games have
environmental disasters (below).
Rating Board reviews and labels games exploded over the past year.
for different age groups before they hit Com2uS and Gamevil are two of
the market, its rulings have also been Korea’s top mobile game makers.
the source of rancorous debate. Having earlier focused on games for
But as games increase their presence feature phones, the companies threw
in Koreans’ lives, and as trade shows their creative weight into iPhones and
and e-sports events turn gaming into a Android-based phones soon after those
form of spectator sport, games are devices hit the Korean market in late
laying ever greater claim to the mantel 2010. Com2uS has released about 20
of “culture.” And as this rehabilitation games for Apple App Stores and Google
gathers pace, the government seems Android Markets, with titles such as
certain to increase its support for the Homerun Battle 3D and Slice It! faring
gaming industry and to help it nurture much better overseas than in Korea. For
talent. its part, Gamevil has produced Baseball
Superstars 2010 and Zenonia 2, which
the move to mobile Just as the have both ranked No 1 in sports and
Internet heralded a seismic shift away RPG games, respectively, at Korea’s
from consoles and arcade machines, so Apple App Store.
smartphones and tablet PCs are Seeing these enormous new
threatening another revolution in the opportunities, online game
201
K o r e a’s L e a d i n g I n d u s t r i e s
developers have been quick to get in on
the action. Nexon is working on mobile
and smartphone games through its
subsidiary Nexon Mobile, using its own
original games such as Kart Rider, a
wildly popular racing game. Neowiz
Games has acquired a mobile game
company, Zio Interactive, as it bids to
become a player in this booming
market. NCsoft has focused on
producing applications linked with
online games, earning plenty of good
reviews in the process.
The rise of SNG, or social network
games, is increasingly impacting
Korea’s online games as well. Whereas
users previously relied entirely on
online games built by developers, they
can now bond with other SNG players
and build networks of their own.
Another change is in the gamers
themselves. Previously the domain of
men, gaming has become increasingly
202
A screenshot from the popular with women, too. Thanks to
online game Asta
(above). One of the
improved technology, it’s also possible
main poster images of for moderately tech-savvy gamers to
Kingdom Under Fire 2
develop appealing SNG at a low cost.
(right). A screenshot
with characters from For companies, SNG games represent a
Aion (below).
low-risk venture that can bring
outstanding results. Companies like
WeMade, SK Communications, Nexon
and Gamevil have all shown interest.
They are expected to start rolling out
their own efforts sometime this year.
Functional games are another new
trend. Beyond entertainment, games are
being used for education, therapy or to
raise awareness of global environmental
disasters. Food Force, an educational
game published by the United Nations
World Food Programme (WFP), has
been released in Korea by NCsoft. Hanja
Maru, by NHN, helps players learn
Chinese characters. Other games
currently in development promise to
help users with rehabilitation training
and learning disabilities. Dungeon Fighter, Neowiz Games’ Cross hinder the further development of the
Game portal sites are also changing. Fire and NCsoft’s Guild Wars, which gaming industry, which has the
As the industry has grown larger, the were all big hits in countries outside of potential to be as important an export as
gap between major developers and Korea. automobiles, ships and semiconductors.
small companies widened, with new ABI Research in the US estimates Instead of the often stifling current
ventures finding it extremely difficult to that the global online games market restrictions, Korean game companies are
get a foothold. Part of the problem was could reach US$20 billion by 2012. hopeful that Korean regulations will
that developers stuck rigidly to their Korea is aiming to become one of the increasingly be brought into line with
own services, or signed exclusivity world’s three biggest gaming countries international standards.
deals with certain portals. But with the by then, with an increased focus on Given its steady growth and its
new “channeling” services, games are moving beyond the saturated domestic nimble response to ever-changing
now available through multiple sites, market and toward the wider world. trends, experts are optimistic about the
with everyone sharing the revenues. Growth on that scale requires more future of the Korean online game
support from the government, civic industry. Highly-anticipated games such
Thinking about the Future Up organizations and the general public. as Tera by NHN and Guild Wars 2 by
till now, Korea has concentrated on Archaic restrictions and policies could NCsoft are scheduled for release this
developing games linked to new year. The world of Korean gaming is set
platforms based on online games. for even more excitement ahead.
However, boundaries between video
games, online games and mobile games
have been blurring, and Korea is
looking to take advantage of a more
globalized market as well.
Korean developers, thanks to their
cutting-edge technology and quick
responses to trends, expect the country
to mount a sustained challenge to An original painting for WeMade‘s upcoming
gaming powerhouses such as the US, online game, NED (left). A screenshot from the
brand new online game by NHN, Tera , which
Japan and China in the years ahead. proved to be a mega hit when it was unveiled in
The year 2011 is set to see another Korea in January (above). A screenshot from
Kingdom Under Fire 2 (below).
major push from Korea’s game
developers, as they prepare for further
growth and move deeper into overseas
markets. Government and corporations
are expected to invest heavily in the
search for more games like Nexon’s
tip for understanding
Channeling Service
This refers to servicing of games by a game portal
site through another company over a certain
period of time. There are no additional costs
besides the contract and the companies share
their profits. Such deals are often reached
between major game portals and mid-sized
developers. Big portal sites have entered this
partnership as of late in a bid to win more players.
203
K o r e a’s L e a d i n g I n d u s t r i e s

acquired GameHi, the developer of Korea’s developer PopCap. NCsoft is also bidding to over the next three years, it will invest 100
top FPS (first-person shooting) game Sudden launch a new professional baseball team in billion won in smart device games and will

Korea’s Big N’s: Attack, for 120 billion won (US$108 million).
Nexon then bought out Ndoors, developer of
the MMORPG Atlantica, giving itself some
Korea, which would make it the first local IT
firm to own a ball club. In doing so, it is
looking at ways to connect its games with
concentrate its efforts on mobile game
development in Korea and Japan. Accordingly,
on January 3 NHN set up Orange Crew Corp
momentum for overseas growth. The other types of businesses. to develop smart device games.
industry estimates that Nexon last year Game experts say the Big N3 have been
became the first gaming company to surpass Hangame, Korea’s No 1 online able to dominate the market through a clear
1 trillion won in annual sales, with overseas game portal Hangame, operated by vision, a real feel for what their customers
sales accounting for almost 70 percent of NHN, is the most popular game portal in want, and outstanding and constantly
To say that the so-called “Big N3” — Nexon, NCsoft and that. Korea. Buoyed by computer versions of evolving technology. The companies have
NHN — own the Korean online game market would be traditional games such as go-stop and poker, remained very nimble to new trends, and
only a slight exaggeration. In addition to being smash NCsoft, global recognition Hangame has enjoyed tremendous recent have not been afraid to invest heavily. This
hits in Korea, games such as Nexon’s Maple Story and Thanks to such hits as the Lineage series and success with RPG games like C9, Monster eye for competition, and the relentless quest
Dungeon Fighter, and NCsoft’s Guild Wars and Lineage, Aion, NCsoft is widely regarded as Korea’s Hunter Online, and Seven Souls. to outdo one another, means things could
have enjoyed great popularity overseas as well. As for best MMORPG developer. The company has Hangame is hoping to make an even yet get even bigger for the Big N3.
NHN’s Hangame – it’s the most popular games portal also enjoyed success overseas: NCsoft’s Guild bigger splash in the game sector this year
site in this Internet-crazed country. Wars package, developed by the company’s with Tera, an MMORPG developed over four
North American affiliate ArenaNet, has sold years by Bluehole Studio. The FPS game One of the main characters of Blade & Soul is
seen (opposite). A character from Asta (below).
more than 6.3 million copies worldwide. Metro Conflict, unveiled at the game trade
Lineage, an MMOPRG released in 1998, show G-Star 2010 last November, and
laid the foundation for NCsoft’s massive Kingdom Under Fire 2, an action strategy
success. To this day, Lineage remains the face game, will round out Hangame’s lineup for
of NCsoft, with huge followings in Korea, this year.
