Reflections On Modern South Korea, Expressed Through The Soban

SWPS University of Social Sciences and Humanities Campus in Poznań School of Form

author: Agata Macuba student ID number: 41703

Bachelor of Arts thesis

REFLECTIONS ON MODERN SOUTH KOREA, EXPRESSED THROUGH THE SOBAN

keywords: traditional dining table - consumerism - cultural industries - cultural phenomenon - conglomerate companies - economic miracle

Thesis written under the guidance of

Agnieszka Jacobson-Cielecka, Ph.D. Mateusz Halawa, MA Thesis accepted: ……………………………………………….. date, signature of the supervisor

Poznań year 2018

Abstract

A spectacular rise from one of the poorest nations in the world to an economic superpower, South Korea is a model of growth for most developing countries. The author examines this rapid growth and identifies some social aspects that have resulted from it.

Reviewing the country’s contemporary history and carefully researching the economic and political progression of the nation, a foundation is provided for a deeper understanding of certain trends that evolved with the country's rapid growth; hyper-consumerism, conglomerate companies, commonly fabricated lives, customary means of self-classification and consuming entertainment industry.

Although many of these facets are widely recognised, attempts to thwart the negative effects of them are almost non-existent. The author designed her own modern Soban, a Korean traditional dining table, as a tool to portray these trends and to provide a representation of the current times. The tables were designed with the aim to spark hope, lead audiences to contemplate the often neglected issues in modern day Korea, and encourage them to take action that brings positive results.

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Acknowledgements

I would like to thank Dr. Agnieszka Jacobson-Cielecka and Mateusz Halawa for their extraordinary guidance throughout this project.

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CONTENTS Abstract

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Acknowledgements

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INTRODUCTION

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KOREA

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TABLE

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MY PERSONAL DINING TABLE

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SKETCHES/MODELS

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TECHNICAL DRAWING

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THE SOBAN

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PROPOSITION

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CHAEBOL

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HALLYU

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JALNANCHEOK

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KIBUN

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KWASOBI

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CONCLUDING REMARKS

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Bibliography

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INTRODUCTION

South Korea, although it is continuously gaining more significant popularity around the world, is still not a typical tourist destination for many westerners. Korea's efforts to make themselves an economic and cultural powerhouse to gain stability in their country seems to have worked out. Older generations around the world might have a different view of the nation, based on its history and stereotypes, but the youth are undoubtedly very enthusiastic about K-pop, K-dramas and everything Korean.

With the rapid growth of social media in recent years, South Korean entertainment has steadily grown in popularity. With this newfound interest for the country and more people visiting, a lot of different expectations and imaginations preceding arrival occur; whether a good or bad experience is had, there is something unique to the people and society. The concept of jeong ě •, which produces a welcoming sense of community that is hard to put into words, is one of many things that seems to pull us back and keep us so uniquely attracted to this nation.

The rapid popularity growth is not a coincidence but it is the result of a cleverly devised plan by the government. The country experienced a troubled past and realised one thing; if they wanted to keep peace and independence, they had to become economically and culturally relevant on a global scale. Moreover, they succeeded, often called Miracle on the Han River. This period of economic growth led South Korea to become a model for most developing countries. The growth has been so rapid that policy has not kept up with changing mores. There are a lot of societal issues that people do not yet know how to deal with that came as a result of these rapid changes. This paper aims to dig into the trends that occurred during this rapid economic growth, focusing on the ones that are already common and talked about.

The Soban, perhaps the most exceptional piece of Korean furniture, is the perfect example of how long-established tradition can adapt and change within the modernity without losing its importance, and provides a great representation of the Korean culture.

The history of both contemporary South Korea and the table will give us a deeper understanding of the values Koreans carry and what is important to them.

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KOREA

Being a nation that is settled between two empires, Japan and China, Korea has a very troubled past. Japanese forces occupied Korea from 1910-1945, resulting in Korean exports being more focused on the economic growth of Japan instead of the well-being of the Koreans themselves. Because of this, the people developed a sense of nationalism and felt unwell about products being bought from Japan and other foreign countries. After Japan’s surrender in World War II, Korea fell victim to the Cold War. It was split between two ideologies and spheres of influence along the 38th parallel, and war soon broke out. As a result, South Korea became one of the poorest countries in the world. Many were deeply troubled by the traumatic impact of the war and their extremely poor economic situation. The destruction that occurred had paralysed the economy, but also with that destruction came new opportunities for entrepreneurial enterprises. These circumstances provided the foundation of family-owned companies that would eventually form into the country’s elite chaebols.