Japan and Taiwan. The game posted its As part of its new strategy, NHN plans to
In this three-way battle, everyone has a popular it’s been dubbed “the national game highest quarterly sales in the second quarter set up a game channeling site called PlayNet.
slightly different weapon of choice. For of Korea.” of 2010, and with some substantial updates The idea is to let the millions of daily visitors
Nexon, it’s casual games. NCsoft is the But it was in 2008, when Nexon acquired scheduled for this year, Lineage’s success to NHN’s Naver — Korea’s biggest portal
leader in MMORPG (Massively multiplayer Neople, the developer of Dungeon Fighter, seems sure to run for a while yet. site — gain easy access to dozens of games
online role-playing game), and Hangame is that the company really hit the big time. Using its first-class MMORPG after a single log in. Currently running a beta
the top site for Web board games. Each Through the publisher Tencent, Nexon technology, NCsoft is expected to mount a version, it’s scheduled to go fully live early
company has distinct characteristics, and moved into China and soon had 2.2 million bigger push into overseas markets. Blade & this year.
each takes enormous pride in its product. users simultaneously connected to its games. Soul, an MMORPG successor to the online These concerted efforts can be
And this being a battle, each also engages in The Nexon portal saw a 20 percent hike in smash hit Aion, and Guild Wars 2, a sequel to traced back to NHN’s Achilles’ heel.
little psychological digs aimed at giving it new users, as well as a 21 percent jump in Guild Wars — which enjoyed huge success in Whereas Nexon and NCsoft started
the edge. overall visits. North America and Europe — are both under out as game developers and
But Nexon has had its down moments, development and penciled for release either continued to make progress as
Nexon: the father of RPG too. It’s had its share of hit games, but some, late this year or early next year. developers, NHN has mostly rode
games Nexon has made steady progress such as Husky Express, bombed. And though NCsoft hasn’t been as successful in the success of its gambling games.
since bursting on to the scene with 1998’s far from disastrous, Nexon’s foray into the regular games – though not for lack of Now, however, NHN wants a place at
Land of the Wind, the father of RPG games. In MMORPG market didn’t come close to trying. While Love Beat, a dance game, fared the top table of games developers, and is
2003 the company released Maple Story, emulating the company’s success with quite well, neither Dragonica or Punch going all out to get there.
which now boasts more than 100 million regular games. Monster ignited the passions of Korea’s It was also in this vein that NHN last
registered players in 60 countries around the To work on its flaws and make another notoriously demanding gamers. year set itself the goal of becoming the top
world. The following year it continued its hot big leap forward, Nexon last year went on To find its next breakthrough, NCsoft has player in smartphone games in both Korea
streak with Kart Rider, a racing game so the hunt for the best of developer talent. It signed a publishing deal with global game and Japan. At the time, NHN announced that

204 205
K o r e a’s L e a d i n g I n d u s t r i e s
The year 2011 promises to be a big one for Korea’s gaming industry. NHN was first
out of the gates with Tera at the beginning of the year. XLGames is scheduled to
unleash Arche Age in November. And NCsoft, a giant of the MMORPG, looks to roll
out Blade & Soul in the next few months.
NCsoft and NHN, two of Korea’s biggest
computer game companies, are primed for
some heated competition. With developers
from NCsoft bolting the company to take
part in the building of NHN’s Tera — an act
of high treason in the gaming world — NHN
is itching to release something better than
NCsoft has ever done. For its part, XLGames
is also poised with a world-leading game of
its own. While it’s too early to tell which of
the companies will emerge victorious from
this round, gamers themselves stand to win
big.
206
Tera vs Arche Age: 40 billion
won takes on a new standard
in MMORPG After three private tests, one
“stress test” and a mountain of anticipation,
Hangame unveiled Tera at 6am on January
11.
Developed by Bluehole Studio, Tera offers
the best graphics of any existing online
games. Created with Unreal Engine 3
technology, the graphics cleanly capture the
world of Tera, with exceptionally realistic
backdrops and objects. As a “free targeting”
game, Tera doesn’t automatically target
monsters, forcing the player to defend
themselves from all sides and distances. It all
adds up to one of the most intense, deeply
immersive games ever released.
Before its launch, some introductory
scenes from Tera were posted on the US
game site GameTrailers.com. Enthralled
gamers raved about its music and
composition, awarding the new game 8.7
points.
Frogster, a famous developer, is currently
working on the European version of Tera,
meaning Bluehole is looking at its first
successful MMORPG overseas. However,
since the game is quite dense in terms of
data and layout, some point to the need to
make it more efficient.
With Tera having thrown down the
gauntlet, XLGames is preparing to enter the
fray with Arche Age. After two private tests
last year, Arche Age will have another test
either in March or April before hitting the
market in November.
Arche Age was already generating
major buzz in Busan last November
during G-Star 2010, the largest game trade
show in Korea. With Song Jae-kyung, a main
developer behind Nexon’s The Land of the
Wind and NCsoft’s Lineage, on board, gamers
are brimming with anticipation to see what
unique new worlds this maestro and his
team have created.
Sleek, CryENGINE 2 technology graphics
and a massive range of quests promise to
make Arche Age a great game. XLGames has
already signed deals with Japan’s GameOn
and Taiwan’s GigaMedia to provide the game
in those territories, along with Hong Kong
and Macau.
The timing of the release, however,
remains a point of concern. If NCsoft goes
ahead with its plan to unveil Blade & Soul
toward the end of the year, then XLGames
will be going up against one of the best
established names in the MMORPG business
instead. Gamers, needless to say, are
watching the situation closely.
More Newer Online Games on
the Way NCsoft — the creator of top-
notch MMORPG such as the Lineage series
and Aion — has got high hopes for Blade &
Soul. Unlike other epic games that relied
solely on flashy graphics and sheer scale,
Blade & Soul is already being hailed for
producing nearly perfect content.
Players got their first glimpse of Blade &
Soul at G-Star 2010, where the NCsoft
booth was so popular that gamers had to
A screenshot from NHN Hangame’s Tera
(opposite). Yuran, one of the main characters of
Blade & Soul of NCsoft (above). Screenshots
from XLGames‘ Arche Age (below, bottom).
line up two hours for a brief chance to go
hands-on. Despite the wait, players gushed
about Blade & Soul’s brilliant graphics and
impressive new skills sets.
Released under the slogan, “The
Signature Eastern Fantasy MMORPG,”
Blade & Soul is populated by wildly diverse
tribes and characters. Art director Kim
Hyung-tae, of Magna Carta fame, has
produced a visual tour de force with his
artistic and colorful touch. Bae Jae-hyun,
who worked on Lineage, brings a real
technical craft to the game. Their joint
creation will see a general release before the
end of the year.
NCsoft is, in fact, in no great hurry to
introduce Blade & Soul. Lineage and Aion are
still doing well, so the company is loath to
split its own market share. It all depends
on how Tera does. If Tera starts taking a
bite into NCsoft’s market, expect Blade &
Soul to appear very soon afterward.
WeMade Entertainment, which found
success in China with The Legend of Mir 2, is
also back this year with Chang Chun 2, the
sequel to Chang Chun Online. Ntreev Soft is
set to release Elisha, a horse-themed
MMORPG. Special Force 2, the sequel to the
popular first-person shooting (FPS) game
Special Force, is also scheduled to appear this
year, as is Football Manager Online, the
online version of SEGA’s Football Manager
package, which will be serviced through KTH.
“If we’re lucky, we just might see all
three of Tera, Arche Age and Blade & Soul
this year,” said an official in the online game
industry in Korea. “This year, the Korean
online game industry will be a fertile ground
for battles of major, epic games.”
207
K o r e a’s L e a d i n g I n d u s t r i e s

Ascent of
KoreaN
ShipbuilDING
Korea is home to three of the world’s largest shipyards.
The small peninsular country, which yielded its decade-
long lead in the industry last year, is set to rise once more
as the No 1 shipbuilder. Armed with cutting-edge
technology and skilled workers, Korea has made its way to
the top from humble beginnings. by Kim Yoo-chul
A view of a shipyard in Busan, on the southern coast of Korea.

208 209
K o r e a’s L e a d i n g I n d u s t r i e s
K orea, home to the world’s largest
shipyards, knows just how critical
the shipbuilding industry is for the
health of the nation’s economy. This is
because the performance of
shipbuilders has a significant ripple
effect on the country’s trade and other
ancillary services. Despite being hit by a
slew of cancellations and declining ship
prices in the aftermath of the global
economic crisis, the nation is now
preparing to make a comeback, with
local shipbuilders leading the way. Last
year, China surpassed Korea as the
world’s top shipbuilder, but officials say
this year will be different, citing a legion
of orders they believe will help
overcome the neighboring nation.
Beijing contributed to an overall
commodity-vessel glut by providing
financing to Chinese yards and securing
jobs during the global financial crisis.
China has more than 3,000 shipbuilders,
including roughly 1,000 that are able to
build vessels that can travel in deep
seas, according to data from the Korean
government. As of the end of 2010,
China was the No. 1 shipbuilder in
terms of compensated gross tons (CGT)
of ships, with a total of 15.9 million tons,
followed by Korea with 11.77 million
210
From left to right: The CMA CGM Magellan by
Daewoo Shipbuilding & Marine Engineering
(DSME), one of the world’s top three
shipbuilders alongside Samsung Heavy
Industries and Hyundai Heavy Industries; a
drillship constructed by Samsung; the Saiph
Star built by DSME; the Expedient, an LNG
re-gasification vessel constructed by DSME.
CGT, data from the Korea Shipbuilders’
Association (KOSHIPA) show.
“In overall tons, China is definitely
flexing its muscles, but Korea is better
positioned to export technological and
value-added ships, raising the
possibility to get more orders from big
ship owners,’’ says Ko Young-ryeol, a
senior executive at Daewoo
Shipbuilding & Marine Engineering
(DSME). In terms of the monetary value
of ships, Korea is still the top
shipbuilder as of last year, with China
following behind.
“Chinese shipbuilders have been
increasing the ship stockpiles driven by
Beijing’s so-called ‘shipbuilding
initiatives,’ as part of its strategy to
boost the Chinese economy. But most of
the orders booked by the Chinese are
less profitable ones,” says KOSHIPA
Vice Chairman Han Jang-sop. Han
expects Korea to beat China in terms of
the total number of new ship orders in
2011, as the markets for value-added
ships are expanding amid rising oil
prices.
At the end of the first quarter this
year, Korea claimed 3.3 million CGT, far
ahead of China’s 1.95 CGT, according to
Clarkson-the world’s biggest
shipbroker. In terms of new orders,
South Korea received 90 commissions
during the first three months of the year,
followed by China’s 88 orders.
However, the combined monetary value
of the Korean orders was US$12.9
billion, while the combined value of
China’s was US$3.5 billion. “That
means Korean shipbuilders are winning
the more valuable orders for drill ships
and FPSO, which are floating,
production, storage and offloading
units,” says a Ministry of Strategy and
Finance spokesman.
The top three Korean shipbuilders-
Hyundai Heavy Industries (HHI),
DSME and Samsung Heavy Industries-
managed to sweep all 12 of the drill ship
building orders in the global market this
year. Riding on this upbeat mood, the
country’s finance ministry has revised
its forecasts for ships to US$51.7 billion,
up from US$50.5 billion.
Korea started to rebuild its industrial
structure in the 1970s by investing
heavily in the shipbuilding industry, as
the military dictatorship believed it
could help the war-stricken nation foster
faster economic growth. Like Korea,
which made shipbuilding a strategic
sector, China is in the process of
repeating the model with large, state-
supported investments in the industry.
Japan, once at the top of the
international sector, lost its lead to Korea
several years ago, and its global market
share has since dropped drastically.
Meanwhile, the European market share
has decreased to just 10 percent of
Korea’s, and production from the United
States and the rest of the world have
become negligible in comparison.
Rising Stock Prices Helped by
signs of a market recovery, investors
appear to be returning to shipbuilding-
related stocks on the nation’s main
bourse. Shares plunged when ship
owners canceled orders in late 2008, and
investors and analysts have been on the
search for signs of the next increase.
Jeon Yong-bum, a senior analyst at
Solomon Investment, says rising orders
for specialized vessels, such as drill
ships used to search for crude oil, as
well as more calls for offshore and
energy-related vessels, were pushing
shipbuilding stocks to rise.
“Korea has proven its ability to
deliver valuable ships on time, and
clients are willing to pay more for the
service. The next milestone will be the
recovery of ship prices to levels before
the 2008 downturn,’’ Jeon says. “After
prices are regained, I think it will be the
right time for the sector’s stock rally.”
Indeed, leading shipbuilding stocks
have already begun gaining
consistently, as investors are giving
more credits on shares, citing the steady
winning of premium ship orders. Data
from the Korea Exchange, the nation’s
bourse operator, has shown that
shipbuilding stocks outperformed
others so far this year.
As of the end of May, the world’s
biggest shipyard, HHI, has won orders
for 44 ships valued at US$11.7 billion,
accounting for 60 percent of the
company’s previous annual revenue
target, spokesman Jo Seung-woo says.
DSME booked 16 orders valued at
US$4.35 billion, and Samsung Heavy
Industries won US$10.5 billion-worth of
orders from the United States, United
Kingdom, Norway and Denmark for the
construction of drill ships, liquefied
natural gas (LNG) tankers, container
ships and FPSO projects.
The world’s fifth-largest shipbuilder,
STX Offshore & Shipbuilding, is
winning orders similar to the top-tier
local shipyards. Last month, STX won
US$550 million-worth of orders from
Europe and the United States. “The rise
in shipbuilding stocks makes sense,
because the demand for premium
vessels is expected to rise amid higher
oil prices and bigger appetites for
exploring natural resources,” says Jeong
Dong-ik, an analyst at Hanwha
Securities, another leading brokerage.
He adds that there is no question about
Korea’s lead in premium shipping-
related fields, as China has at least a
one- to two-year technology gap in
shipbuilding.
Long-term Momentum To keep
momentum, Korea must shrug off the
following key worries: volatile currency
movements, uncertainty in the global
economy and materials costs such as the
price of steel plates and interest rates.
The outlook is positive, however, as the
global shipbuilding industry is seeing
211
K o r e a’s L e a d i n g I n d u s t r i e s
signs of what market analysts say is
structural change.
“Korea won’t see any big hurdles in
terms of orders throughout the next
year, particularly because of a decrease
in interest for nuclear reactors in the
wake of the tsunami in Japan,’’ says Oh
Sung-jin, head of research at Hyundai
Securities, one of the country’s largest
financial institutions. Germany’s latest
decision to drop all of its 17 nuclear
reactors by 2022 will further increase the
demand for LNG, a more
environmentally-friendly alternative.
“The demand for container ships is not
strong enough yet, but it should revive
toward the end of this year and the
beginning of the next,” Oh says.
Deep-sea oil and gas storage
equipment is considered the next source
212
of revenue for the industry. Korean
shipbuilders are implementing a
number of measures aimed at
controlling industry risk and ensuring
continued development. They include
improving internal management,
centralized procurement and expanding
the non-shipping business. HHI,
Samsung, DSME and STX have distinct
technological merits in terms of
equipment manufacturing across a
broad range of sectors, pushing them to
expand their operations.