After two failed republics in only eight years since the ceasefire, General Park Chung Hee implemented a military coup in the South. Part of his plan to rebuild the nation economically rested on the state-sponsored formation of a stable, urban middleclass. With both upper and lower classes posing a higher risk of being extreme in their own viewpoints and agendas, the middle class was looked upon by many intellectuals as a viable solution. Unlike the elites and working class, it seemed that such a middle class (also called “salarymen” or white-collar workers in South Korea) would not be bound by short-term self-interests and would have the better foresight of given situations that coincided with the well-being of the nation itself. President Park also sought the cooperation of the now-evolved chaebols, who controlled most of the country’s industries at this point. These Korean conglomerates have multiple business lines and products, having significant control over a wide range of the economy. They are all-encompassing and can provide almost everything needed for one to live, and live well; from apartment complexes to health insurance, mobile phones, food, appliances, means of transportation, and vacation spots such as amusement parks.

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The state-sponsored companies became instrumental in the economic growth and modernisation of the country, and the people were asked to make great sacrifices, working long hours for poor pay. The unelected government offered rich rewards to the large corporations owned by a small number of wealthy families, with little to expect for the commoners. (Nelson, 1997 p.18) Those families weren’t afraid to show their newly acquired wealth to the people, hence where the word is derived from, connecting characters “rich” and “clan”. Violence and the threat of violence was a common part of the relationship between the state, the chaebol, and the citizens. The nation had to create a set of institutional forms with law and direct control to maintain a level of domestic calm. (Giddens, 1987 p.171) Having said that, people weren’t motivated by fear alone.

The Park regime encouraged people to change their mindsets and attitudes, which he called the “spiritual revolution”, insisting that Koreans were lethargic and felt inferior to Western countries (Shin, 1970 p.287). Park wanted the new social body to be disciplined, compliant, and enthusiastic about building a new nation-state.

The hard work resulted in noticeably positive results, and the people grew hope for a better future. Born out of humility, the desire to overcome suffering and the current way of living turned into national pride for many South Koreans, resulting in the whole country working together to help the nation rise; the people were one.

As the Park’s Heavy Industrialisation plan paralleled the growth of chaebols, eventually, being an employee of the state-sponsored company became very attractive.

White collar workers received many benefits other Koreans did not, e.g. insurance. A man could earn money needed to sustain a higher standard of living, while his wife stayed at home, creating the perfect middle class. Korean mothers during this time, often deprived of domains of personal agency, invested themselves in their children’s future and developed immense patience (Cho, 1986). Parents had hope that their children would see a unified and more prosperous Korea, they strived to give their kids the best education to help make that a reality and to give them a chance of a better future.

Resulting from the shocking events that happened in the 70s and 80s, the second oil shock and the poor harvest, a dramatic change of laws occurred. One of the results being boosted mass production, with companies significantly expanding the range and volume of their products for the people, creating new services and merchandise.

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With these changes, consumer opportunities were growing and so was competition with North Korea. People were witnessing and experiencing this new way of living, and not long after, the overall mindset seemed to change from nationalistic, “we are all poor together”, to competitive. A form of “keeping up with the Kims”, North Korea's ruling family, and excitement about South Korean success was taking hold of the population.

Influenced dramatically by these recent changes was the personal agency of the children (baby boomers, born from 1955 through 1963) as they grew older and became adults themselves; they experienced the rapid boost in economy and could see the results of hard work.

At this time, wealthy people were easily distinguishable. Living in prosperous areas and having more power than the less fortunate, there was a recognisable separation of class. The differences became even more visible as time progressed and people became more competitive, “with the growth of the consumer market came a new source of dissatisfaction and social division” (Nelson, 1996). Eventually, conspicuous consumption became a way of subtle communication.

The government's decision in the early 90s, to lift the prohibition on foreign travel, made way for many Koreans to explore the western world, pursue their education, or kick-start their careers before returning to Korea in the late 90s. This produced a vast pool of fresh, highly qualified and young talent wanting to explore the opportunities within Korea and restore its economy from the Asian Financial Crisis that happened in 1997. The crisis nearly wiped the middle class out overnight, and Korea went from a strong 5.8% GDP growth rate in 1997, to -5.7% in 1998. Once again, the spirit of selfsacrifice became present in South Korea, where people donated their golden items to save the economy. Government intervention and the partnership with the International Monetary Fund helped the country quickly rise again the following year. The crisis, however, left Korea with a problematic image problem. As many global stakeholders still believed Korea was in a bad shape, the country lost foreign direct investments, lacked tourism, and faced global scepticism. To restore the image of the nation, the government decided to invest in entertainment.