Offshore wind power generators are
becoming some of the more vital
contributors to shipbuilders’
development of a more global outlook
amid the government’s green growth
initiatives. Hyundai, Samsung and
DSME have all increased investment in
wind turbine-related technologies as
part of their business diversification
strategy. “Diversification is the key for
us to beat the industry’s up and down
cycles and to guarantee sustainable
corporate growth,” says a Samsung
Heavy Industries’ representative.
Hyundai has been transforming its
image into one of a shipbuilder that
supports solar-cell businesses by giving
more authorities to its non-shipping
divisions, according to the company.
Although the annual revenue for
Hyundai’s shipbuilding business
dropped to 7.85 trillion won (US$7.3
billion) as of the end of last year from
9.1 trillion won in 2008, total corporate
revenue has increased. Total revenue for
2010 was 22.4 trillion won, a change
from its 19.95 trillion won in 2008. HHI
created a single entity to handle only
solar-cell and wind-power businesses to
expand into new markets. “Hyundai
shares are quite attractive because
Hyundai is not just a shipbuilding firm.
With active investment in non-shipping
areas, we are securing new growth
engines,” says Ahn Ji-hyun, an analyst
at HMC Investment Securities.
A night view of the dock at Samsung Heavy
Industries’ shipyard on Geojedo Island,
Gyeongsangnam-do Province, off the port city
of Busan on the southern coast (opposite). A
man finishes his work for the day in a local
Korean shipyard (above). A view of a Goliath
crane in Samsung Heavy Industries’ shipyard on
Geojedo (above right).
The government is stepping in to
help close the gap between the top
companies’ past successes and future
endeavors. The Ministry of Knowledge
Economy announced in February a
pledge to invest 300 billion won
(US$278.1 million) into the green
shipbuilding industry over the next
decade, providing an environmentally-
friendly edge to local shipyards. The
announcement came after news that the
International Maritime Organization
will be revising its CO emissions and
2
environmental standards regulations for
new vessels in 2013. The investment
will be used in the development of low-
emission, energy efficient ships, which
will help the industry’s position
strengthen in the global market.
Humble Beginnings Although
Korea is on the brink of returning as the
world’s top shipbuilder, the start of the
local industry had humble origins.
Korea’s modern shipbuilding history
dates back to the early 1970s, a time
when the military regime sought ways
to boost the national economy in the
shortest time possible. Shipbuilding was
identified as a strategic industry since
the field is simultaneously labor,
technology and cash intensive.
With full administrative, financial
and political support, HHI constructed
a 1 million-ton capacity dock in the city
of Ulsan by the mid-1970s, aided by
technological know-how from Europe.
Daewoo Shipbuilding soon followed
Hyundai and built a 1.2 million-ton
facility on the southern island of
Geojedo, in 1981. By the mid-1980s, a
deep global recession and excess oil
commodities led to a drastic decline in
ship orders.
Economic woes only increased with
the onslaught of labor unrest,
government hesitation to offer financial
aid and Japan’s new, low-interest export
financing for their domestic
shipbuilders. Fortunately, more
resources were injected into the Korean
industry as top policy makers
anticipated its positive impact. A
breakthrough was made in the early
1990s as new vessel orders were placed,
and shipowners began to replace their
outdated ships, creating work. Over the
past two decades, Korea has only gained
in competitive design, quality, skill,
technology and component suppliers.
“The efficiency of a ship is best
determined not just by its engines, but
by the skills with which it was built,”
says a spokesman from Mirae Asset
Securities, a leading local brokerage.
The research house adds that the local
industry’s rise to the top has not been a
simple route-much less one that could
be easily copied. Korea is sure to rise to
the top of its field once more, given its
history and experience.
213
K o r e a’s L e a d i n g I n d u s t r i e s
the new
Transition
to Premium
Vessels
Korea once had a stronghold on the
industry with its large-scale ships, but
developments in the field are now
focused on distinguishing local vessels
in terms of design and technology.
Korea’s shipbuilding industry is transforming
itself from a manufacturer of size-oriented
ships to building vessels with advanced
technology and high value. Strong
advantages-skilled designers, capability, the
economy of scale and development of
innovative production methods — have
helped the country gain more orders for
value — added ships and technology
development projects.
A recent report released by the China
Association of National Shipbuilding
Industry said Chinese shipbuilders will face
choppy seas this year on rising labor and
materials costs. Demand in the international
shipbuilding market has moved positively for
liquefied natural gas (LNG) vessels and
premium engineering ships. Korea’s leading
shipbuilders are expected to benefit from the
industry’s demand shift as the nation has
214
already been proactively delivering high-end
results.
“Korean shipbuilders have been
expanding their concepts from just carrier
builders to ocean developers,” says a
spokesman from local brokerage Woori
Investment & Securities. Drill ships in
particular have been a highlight for local
companies. The vessel, used to explore deep-
sea resources like gas wells, has the
advantage of being able to drill in water
more than 2,300m deep. Offshore drilling
firms are busy finding their next source of
revenue amid rising oil prices and the lifting
of a deepwater drilling ban by the Obama
administration last year. Korea won all 12
overseas drill ship orders as of the end of the
first quarter this year, and the nation’s
shipbuilders also swept all 34 orders for large
container ships over 8,000TEU (20 foot
equivalent units).
“Korea reclaimed the top global position
by both backlogs and order revenues by the
first quarter, with revenue reaching US$12.8
billion. The bulk of the quarterly revenue is
from winning bids for premium ships,” says a
Ministry of Knowledge Economy spokesman.
China currently relies on the less-profitable,
small container ships.
Besides size, local companies offer drill
ships featuring advanced systems, cutting-
edge design and economical layout to
maximize efficiency. Korean-made drill ships
are known to have a narrow hull that
minimizes maintenance costs. Technological
advances at Daewoo Shipbuilding & Marine
Engineering (DSME) include an automated
propulsion system, blowout preventers and a
position controlling system.
For Hyundai Heavy Industries (HHI),
tightening global emissions regulations led
by the International Maritime Organization
is raising demand for LNG as an alternative
energy source. Japan, which suffered a
nuclear crisis following a major earthquake
in March, is also turning to LNG to offset the
loss of nuclear power. HHI recently won
three LNG carrier orders valued at US$600
million from Greece-based Dynagas, and
Korea overall has a 65 percent share of the
LNG tanker market.
Floating, Production, Storage and
Offloading (FPSO) vessels are another facet
of the country’s advantage over rivals. FPSO
systems excavate crude oil from deepwater
wells and store it in hull tanks until it can be
pumped into shuttle tankers or oceangoing
barges for transport to shore. FPSOs have
the potential to further develop oil and gas
reserves on the Gulf of Mexico’s Outer
Continental Shelf, so deep underwater they
Workers stand on a ship’s deck during sunset at a Hyundai
Heavy Industries (HHI) shipyard in Ulsan (opposite). A bird’s-eye
view of a shipyard in Korea (top). A worker welds the finishing
touches on a ship at the Ulsan shipyard of HHI (above).
either present challenges or exceed existing
production techniques. Hyundai, Daewoo
and Samsung are frontrunners in FPSO
technology, as they directly handle the
designs, operations and delivery processes
from start to finish. Hyundai won a bid to
construct a US$1.2 billion FPSO project from
oil major British Petroleum, with Daewoo
and Samsung following close on its heels
with similar projects.
In contrast, Chinese shipbuilders rely on
constructing dry-bulk ships, mostly used to
carry iron ore, coal and other commodities,
which are simpler in design than container
carriers and tankers. Global demand for these
types of vessels, about half of which are built
in China, plunged 73 percent to US$2.3
billion in the first quarter.
A Wireless Upgrade Korean
shipbuilders are implementing wireless
Internet technology to their
shipyards to improve
communication. Hyundai
applies wireless-broadband
technology to its sites with
the cooperation of the
nation’s top fixed-line
broadband operator. Under
the digital system, workers
are able to communicate via
voice, images and data
sharing to communication
centers and other workers. All
that is needed is a portable
wireless terminal that simply
connects to the
communication network.
At Daewoo, a robot
developed in-house is lending
a helping hand in LNG carrier
construction, which
minimizes loss during the
building procedure. Similarly,
Samsung Heavy Industries
has created a so-called
“digital dream bay,” which allows the
automation of a diverse range of procedures.
From cutting steel to assembling pieces and
loading items, nearly 65 percent of all
automation includes robots — the highest
percentage of any corporation, according to
Samsung.
Not to be left out, STX Offshore &
Shipbuilding, the world’s fifth largest
shipyard, has developed an “optical
communication digital welding system,”
which enables technicians and managers to
communicate smoothly during the
construction process. The new technology is
a hopeful indicator of STX’s future in high-
end vessel orders, as officials say the
technology will save time and improve the
quality of the ships. “We project that with
the implementation of the technology, over
the next five years we will save 11.5 billion
won,” says Kim Sung-soo, a spokesman for
STX.
China’s leading shipbuilders are planning
to produce more sophisticated vessels,
because they attract higher prices, and to
shy away from the capacity glut. The
shipbroker Clarkson says new ships that can
carry up to 9,600 boxes can cost roughly
US$118 million, or near double the price for
capsize dry bulk vessels, the No 1
component of Chinese yards’ order-books by
tonnage.
“Chinese shipbuilders are trying to
jumpstart their skills to cut down a reliance
on less-profitable ships, but it’s challenging
because new technology doesn’t appear
overnight,” says Mirae Asset Securities Lee
Sok-je.
215
K o r e a’s L e a d i n g I n d u s t r i e s
Sailing Smooth
on a Cruise
Europe may dominate the cruise liner market,
but Korean shipbuilders are beginning to permeate
the industry with a combination of savvy design and
a family-oriented
approach.
Imagine a wide, blue, open sea with nothing
but waves. A plush carpet lines the halls, a
deck chair sits warmed by the sun and a pool
lures you into its cool depths, just
tantalizingly close to the salty seawater.
More and more people are choosing to
spend their holidays on a cruise, and the
ships have become more luxurious in recent
years. Elegance has met affordability as the
recovery of consumer spending strengthens.
Top-tier shipbuilders are widening their
scope to include premium options for cruise
liners. Although European rivals have
dominated the market for years, Koreans are
slowly making headway into the industry.
The Allure of the Seas and the Oasis of the
Seas, built by Korean corporation STX
Offshore & Shipbuilding, are the world’s
largest cruise ships, each weighing a
respectable 225,000 tons. Both vessels cost
over 1.8 trillion won (US$1.67 billion), and
216
the Oasis is comprised of 16 stories.
Integrating the highest technological
standards, the ships feature innovative new
designs while maintaining majestic
proportions. A range of intimate
accommodations and extravagant
entertainment outlets and activities can be
accessed on board, including a lush “Central
Park” on the Oasis. From an outdoor aqua
theater to cocktail bars, children’s
playgrounds and graceful dining rooms, STX
manages to integrate family entertainment
with a romantic getaway. Parenting.com also
selected Allure of the Seas as one of the Best
Cruise Ships for Families, for its customizable
services and ongoing programs for children.
“The level of comfort offered to our
passengers is evidenced by the enjoyment of
even our most discriminating customers,”
says Jeon Kyoung-ryeol, a senior executive at
STX in charge of cruise ship construction.
Korea, home of the world’s three largest
shipyards, has been hoping to bolster its
presence in the cruise industry. Despite rapid
growth in the past three decades and its
competitiveness to Chinese shipyards, the
country has yet to gain a strong foothold in
the luxury liner field. Circumstances are
becoming favorable for local companies, as
research for new cruise technology has been
catalyzed by a rising global demand for
luxury vacations.
Currently, European-centric cruise
shipbuilders, including Italy-based Fincantieri
and Germany’s Meyer Werft, control 85
percent of the global cruise shipping market,
which has an estimated annual worth of
US$10 billion. The industry is the fastest
growing travel sector in the planet, according
to market analysts, and has evolved to
become a leader in innovative
advancements.
Nearly 13.5 million travelers across the
globe went on a cruise in 2009. “The good
sign is that Korean shipbuilders are receiving
increased calls to construct cruise ships —
which has a 20 percent premium per vessel
compared to a containership with the same
storage capacity — in Europe, as well as
North America,” says an official from
Hyundai Heavy Industries. “It’s too early to
say that Korean shipbuilders are positioned
to join the league of cruise authorities. But
the Allure of the Seas, constructed by STX
Europe, is a good example of how Korea has
begun taking steps.”
Positive Reception Leading the fray
here is Korea’s STX, which acquired Aker
Yards and converted it into STX Europe. The
European branch has 15 shipyards, including
sites in Finland, Norway and Romania, and is
a partial owner of three yards in Germany
and the Ukraine. STX’s two most
representative cruise vessels — the Allure
and Oasis — have received positive reviews
since the premium ships began routes with
Royal Caribbean Cruises.
Daewoo Shipbuilding & Marine
Engineering (DSME) and Samsung Heavy
Industries have shown an interest in
investing in the lucrative sector. The
shipbuilders are planning to maintain their
current focus on ships for business-to-
business purposes while also tapping into the
car-ferry ship industry.
“We are diversifying our business
portfolios away from our heavy dependence
on B2B businesses, but it will take some
time,” says a spokesman for Daewoo. DSME
is constructing a US$262 million-worth ferry
for Compagnie Tunisienne de Navigation
(CTN), a Tunisian shipping firm. The 51,000
gross ton vessel is set for completion within
the next year, and could carry up to 3,200
passengers and more than 1,000 cars. The
average ferry carries 1,500 passengers and a
few hundred vehicles. The ship, which will be
a semi-cruise vessel with leisure facilities
such as a shopping center and restuarants,
will be able to sail 51km per hour. DSME will
integrate advanced technology into the
construction, which shares many
characteristics with existing cruise liners, but
not major ferries.
Daewoo will ease into the cruise industry
by upgrading its ferries first, company
officials say, hoping to move forward within
a few years. The CTN will be used during
peak seasons on its Tunisia-France and
Tunisia-Italy routes.
Samsung Heavy Industries has also laid
down plans to build a 105,000-ton vessel,
combining the competitive features of a
private ship with those of a cruise ship. The
final result will include 200 private cabins
and 204 staterooms. The family-friendly
vessel will feature a sundeck, a waterslide
and outdoor theaters, and will be completed
in 2014.
“Demand for cruise and cruise-like ships
is rising thanks to royalties from major cruise
ship operators, higher oil prices and room for
additional investments,” says Samsung
Heavy’s Managing Director Joo Young-ryeol.
“Korea still lacks experience in building cruise
ships, but with a strong technology basis,
design and productivity, shipbuilders will
narrow the gap between Europe and
Korea.”
A view of STX’s Allure of the Seas (opposite).
Clockwise, from top: A view of the lower deck of
the Allure , which includes lush greens and
benches; A cruise passenger climbs the ship’s
rock wall; The main Adiago dining hall stands
ready for passengers.
217
K o r e a’s L e a d i n g I n d u s t r i e s

The
Globalization
of Korean Film
Korea is the 10th largest movie market in the world and is
endeavoring to meet global standards. Not only have veterans
such as Im Kwon-taek, Kim Ki-duk and Hong Sang-soo made a
name in arthouse films, but blockbuster hits are appearing from
Park Chan-wook, Bong Joon-ho and more. Korean films are
becoming a global force through international collaboration,
distribution and a higher quality of cinema. by Ra Je-gy

218 219
K o r e a’s L e a d i n g I n d u s t r i e s
“I ’m more interested in this, the
Hollywood of the East, than the
Hollywood of the West,” said French
actress Isabelle Huppert at the 16 th
Busan International Film Festival this
year. Huppert has won major acting
awards at the Cannes Film Festival and
the Venice Film Festival among others.