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Korea continues its growing success to this day, becoming the 4th largest economy in Asia and the 11th in the world. The nation's technological advancement, food culture and entertainment and beauty industries are making the country more attractive globally. Besides being a popular choice for foreign studies and tourism amongst other Asian nations for two decades now, Korea is also gaining its popularity in the western region.

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TABLE

Soban has had a variety of different uses and functions over the years, being well-suited to fit the lifestyle of Koreans who mostly sat on the floor at home. It was not only used as an instrument to serve and transport food, but also to teach etiquette and provide an opportunity for compassion among users. Besides dining purposes, it also served as writing desks and small altars for prayers or to pay respect to ancestors.

Because of the smaller land density in Korea, the houses were somewhat smaller than those from China or Japan and so was the furniture. Most sobans were personal and portable; they had to be small and light, with each family member or guest often having their own small table.

It was easy to recognise from which region across Korea a Soban was made.

They were crafted from local trees and were unique in their construction and decorative patterns, all of which reflected regional tastes and common wishes for happiness. Although most are small and intended more for individual use, there are different types of Soban. Tables with larger round tops could be used by multiple people at once during ceremonies and were often carved with longevity symbols. The simplicity of lines and balanced proportions, made in an aesthetically pleasing way, were important aspects of a practical and solid Soban design. Historically, they were made from trees grown in their neighbourhood with a design that reflected regional characteristics. Korean carpenters focused on the beauty of the wood grain, rather than a painted finish, and in respect of the natural wood, they used only joinery or bamboo nails. Because of the cold, dry winters and humid, warm summers, the tables were made out of small wood plates rather than big, to keep its shape better. A variety of trees were recognised as providing the best material for table plates. The ginko, with high elasticity and good resistance to humidity; the pine, being easily accessible and known for their strength; the zelkova, for its original patterns; and also maple trees, wild walnuts and others (Pae and Lee, 2006 p.

93) (Kim, 2004 p.235). The artists had to understand the wood itself to achieve the uniqueness and originality that made up the Soban (Chung and Park, 2015). The tables were often lacquered with a technique required by the nature of wood, for the desired

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effect or the practical usage; different techniques included raw lacquer, heated, red, black and yellow.

The making of those small tables required a high level of craftsmanship, with great respect for nature and impeccable attention to detail always being evident. It was not a small achievement to make a good dining table, and it is said among many traditional Korean table makers that if one does learn the skills needed, they can do anything as a carpenter; although, a lifelong commitment to honing those skills is needed to attain the status of master artisan. It was an art that was and still is, highly regarded. So much so, that these artisans became state-sponsored; although the requirement to only work for the government at that point was not always followed. Dining tables were a necessity for most, and some carpenters sold them on the black market to make extra money, contributing to mass production (Pae and Lee, 2006). With the growing demand for qualified craftsmen, exploitation and corruption scandals broke out, the result being a dramatic decrease of official artisans (Kim, 2004 p.214).

Today, to preserve the traditional art and craftsmanship of furniture makers and other artisans, the CHA (Cultural Heritage Administration) recognises those of exceptional skill as Living National Treasures. An act that significantly aids in the artists to not only focus on their trade but to also pass on their knowledge to others in their field and the public in general.

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Arijian (2017)

Arijian (2017)

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The people of the country faced many economic, psychological and material struggles. Traditional Korean culture and design were met with rejection and memory of the difficult times. In the time of drive for economic advancement, many got used to following a Western style and therefore associate a lower dining table with the troubled past (Ha, Deprez, 2016).

One of the unique things about this traditional table was the location that it was placed. It could be used in a way that allowed its user to flow with the changes that come with everyday life smoothly. In the midst of a hectic time or even just a few subtle, unexpected changes, the user could perhaps find a sense of security and solidity in something as simple as their own table that could adjust with them. A table not confined to a single room, but rather one that could easily be moved around the entire house, or even outside of it. Where the Soban was, there was the dining room.

Since the introduction of westernised housing structures, where you can fit hundreds or thousands of people into one building, Korean living spaces have evolved into a combination of both Korean and western living styles. Since people sit, both on chairs and on the floor, western-style furniture and traditional furniture are used together, and this has resulted in a unique culture. The user interaction with the Soban has therefore been dynamically changed according to user tastes and living patterns.