Speaking at an event at the same
festival, Luc Besson (Leon, The Fifth
Element) added, “Don’t just dream of
Hollywood, but make films based on
stories of Korea in Korea, which is itself
a great country.”
Hollywood of the East As
Huppert and Besson’s words indicate,
Korea’s film industry has turned heads
in the past. According to the Korean
Film Commission, Korea’s film market
was the world’s 10 largest in 2009,
th
valued at US$1.275 billion. After Japan
and India, it’s the third largest market in
Asia, with 138 films produced in Korea
every year.
In terms of the domestic market
share for its own movies, Korea is doing
Award-winning Films
The status of Korean cinema has risen
exponentially since it first appeared on the world
stage at the Berlin International Film Festival in
the early 1960s. Since then, the country has won a
range of awards from the three most prestigious
festivals in the world: Berlin Film Festival, Venice
Film Festival and Cannes Film Festival.
220
quite well. In 2009, Korean films made
up 47 percent of the market share, the
fifth highest figure globally. Put into
context, France only stands at 36 percent
and Italy at 24 percent even though
they’re both countries with traditionally
strong film industries.
The Korean film industry is almost a
century old, but it wasn’t until the 1960s
that a number of talented actors and
directors emerged, ushering in Korean
film’s first renaissance. Back then,
Korean films enjoyed great popularity in
Southeast Asia, and there was an
attempt to industrialize and centralize
Korea’s film industry. Long the home of
many production studios, Chungmuro,
which is located in the heart of Seoul,
remains a symbol of Korean movies.
However, the industry staggered under
the military dictatorships of the 1970s
and suffered a period of political and
economic turmoil until the mid-1990s.
Korea’s second film renaissance
arrived in the 1990s, in the wake of
democratization. As a new generation of
directors and producers emerged, the
1961
The Coachman by Kang Dae-jin
wins the Silver Bear
Extraordinary Jury Prize at the
Berlin International Film
Festival, becoming the first
Korean film to earn an award
at a major foreign festival.
film industry was given a boost. Socially
conscious directors who tried to use
their medium as a tool to change society
during the dictatorships of the 1980s
became the foundation for a new revival
of Korean film. Park Kwang-su, Jang
Sun-woo and Chung Ji-young did
exactly this, and played a role in
connecting the turmoil of the 1970s with
the surge of the 1990s.
With the appearance of large-scale
multiplex chain theaters in the late
1990s, the number of moviegoers
exploded. At the same time, investment
and distribution agencies connected to
large companies entered the market,
such as CJ Entertainment (now the film
division of CJ E&M), Show Box and
Lotte Entertainment, allowing for more
films to be produced. Studio after studio
merged as they became listed on the
stock market, and entertainment groups
focusing on film studios started
appearing as well.
When money started flowing in from
the stock market and big investment and
distribution agencies, film studios in
1987 1994
Kang Soo-yeon wins the Hwa-Om-Kyung by
Volpi Cup Best Actress Jang Sun-woo wins the
Award for her role in Im Alfred Bauer Award at
Kwon-taek’s The the Berlin
Surrogate Woman at the International Film
Venice Film Festival. Festival.
Chungmuro started to make movies in a
bolder way. This combination of young
talent and big money brought about a
series of films that would continuously
break former box office records. In 2004,
Silmido attracted 10 million viewers, a
first in the history of Korean movies.
This was followed by Taegukgi, the
second to break 10 million, then The King
and the Clown in 2005 and The Host in
2006.
As the industry grew, Korean films
achieved more recognition at
international film festivals. In 2002,
director Im Kwon-taek’s Painted Fire
(also known as Chi-hwa-seon) won him
the Best Director Award at the Cannes
Film Festival, which set off years of
Korean directors and actors earning the
spotlight. Most recently, Kim Ki-duk’s
Arirang won the top prize in the Un
Certain Regard section of Cannes. Before
the 2000s, there were only three Korean
films which had won awards at major
international film festivals — the first
was The Coachman in 1961, which won a
Silver Bear at the Berlin International
2002
Im Kwon-taek wins the Best Director
Award for Painted Fire (Chi-hwa-
seon ) at the Cannes Film Festival.
Lee Chang-dong wins the Special
Director’s Award for Oasis at the
2003 Venice Film Festival.
The female leads of Sunny
(opposite below). The actors of
My Way speak at the 16th Busan
International Film Festival
(opposite). A scene from A Better
Tomorrow (far left). A scene from
Leafie, a Hen into the Wild (left).
Film Festival. decade after its launch, BIFF was
Many internationally known recognized as more successful than the
directors emerged one after another: Tokyo International Film Festival, and
Park Chan-wook, Bong Joon-ho, Kim had established itself as one of the most
Ji-woon, Hong Sang-soo, Lim Sang-soo, important film festivals in Asia.
Ryu Seung-wan, Kim Ki-duk and Lee Other leading Korean festivals
Chang-dong. Film companies in other include the Puchon International
countries, including the US and France, Fantastic Film Festival, the Jeonju
are now busy making movies with the International Film Festival and the
aforementioned directors or investing in Jecheon International Music & Film
their productions. Festival, each of which highlight
In addition, with rise of the Hallyu different genres of film.
(Korean wave) in recent years, exports
have been rapidly increasing to parts of Entering new markets In this
East and Southeast Asia. Korean films decade, Korean films are finding their
are especially popular in Japan, where way into overseas markets. Beyond
actors like Bae Yong-joon, Jang Dong- simply exporting completed films to
gun, Lee Byung-hun and Kwon Sang- other countries, Koreans are now
woo are household names. In 2005, the looking to break into new markets
export of Korean films reached its peak through joint productions. This was in
at US$75.9 million. part spurred by the fact that in 2006,
In tandem with the growth of the Korean film studios faced a crisis
film industry, international film festivals because of a reduced screen quota for
are taking root in Korea. Launched in domestic Korean films, which gave an
1996, the Busan International Film advantage to foreign-produced movies.
Festival (BIFF) is one of the world’s most The most common way locals enter
dynamic film festivals. Less than a overseas markets is by actors and
2004 2005 2007
Park Chan-wook’s Oldboy wins
the Grand Prix at Cannes Film
Festival. Kim Ki-duk wins the Im Kwon-taek wins the Jeon Do-yeon wins
Best Director Award for Samaria Honorary Golden Bear Best Actress at the
at the Berlin Film Festival and Award for lifetime Cannes Film Festival
the Best Director Award at Venice achievement at the Berlin for her role in Secret
for 3-Iron. International Film Festival. Sunshine .
221
K o r e a’s L e a d i n g I n d u s t r i e s

directors appearing in foreign films. Lee
Byung-hun, Jang Dong-gun and Rain
have appeared in Hollywood films,
while scores of other actors are
constantly looking for chances to work
in overseas markets. In recent years, it’s
become more and more commonplace to
see Korean names in Asian productions.
Indeed, Hur Jin-ho (Dangerous
Liaisons) and Kwak Jae-yong (Yang
Guifei) are planning to direct films
produced by Chinese companies. Kwak
has already proven his international
capabilities following his work on the
Japanese film Cyborg She. Domestic
special effects teams are also making it
abroad, and the special effects team from
Taegukgi worked on war scenes in the
Chinese blockbuster Assembly.
Korean directors are being snatched
up by Hollywood, too. Park Chan-wook
is currently shooting Stoker, starring
Nicole Kidman and Mia Wasikowska.
Park, who won a Grand Prix and a Jury
Prize at the Cannes Film Festival, is
considered the most appreciated Korean
director by Western audiences. In 2009,
Jang Dong-gun starrs in
My Way (left). Actor
Park Hae-il shoots an
arrow in the 2011 film
Arrow : The Ultimate
Weapon (opposite
bottom left). Arrow was
one of the year’s biggest
box office hits (opposite
bottom right).
Park produced Thirst along with a
subsidiary of Universal Studios. This
year, Kim Ji-woon is currently filming
The Last Stand, starring Arnold
Schwarzenegger.
Production companies are also
actively involved in joint productions.
CJ E&M’s film division is planning to
co-produce three films with 1492
Pictures, a Hollywood studio founded
by Chris Columbus, director of Home
Alone and Harry Potter and the Sorcerer’s
Stone. 1492 Pictures is trying to establish
a foothold in the Asian market through
its partnership with CJ E&M. Their first
project will be director Yoon Je-kyoon’s
Temple Stay, which has a budget of 30
billion won (US$26.4 million). Yoon is a
local blockbuster film director who drew
more than 10 million viewers for his
2009 movie Haeundae.
CJ E&M is also producing a
Hollywood blockbuster called 1950, the
story of an American Marine Corps unit
during the Korean War. It will be
directed by Rob Cohen (The Mummy:
Tomb of the Dragon Emperor) with a
budget of US$100 million, the biggest
project a Korean film studio has ever
participated in.
Additionally, CJ E&M’s film division
is exclusively working on importing and
distributing films from Paramount
Pictures, while also targeting the
Japanese market through a partnership
with Doei, one of three major movie
studios in Japan.
The country itself is proving to be an
asset in the industry, with directors
coming to Korea to shoot films. The Kick,
a movie about taekwondo directed by
Thai film director Prachya Pinkaew
(who is known for his Ong-Bak martial
arts film series on Muay Thai) will be
shot in Korea. The Kick stars Cho Jae-
hyun, Ye Ji-won and two other young
Korean actors and former taekwondo
athletes. Then there’s Isabelle Huppert,
who visited Korea this summer to
perform in In Another Country (unofficial
translated title), a new film by Hong
Sang-soo.
Korea is continuing to spearhead
multinational projects, one of which is
Snow Piercer. For this sci-fi film based on
a French comic of the same title, several
European countries are participating in
the production and investment of it,
including France. Production is set at 30
billion won and it will be directed by
Bong Joon-ho (The Host, Mother), who
served as president of the Camera d’Or
jury at Cannes this year. My Way,
directed by Kang Je-gyu, is another
multinational project starring Korean
actor Jang Dong-gun, Japanese actor Joe
Odagiri and Chinese actress Fan
Bingbing.
Investment in Korean films is
increasing. Last year’s Korean remake of
John Woo’s A Better Tomorrow and Pain,
released last September, were both
heavily financed by Japanese investors.
Both movies starred Korean actors
popular in Japan.
The overseas cinema business is also
part of the globalization of Korean films.
Two of Korea’s largest multiplexes, CGV
and Lotte Cinema, are opening branches
in China and Vietnam. CGV has been
particularly fast-moving in their
endeavors, and of the eight multiplexes
it opened in China, three were opened in
2011. Another is scheduled to open by
the end of this year. In addition, CGV
built a multiplex theater in Los Angeles
and is planning to use it as a stepping
stone for Korean films to gain a better
foothold in Hollywood.
Diversifying styles Recently,
Korean films have become more diverse
than ever, as seen by the films that
ranked high in box office sales
domestically this year, continuing a
trend of rising success for homegrown
productions.
Arrow: The Ultimate Weapon, which
attracted the largest number of viewers
in Korea this year (7.42 million), added
vitality to the historical drama genre that
is often considered old-fashioned. A war
set in the Joseon Dynasty, the film
captured the attention of audiences by
describing the ordinary yet tragic stories
of people during that era, using action
scenes to accomplish this instead of
highlighting a specific historical figure.
Another historical drama that did
well was Detective K: Secret of Virtuous
Widow, which drew 4.79 million people.
Although set in the Joseon Dynasty, a
modern sense of humor and plot pulled
in viewers. The film deals with a main
character who is a detective, a rare
subject in Asian films, and showed that
serious period pieces can still be
lighthearted with the right approach.
The box office success of Sunny (7.37
million viewers) also shed light in the
diversification of Korean films. The fact
that a family drama without any major
stars achieved such success will open
doors for more such films in the future.
The Crucible (4.26 million viewers),
which criticizes sexual assaults
committed at a school for hearing
impaired children, reconfirmed the
potential of films regarding social
criticism — a genre that the Korean film
world has shied away from for years.
The box office success of the
animation Leafie, a Hen into the Wild also
represents a shift in the diversification of
Korean films. Korea has long worked for
US and Japanese animations, and while
the ability of Korean animators is
considered among the best in the world,
Korean animation hasn’t succeeded
commercially since Robot Taekwon V in
the 1970s.
At most, just one feature animation
film is made every year in Korea. Leafie
drew in 2.19 million people, achieving
the highest box office record for a
Korean animation domestically and
combined the exceptional ability of
Myung Films to make realistic films
with animation technology. Leafie was
released in more than 3,000 Chinese
theaters in September.
These days, there has also been a big
push forward with independent films in
Korea. Through the development of
digital technology, filmmaking has
become more and more accessible to a
new group of aspiring directors. In 2008,
Old Partner, a documentary about an old
cow and an elderly farmer couple,
attracted 3 million viewers, increasing
the popularity of indie films.
Korean films have also taken home
the VPRO Tiger Award at the
International Film Festival Rotterdam,
widely considered the world’s biggest
independent film festival, for recent hits
Breathless (2009) and The Journals of
Musan (2011).

2009 2010 2011

Hong Sang-soo’s Hahaha wins the
Prix Un Certain Regard in the non-
Park Chan-wook’s competitive section of the Cannes
Thirst wins the Jury Film Festival. Poetry by Lee Chang-
Prize at the Cannes dong wins the Prix du scénario at the
Film Festival. Cannes Film Festival.
Kim Ki-duk’s Arirang wins the Prix Un Certain Regard at
the Cannes Film Festival. Night Fishing by brothers Park
Chan-wook and Chan-kyong win the Golden Bear for Best
Short Film at the Berlin Film Festival. Broken Night by
Yang Hyo-joo wins the Silver Bear Jury Prize for short film
at the Berlin Film Festival.

222 223
K o r e a’s L e a d i n g I n d u s t r i e s
Korean cineastes
expanding their
horizons
As Korean cinema continues to enjoy growing attention in the
international film festival circuit, local directors and actors are
expanding their horizons by partaking in various US and Chinese
productions and other cross-border collaborations. by Lee Hyo-won
Cult favorite Park Chan-wook made a name
for himself with The Vengeance Trilogy and
his international reputation has led to his big
Hollywood debut, Stoker. Based on a
screenplay by Prison Break star Wentworth
Miller, the film made headlines for its star-
studded cast. Mia Wasikowska (Jane Eyre)
plays a teenage girl who must deal with the
sudden arrival of her mysterious uncle
(Matthew Goode) while mourning the death
of her father. Nicole Kidman appears as the
emotionally unstable mother in the
psychological thriller. The film, set for release
next year, is in production in Nashville,
Tennessee.
Meanwhile Park’s Oldboy is being
remade into an English-lanugage version by
renowned American director Spike Lee. Josh
Brolin is set to play the lead male role
(originally played by Choi Min-sik) opposite
actress Rooney Mara (who replaces Kang
Hye-jung). In addition, Park is producing
Bong Joon-ho’s first English language film,
Snow Piercer.
Bong, who directed the highest grossing
Korean film in history The Host, further rose
to international prominence with the 2009
crime drama Mother. After serving as head of
Director Kim Ji-woon’s jury for Cannes Film Festival’s Camera d’Or
ouevre includes I Saw
section in May, he has been working on his
the Devil .