Although the traditional use of the Soban has somewhat faded with time, it is once again adapting to its surroundings. For the traditional Soban to gain back its popularity, the modern Soban needs to represent the times we live in now, only then will interest arise. In these modern times, it is keeping the traditional roots of its heritage alive while being reborn as decorative objects and pieces of art; from people using it as an art piece in their homes, to cafes that use them as an instrument to make their coffee and overall customer experience more exclusive.

Many factors are contributing to the growth of popularity of traditional architecture and design. One of the leading personas amongst the new generation of craftspeople building on tradition is furniture designer Jihoon Ha. While studying abroad at the Royal Danish Academy of Fine Arts in Copenhagen, he developed an appreciation for traditional Korean furniture. Ha, says that people tend to be clueless about Korea’s style, he is now reintroducing the Korean arts and design to people; making the traditio-

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nal relevant and modern while working for the Arumjigi Foundation, a foundation that has spent 15 years and millions in the modernisation of the country's design. Redesigning and updating everything from teacups to doorways, commissioning product and fashion designers, artists, architects and even chefs (Ha, Deprez, 2016). The results of the Arumjigi Foundation and other designers can be seen on social media sites such as Instagram.

Public space using Soban for a more exclusive atmosphere (Lee, 2017).

Soban collection at a private home, used as a coffee table (Lee, 2017).

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A modern touch on a Soban, Korea Craft & Design Foundation, table by Ha Ji-hoon

(izabel.nadia, 2017).

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MY PERSONAL DINING TABLE

As an exchange student in South Korea, I had the opportunity to become immersed in the Korean culture. Having Korean roommates and sharing in the stress and happiness that come with everyday life, I could more easily get a sense of how it was to grow up in the society and was also able to have authentic cultural experiences of my own.

My first close experience with a Soban occurred during my third week in the country, when I got the opportunity to spend Chuseok, a Korean Thanksgiving, with my roommates’ family who lived right outside of Seoul. Koreans are very proud of their collectivist culture and will welcome you affectionately into their homes.

The family had lived in New Zealand for a couple of years, before returning to Korea. The first thing they showed me once they welcomed me into their home was the traditional low dining table, of which they were very proud of, stating that many Koreans have gone away from low style tables preferring tall ones. I was treated to an exceptional dinner that the mother had spent much time preparing, served in a traditional way. The family also owned a great collection of Soban’s, which were used to pay respect for the ancestors during our Thanksgiving celebration.

The hospitality I received during that week, with the breakfasts, lunches and dinner feasts, was accentuated by the dining table, the heart of the home. This helped me better understand and recognise just how much value something so simple can add to our everyday lives, and so began my relationship with the Soban.

As the school semester went on, I spent incredible amounts of time studying with the presence of a Soban, either alone, in groups or during team meetings. We used it for big projects, leisure time and it was even useful while cooking. While sharing life with Korean youth, taking part in some of their problems and the stress that comes with the Korean education system, Soban provided a way for me to find comfort. There is something cosy and intimate about a smaller table that invites; it created a sense of belonging and feeling of home while in a country that was so foreign to me. Experiencing these things made me understand the table and the relationship the user can have 16

with it; for me, it is the statement product of Korean culture. The close relationship I developed for that furniture during these times is what inspired me to choose the Soban as a means of representing the trends in Korean society, which I will address in the following chapter.

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SKETCHES/MODELS

models 1:5

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TECHNICAL DRAWING

280 mm

25 mm

300 mm

460 mm

30 mm

Soban Scale 1:5 Date: 12.02.2018 Finish: pine wood

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25 mm 240 mm 15 mm

Soban Scale 1:5 Date: 12.02.2018 Finish: pine wood

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SOBAN

Designing my own Soban, that would be a reflection of my views on Korea, was a learning process. It needs to be modern and reflect the time we live in right now.

It was a process of understanding the culture and what beauty means to the Korean people. The balance and harmony between the legs and the top, the practical aesthetic aspects, good knowledge about the wood, the pattern of the grain and how the wood behaves and reacts, a quality of being durable and light, other materials used and my reason for choosing them... all of these aspects are vital and had to be carefully considered.

I wanted to make one Soban, that could be used in any western or Korean home, and serve as a tool for comfort and communication between people. A modern Soban that invites further exploration of Korean traditional culture and furnishing.

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My take on the traditional Soban is an elegant and sleek shape that fits the minimalist approach in these current times.

Found in every scenery of Korean culture, I chose pine wood for this Soban.