224
new film which is based on the French
graphic novel Le Transperceneige.
The film is about a group of people on a
train without a final destination, struggling
to survive in a post-apocalyptic ice age. Song
Kang-ho is the only Korean actor cast in the
film. “I’m focusing on this new challenge
involving the English language, a 30 billion
won-plus budget and high technology,” Bong
said during the 16th Busan International Film
Festival. The US$34 million sci-fi film is set
to go into production in Prague in March.
Bae Doo-na, who had been part of the
main cast of Bong’s The Host, is also making
her way into Tinseltown. She follows in the
footsteps of pop star Rain by taking part in
the Wachowski brothers’ latest project Cloud
Atlas. The actress, who made her debut in
the critically acclaimed Japanese film Air
Doll, will co-star with Tom Hanks, Susan
Sarandon, Hugh Grant and Halle Barry. The
film interweaves various anecdotes, with Bae
starring as a clone in a plot set in Seoul in
the year 2144. The US$140 million project is
currently is slated for a fall 2012 release.
Meanwhile, I Saw the Devil helmer Kim
Ji-woon is making his US film debut. Kim is
also known for the so-called kimchi Western
The Good, the Bad, the Weird and is expected
to showcase more action in the upcoming
project The Last Stand. Arnold
Schwarzenegger makes his big screen
comeback in the film as the sheriff of a
sleepy town. He runs up against an escaped
drug cartel leader (Spanish actor Eduardo
Noriega) heading for the Mexican border.
Rodrigo Santoro, Jaimie Alexander, Peter
Stormare and Zach Gilford co-star in the
film, which is being produced by Lorenzo di
Bonaventura. Lionsgate has worldwide
distribution rights on The Last Stand, which
has started production in New Mexico and is
to hit theaters in 2013.
Lee Byung-hun will also be taking part in
an action-packed American film. The actor
made his Hollywood debut in G.I. Joe: The
Rise of Cobra and will reprise his role as the
villainous Storm Shadow in the second
installment of the franchise.
Korean filmmakers are making their way
into China, the world’s fastest growing film
market. Kwak Jae-yong, best known for
directing the international hit romantic
comedy My Sassy Girl, was approached by
China Film Group chairman Han Sanping for
Yang Guifei. The upcoming film is about the
eponymous Chinese royal consort known for
her legendary beauty. The Korea-China-Japan
From left to right: Bae Doo-na will appear in
Cloud Atlas ; director Bong Joon-ho; Song
Hye-kyo will appear in Wong Kar-wai’s
latest; actor Lee Byung-hun.
co-production stars the neighboring Asian
country’s top actress Fan Bingbing. It starts
production in Korea in November and will
wrap in February for a later 2012 release.
Fan has also been making headlines for
co-starring with Jang Dong-gun in a pan-
Asian film project. Jang, who has debuted in
the U.S. and China, is set to appear in the
Korea-China-Japan co-production piece My
Way. The film, directed by Taegukgi director
Kang Je-gyu, is a World War II drama that will
be released next year in Korea, Japan, China
and the U.S..
Meanwhile, Jang will be working with
Cecilia Cheung for Hur Jin-ho’s Dangerous
Liaisons. The Korea-China joint project takes
the 18th-century French novel to 1930s
Shanghai, and the love triangle story includes
Chinese screen beauty Zhang Ziyi. The film is
slated to open in 2012.
Meanwhile, actress Song Hye-kyo will
appear in a film by Hong Kong arthouse
master director Wong Kar-wai. The
Grandmasters is about Bruce Lee’s kung fu
master and co-stars top Chinese actors Tony
Leung Chiu Wai and Chang Chen. It is also
slated for a 2012 release.
225
K o r e a’s L e a d i n g I n d u s t r i e s
Jonathan Kim
an Industry Insider’s Insights
Veteran producer and CJ E&M consultant Jonathan Kim is discovering that the best way to
revolutionize and expand the local film industry is through strategic collaboration and cultural
understanding. by Ra Je-gy | photographs by Kim Hong-jin
“Foreign audiences need time to become
familiar with Korean actors and directors,”
says Jonathan Kim, an advisor to the film
department of CJ E&M, Korea’s biggest
media conglomerate. “If Korean actors and
directors can take part in joint productions
overseas, it will allow Korean films to make
their mark there more easily. But if all we do
is export movies and depend on the acting,
the business won’t last long.”
Kim has some pretty firm ideas about
joint productions, insisting, “The Korean film
226
market is in a depression, and the way to fix
this is through joint productions.” Kim used
to be a veteran producer in Chungmuro, the
central filmmaking area in Seoul, and got his
start in the business by importing foreign
films. He played an important role in taking
Korea’s film industry to the next level by
producing hit movies that include titles such
as Silmido, Ditto, and Sisily 2km. He also
served a term as the chairman of the Korean
Film Producers Association and has written
screenplays.
After studying at an American university,
he recognized the need for Korean films to
enter the global market earlier than most. In
2007, he produced Virgin Snow with a
Japanese company, attempting to set a
precedent for a new production model.
Widely considered a major mover in the
Korean film business, he recently became an
adviser at CJ E&M, as they thought he was
the right person to take charge of the
globalization of Korean films, a key goal in
the Korean movie industry these days.
“There have been many attempts for
joint productions in the Korean film
community,” Kim explains. “Yet there have
been no significant advancements. Although
many of us have learned all about this
concept, I haven’t been able to establish any
specific principles about it until now. Simply
investing in joint productions with Korean
films is not the solution.” Instead, Kim
suggests guidelines that are much more
concrete. “The production capability of
Korean films should be able to grow through
these projects, or the joint project should be
shot in Korea, or it should deal with Asian
subject matter.”
Kim goes on to emphasize, “We can’t
help taking different approaches in pursuing
joint productions by country. China has a lot
of money, so Korea needs to combine unique
subject matter with their money. At the
same time, the U.S. is interested in Asian
subject matter, so we need to work on how
to mutually benefit from that.”
Kim showed an especially keen interest
in the rapidly expanding Chinese market,
saying, “China has a rigorous deliberation
system with films, so horror movies haven’t
been developed there very much yet. I think
the Korean film industry has the capability
to create horrors without being over-the-top
gory. Remaking successful Korean films could Jonathan Kim’s Career
be a good approach, too. I’m confident that
2003-2006 Chairman, Korean Film
we can enter the — until now — closed Producers Association
Chinese market if we find ways to please 1997-2001 CEO, Hanmaek Movies
1983 Graduated from University of
Chinese producers.”
Southern California
He adds, “We need to strike a responsive
Producer
chord in each country. Korean audiences like
2007 Anna & Anna; Virgin Snow
exciting scenes, so Korean films have a lot of 2006 Monopoly; Fly, Daddy, Fly;
dramatic features, but Japanese films are the Detective Mr Gong
2005 Daddy-Long-Legs
opposite. We need to understand cultural 2004 Sisily 2km
differences like this.” 2003 S ilmido; The Legend of the Evil
Lake
He also says, “In the end, joint
2002 First Amendment
productions come down to people. The 2000 Ditto
problem is that Korea has little manpower 1999 The Ring Virus
1996 Piano Man
with the accumulated production knowhow 1993 Hot Sea; The Man with Breasts
overseas. If we ignore experience because we 1992 Love War
1990 Burning Sun
have money, we will face substantial
1988 Miri, Mari, Uri, Duri
challenges in foreign countries. We should
foster this manpower. For example, we can
send some Korean Film Council students in
its film academy to the U.S. for training. In
the U.S. they do a lot of paperwork when
producing films, and we need people who are
accustomed to this so that American
production companies can shoot their films
in Korea with ease.”
Producer Jonathan Kim appears at the main office of CJ E&M in Seoul (opposite). (From above
left to right) Posters for Kim’s major box office successes Silmido , Virgin Snow and Sisily 2km .
227