It symbolises eternal existence; light in colour; light in weight yet sturdy characteristics; symbol of strength (Hulbert, 1906). Treated with sesame oil to enhance the rings in the wood, giving it a rich colour and protecting it from the elements. The legs are polished round to fit with the smooth underside of the tabletop, while the corners of the top are left sharp to match the bottom legs and to give it a unique look, keeping a good balance of aesthetics. The carved top adds edge to this table, making it look like a traditional Soban and also keeping the practical aspect as a tray table to carry food, making it less likely for objects to roll or fall off.

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PROPOSITION

What struck me the most from my brief time in South Korea, amongst university students and also Korean families, was the understanding and societal awareness they had of current trends. Those experiences were my direct influence for looking deeper into the issues, and although frequently talked about and recognised within the society, too many people accept it as their fate and do nothing. Many disregard the obstacles they encounter, thinking someone else will deal with it. Seeing my peers and their families struggles, left me with a feeling of frustration and a desire to do something.

In this chapter, I will analyse in greater detail the history of those trends, what they are and how they developed; presenting them in a form of five separate tables that I have designed as a critical illustration of those trends.

The trends I chose are the ones I have been most exposed to, either by the people around me or from the media. I wanted to show them and explore them more creatively and visually, taking a new approach by using a traditional dining table, a statement of Korean arts and crafts.

All reflections will be based on my personal Soban that I designed; they will be the same size and perhaps look ordinary at first glance, but once examined more indepth, after having an understanding of the topic, the differences between each Soban and the unique ways they display their particular cultural norm will become more visible. These five tables will serve as a tool for further communication about those problems in the form of digital visualisation, while the base table will be available for purchase and everyday use in homes. With each table, a book of this project about my journey with a Soban will be included as an exposition of those negative trends that occurred with the rapid economic growth. Traditional design should be made modern to carry on for generations, fit our times better but also represent them; highlighting negative trends that bother people, might serve as reminder of what is important to us and our culture.

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CHAEBOL 재벌

The military junta, ruling in South Korea from the 60s-80s, reinforced labour force culture and created conglomerate companies to help South Korea rise from the ashes.

As chaebol companies offered the most stable and well-paid jobs, most strived to work for one, to the point where it became a status symbol if you do. Despite the changes in South Korean governance, the chaebol companies continued a close relationship with the government and the significant influence on society make it difficult for smaller companies to achieve success.

The recent events regarding the impeachment and imprisonment of the expresident for bribery and corruption, and Samsung’s top executive being put behind bars, highlight the massive influence the chaebols have over the government. People went on the streets to protest against the family-run empires for not using their wealth responsibly and ethically and for not contributing better to society; along with other things such as low pay and poor working conditions. But all the recent scandals won't contribute poorly to the prospects of the companies says Kang Da-heun, who wants a job with one of the leading conglomerate companies. She explains: "If I get into a chaebol it means that I will have a well-paid job, and people will look at me and think 'wow'...It will help me with my marriage prospects, and my future will be very bright" (Vaswani and Kang, 2017). Even Lee says “Many small businesses are falling prey to the tyranny of large enterprises... Everybody knows it, but we want the brand image” (Premack and Lee, 2017).

Probably the most well known Korean conglomerate, Samsung, ran into criticism from a global perspective for their strict, hierarchical system in the workplace. To build a better name worldwide, they have been taking actions to contribute to a better atmosphere amongst employees. One example being that all employees will be expected to refer to each other by the honorific ending “nim”. Although, those in senior positions are exempt from this expectation and are to continue to be called by their job title. In 2016, a Samsung affiliate introduced a new organisational and promotional structure, based less on seniority and more on job proficiency, which is significant considering 25

they were the first to do so. Another tactic that was taken to help ease the workspace atmosphere were employees being allowed to wear shorts during hot summer weather.

Although Samsung has taken this approach, most workspaces in South Korea continue to operate with a strict hierarchical system. The self-sacrificing attitude and habit of working long hours, developed during the Park presidency, has had a lasting effect, where South Koreans were taught and expected to work hard to rebuild their country.

But they now work the second-longest hours of all OECD countries, for below average pay, and have the lowest rate of productivity.

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CHAEBOL CHAEBOL ěžŹë˛Œ

pine wood Materials: maple wood H: 28cm W: 78cm 78cm D: D: 40cm 40cm Description: Chaebols are elite, all-encompassing corporations that dominate (and to a certain extent control and are relied upon by) the economic sectors of South Korea. There seems to be a love-hate relationship between the people and these conglomerates. They are basically essential to ensure the continued well-being of the nation at this point, but due to corruption and overall disregard for the people, the public is wary.

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HALLYU 한류

Hallyu, also referred to as a Korean Wave, is a term that refers to South Korea’s entertainment and beauty industry that is rapidly growing in popularity across the globe. Although widespread across Asia since the 90s, names like K-pop, K-dramas and K-beauty, are now popping up in western media and markets as well. While the nation is currently enjoying a growth in popularity, this was not always the case for South Korea, especially in the west.

Among many factors that contributed to the negative image of the nation include its troubled history and shared image with North Korea, but the Asian Financial Crisis in 1997 significantly tarnished its reputation. South Korea would lose a lot of direct investments from foreign countries, and although the nation recovered, the perception of the state continued to remain negative.

To rebuild the country’s image abroad, the government’s efforts were concentrated on the entertainment industry. «They wanted Korea of the 21st century to be like America of the 20th century where America was just considered so universally cool that anything made in America would automatically be bought,» says Euny Hong, the author of The Birth Of Korean Cool (Chow and Hong, 2015). To help build its cultural influence, the government created Ministry of Culture with a specific department devoted entirely to K-pop. Pouring millions of dollars into it, the heavy international export began, and so followed the success. The industry turned into a global selling power, and perception of the country abroad turned from negative to positive, influencing foreign nations to buy and favour Korean products. Several politicians have happily welcomed this Korean Wave into their country; in 2013, Michelle Obama's White House officials tweeted that they had collected napa cabbage to make kimchi, a staple dish in Korean cuisine, attaching a recipe to the message.

The increase in soft power correlated directly with bigger exports and economic growth, resulting in the industry being now worth billions of dollars. Friendly and catchy lyrics, paired with big-budget videos containing perfectly groomed girl or boy

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bands and flawless choreography, are taking the world by storm and has become a global phenomenon.

K-pop or K-drama persona portrays images of highly attractive and seemingly perfect people living a life engulfed in luxury. There are multiple companies with the aim of crafting this persona from childhood, but there are three who are almost guaranteed to succeed; often being referred to as «The big 3». Each of these companies has their signature brand, making them easily recognisable. With this exposure has also come consequences; Korean dramas are shaping the culture, and it’s having its impact on the society as a whole. The perfect images of the celebrities, push the already highly stressed youth even further. They believe they need to look like K-persona to reach their full potential, get a good job, or have any kind of bright future. Having a smaller face and high nose are highly desirable traits, many feel ugly with their natural looks. It also plays a significant role in the nation’s position as a plastic surgery destination, the most common procedure being double eyelid surgery, now so normalised it is seen as just a light and necessary improvement that everyone should do.

Nevertheless, even the artists in the industry don’t have the perfect life the industry portrays them to have, made evident by several suicide incidents in recent years. Many are put on decade-long contracts as teenagers, with barely any personal income and missing out on many facets of a normal life, like close relationships. Focus on work and keeping up the perfect image is what’s made paramount; in a sense, resulting in them becoming slaves to the industry.

Besides dealing with the almost instantaneous and harsh judgement they often receive from the public, they are also in constant competition with each other. There have been several scandals involved as well; Jang Ja Yeon, who committed suicide at the age of 29, accused the industry and managers of abuse, stating her manager regularly beat her and forced to have sex with several VIP including directors, media executives and CEOs.

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HALLYU HALLYU í•œëĽ˜

Materials: 3D print, ABS regular black, pantone ultra violet 2018

H: 28cm W: 46cm D: 30cm Description: After the Asian Financial Crisis, in order to restore their tarnished image, the South Korean government successfully created and executed a plan to promote their nation globally through the entertainment and beauty industries. The plan has worked as far as building up the nation economically and increasing their global popularity, but it has also resulted in cultural issues with the expectation of people to resemble and live up to this perfect world.

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JALNANCHEOK 잘난 척 하다

South Korea’s competitive environment puts a high value on one’s personal education and achievements. Achieving success brings pride and honour to the family and many often feel pressured when not meeting the conventional social standards of perfection seen in the culture. People put the needs of their family and community before their own, regularly sacrificing rational thought or their own personal desires. Often, without questioning, they will instead follow the group because they think that is what they are supposed to do. While at the same time, pressure from the importance of standing out from the crowd is always present. Things such as unique achievements, club activities and taking on any extra work is very important. Family expectations and demands in a students life can be very challenging; with many peers doing well, receiving 98% score on an exam is simply not good enough. With so many other students excelling, one’s own accomplishments and growth may seem almost non-existent or valueless, creating low self-esteem and insecurities among students.

Due to the societal culture, Koreans tend to be very conscious of what others think. There are various trends in the country to ‘save face’, one being to hire people to falsely imitate genuine relationships such as friends at a wedding ceremony, office employees, or even spouses to get a bank loan. Instead of focusing on the reality and authenticity of a circumstance, South Koreans tend to focus on the 'jalnancheok', which can be described as ‘pretending to do well’. “According to Hwang Sang-min, a professor of psychology at Yonsei University, face in Korea today is ‘not simply what one is but rather what one wants to be.’” (Tudor, 2012 p.113) Early competition and comparison with North Korea and the adoration of wealthy chaebol families provided a medium to show the Koreans what they should strive to achieve, mostly in the form of looks and material possessions. The K-pop industry and mainstream media have also played a significant role in regards to this social pressure.

Famous entertainers serve as tools for marketing, often being sponsored by multiple brands. They become the face of plastic surgery and beauty companies, advertising luxurious lifestyles and often creating an unhealthy self-image in the minds of many.

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Most entertainment companies require their pupils to undergo plastic surgery if their contract exceeds two years. Subsequently, many K-pop idols and drama actresses look very similar, resulting in the normalisation of the procedures. The industry created the ‘perfect’ look, making those who haven’t undergone any plastic surgery feel abnormal and unattractive. Another contributor is the commercial world. An example being cosmetic surgery advertisements that show before and after photos, highlighting a before picture with a small diamond wedding ring, while the latter image shows a much larger one, implying a superficial idea that cosmetic improvements will result in one being more accepted and favoured.

The reverence for certain accomplishments, acute competition for the same, overfilled jobs, and desire for a faultless appearance leaves millennials overwhelmed and fearful for the future. A position at a chaebol company is no longer seen as secure as it once was, knowing they can easily be replaced at a relatively young age, they experience apprehension as to where their hard work will lead them and whether it will pay off or not.

Many feel hopeless and unmotivated to take part in this race, resulting in a preference to live a masked life.

The imperfections and different appearances symbolise the many faces of an average life in South Korea. Whether they can be attributed to the pressure to appear more successful or to a plan that is more unethical, the result is still a loss of simple genuineness and uniqueness as an individual.

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JALNANCHEOK

JALNANCHEOK 잘난 척 하다

Materials: 3D print, ABS Materials: pretendstotobebemaple pinewood; wood;gold gold pretends

H: 28cm 28cm W: 46cm D: 30cm H:

Description: In order to cope and live up to family and social expectations, many live a fabricated and masked life. With the constant pressure to achieve certain things and be a certain way, a certain level of losing one’s self occurs.

Many are tired of these expectations and constant feelings of failure, choosing to pretend to do well instead.

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KIBUN 기뜄

The societal pressure and stress that coincides with the world of keeping up with appearances, continuously changing trends and the competitive environment might be challenging for some. Even when society does not categorise us, we sometimes tend to do that ourselves. Our home and things owned often reflect how we see ourselves on the social ladder.

It is of utmost importance for Koreans to cultivate a certain level of discipline and state of mind to maintain a form of outward, culturally-influenced homeostasis.

Although difficult to describe this concept in English, in Korea it is referred to as Kibun, and it permeates every aspect of Korean life. It is not something that has so much to do with one’s emotions, which can be misleading and disruptive, as it does their overall outlook on life in respect to their place in the world; their dignity always being on the line, saving face is a necessity quickly recognised and mastered. The interpersonal relationships between Koreans rest profoundly on the principle of harmony; a critical aspect that is favourably sustained by Nunchi, a form of emotional intelligence attained through non-verbal communication.

Hence, many confront the stress of everyday life though expressing themselves through material possessions. Sometimes dealing with pressure and what society defines as failure is alleviated by finding hope, comfort and inspiration through everyday objects, such as the dining table. The traditionally low table tends to be associated with the stigma of poorer times, whereas the western style identifies more with the progressive overcoming of hardships during the times of rebuilding of the nation. Many would update to a tall dining table during personal success, and transition to a lower table when facing a difficult time.

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KIBUN KIBUN 기뜄

Materials: pine maple wood Materials: wood H: W: 30cm D:30cm D: 30cm H:28/60cm 60cm W:30cm

Description: In a high-context culture, emotional intelligence and the ability to read others is essential. Koreans have learned the art of this and with it comes forms of self-classification.

Many deal with this and express themselves through material possessions and inanimate objects.

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KWASOBI 과소비

During the hardship and sacrifice to rebuild the country, under the military rule of Park, the burden of responsibility for the success of national development was placed on the individuals and their daily economic decisions. With the success and growing economy at the beginning of the 70s, chaebol families started to succeed financially, showing the commoners their big luxurious homes and imported cars. The nation’s competition with North Korea also contributed to people having a high sense of material competition. Already in 1971, overconsumption made its beginnings in South Korea, showing up during the rising popularity of people taking vacations. After years of war and struggle, the first results of hard work made people excited about being able to buy goods and enjoy their success and lives. Many people were buying more leisure items than needed; some even went into debt. Around that time, the word «kwasobi» first had its occurrence, a Sino-Korean word meaning excessive consumption, and was the term applied to the phenomenon of consuming beyond what was appropriate. With the constantly rising competitive ladder led by the elite, and improvement of the economy, consumerism grew rapidly.

In 1997 came the Asian Financial Crisis, people once again had to wake up their spirit of self-sacrifice and improve the situation. They recovered quickly and started to consume even more. To fight corruption in the 90s and counter the flow of cash in the underground economy, the government had made many credit-friendly laws. They encouraged consumers to use credit cards giving tax rebates. The credit market became very competitive, and many companies offered a wide range of deals to customers.

South Koreans wanted to take advantage of this, and it resulted in the highest number of credit cards per household in the world, with the average household owning 6.7 credit cards. These cards quickly became a symbol of status; compared to paying with cash, one might use a credit card to pay for expensive items in the presence of others, giving the impression that they were in a hold of large amounts of money. Because of the ease of getting a credit card and the large differences in income equality, everyone started to wear the flashiest pieces of clothing, pretending they are doing just as well as the elites, 36

regardless of his or her actual financial condition. People would rather be in debt than be seen as someone who was not growing and progressing at the same rate as others.

The youth today grew up with conspicuous consumption, not being a reward for hard work but instead something that is just common and natural. As seen in western countries also, many seem overwhelmed and tired of following the newest trends in everything and owning the flashiest things.

However, because their parents grew up with the “keeping up with the Kim’s� mentality, they do not want their child to be an outcast. So the parents themselves might buy the newest, popular jacket on credit, regardless if the child desires it or not. While many are aware of the issue and express their concern, they also do not want to go against the cultural norms, so they continue in their ways and contribute to the social pressure.

Companies are continually trying to find new ways to captivate the public due to the growing demand for new trends and the next big thing. The plastic surgery industry entered the Korean market nearly overnight, promoting aesthetic perfection and promising the public things such as a better spouse, job and future, all at the swipe of a credit card. This level of hyper-consumerism has attracted people from all over the world who are fascinated by the perfect world Korea seems to be. They see the Koreans who are flawless in appearance and have all the new toys and gadgets, and they are attracted to it. This in itself has created yet another new market.

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KWASOBI 과소비

Materials: black cardboard H: 17cm W: 30cm D: 30cm Description: With the efforts to rebuild the nation resulting in the massive economic growth and the various schemes and plans to keep it going, hyper-consumerism has taken root in the South Korean society. Although new generations are becoming tired of it, it is still active and growing, with the people still looking for the next big thing.

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CONCLUDING REMARKS

These problems are not exclusive to South Korea, millennials in most developed countries feel unmotivated and overwhelmed by the amount of products and information available. It is hard to distinguish what is false news and what is real. A piece of plastic might be luxurious under a big brand name, but it is still plastic and harmful to both us and the planet. The amount of information and stimuli overwhelms us and blinds us. We are constantly having information thrown in our faces; entertainment media ensures we never get bored and new consumption trends change fast enough to keep us interested and addicted. We rarely get an opportunity to stop, get bored and think. It might be hard for one to find themselves and their purpose in the midst of it all.

What comes with rapid growth is big consumption and massive industries, with people not being able to control themselves once they can afford things they weren't able to afford previously. What also comes with people becoming wealthier in a short time, is the competition between them; who has it better now and who has achieved the greater success. Traces of that can be found in many nations all around the world. What makes South Korea unique is the rate at which the massive growth occurred, causing those problems to arise more quickly and intensely compared other places.

This project aimed to show those different occurring trends through something traditional and precious, inviting us to think and rethink the trends we follow, and what we do.

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BIBLIOGRAPHY

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Pae, M. and Lee, K. (2006). Dining Tables: Korean Traditional Handicrafts, Seoul: Ewha Womans University Press.

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