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BEAUTY OF KOREA

Hapjukseon (Bamboo Fan)

fan, or buchae [seon) in Korean, is a versatile implement,

who would busily prepare hapjukseon for the king, so that they

which is indispensable for coping with the muggy humidity

could be presented to his officials for their loyal and meritorious

of summer in Korea . Ornate versions of Oriental fans,

service. Meticulously handcrafted, and often including valuable

made with valuable materials such as silk and pearls, were even-

materials, the hapjukseon was a highly prized treasure of the

tually introduced to the Western world .

elite of society.

The Korean name for a finely handcrafted fan made of bam-

An essential item for any member of the literati class [seonbi),

boo is hapjukseon. To make this kind of fan, bamboo is cut into

hapjukseon was used for more than remaining cool in summer.

fine strands that are formed into a framework, to which a paper or

Whenever going out, people would carry a fan with them through-

fabric covering is attached. The surface is creased between each

out the year, for protection against the sun, wind, and dust. More-

bamboo rib so that the fan can be folded into a compact form. This

over, it was used to shield oneÂˇs face from view so as to avoid

type of fan is believed to have been created during the Goryeo

recognition from a passerby.

period [918-1392). It is also thought that the related fan-making

The hapjukseon was also an integral element of the literati"s

methods were subsequently transmitted to China, as well as

cultural pursuits [pungnyu). At a poetry-reading gathering of

Japan, where this particular fan was known as Goryeoseon

seonbi gentlemen, they would snappily fold and unfold their fans

[Goryeo fan). In Korea, a longstanding tradition calls for the exchange of

for rhythmic emphasis. Gift fans would invariably feature a surface that included a short poem, written in stylish calligraphy, or an ink

fans, as a customary gift, on Dano [fifth day of the fifth lunar

painting of a landscape scene [sansuhwa) or the four gracious

month). which generally signaled the onset of the summer sea-

plants [sagunja; plum, orchid, chrysanthemum and bamboo).

son. In ancient times, the period leading up to Dano was an espe-

Many such hapjukseon have long been appreciated as masterful

cially hectic time for the artisans of the royal crafts workshop,

works of art.

Korean a Korean Art & Culture Vol.22, No . 2 Summer 2008

Korea is undergoing a transformation into a multicultural society, in which peoples from

diverse ethnic groups and cultures can live together in peaceful harmony. Along this path toward further advancement , Korea is moving rapidly to implement a comprehensive

support structure tha t will help create an environment which will be conducive to the integration of Koreans and foreigners in mainstream society. Photo by Jang Jun -k i

Korea's Emerging Multicultural Society 8

Korea Transforms Itself into a Multicultural Society Han Geon-soo

Korea's Multicultural Experiment: Foreigner Villages Eun Mee Kim

The Challenges of Korea to Become a Truly Multicultural Society Choe Hyun

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Jeong Yi Hyun

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Korea's Emerging Multicultural Society The number of foreigners residing in Korea, on a long-term basis, has surpassed the 1-million mark. This means that foreigners account for about a 2 percent share of Korea's overall population, while one out of 10 of these non-Koreans are part of an international family. Relocating and taking up residence in another country is a global phenomenon today, while the number of foreigners winding up in Korea is expected to rise sharply over the foreseeable future. As Korea becomes a multicultural society, this will enable itto be recognized as a cosmopolitan country. Nevertheless, to many, the social attitudes in Korea and the public's relative lack of understanding of a multicultural environment suggest that the country is not yet prepared to accept foreigners as indicate that Korea is headed i

nstream society. Even so, recent developments would seem to

Stud ents and teachers of an international school; children of multiethnic families in Korea, who are now being educated together, will eventually assume leading roles in Korea's multicultural society. ÂŠ Ahn Hong-beom

Korea Transforms Itself into a Multicultural Society Everywhere in the world, it is natural for people to be proud of their country. However, Koreans are known for having a more prominent ethnocentrism due to the trials and tribulations of their historical experiences. With the recent emergence of a multicultural society in Korea, it is helpful to understand the influences of its historical background and national identity. Han Geon-soo Professor, Department of Cultural Anthropology, Kangwon National University Kwon Tae-kyun Photogra pher

. An illustration of the hi sto ri c meet ing of King Kim Su ro l?-1 99), foun der of the Gaya Ki ngdom 142-5621. and Heo Hwa ng-ok, of Ayu ta, Ind ia, who became his qu ee n, fo rming Ko reaÂˇs fi rst-ever in ternational roya l cou ple. Alth ough fo reig ne rs in Ko rea still acco unt for only a nominal s hare of th e ove rall popu lation, th e number of inte rnational marriag es and multiethni c ch ildren ha s risen s harply in rece nt years. Illu stration: Kim Yoon-myong

he success of Korean golfers on the LPGA tour in the United States has been a source of immense pride among Koreans. Especially, at a time when Korea had been plagued by economic hardship and a loss of confidence due to the Asian financial crisis, the resiliency and perseverance of the Korean people, which enabled the country to overcome such extreme adversity as Japan's colonial rule and the Korean War, were revived by the "barefoot fighting spirit" of Pak Se Ri. During the final round of the 1998 U.S. Open, Pak Se Ri hit a ball that landed in a water hazard, leaving her a virtually unplayable lie. But Pak showed her "never give up" spirit by removing her shoes, wading barefoot into the water, and hitting an approach shot that en abled her to emerge victorious. This scene of Pak Se Ri, standing in the water and hitting her dramatic shot, was highlighted in public service advertisements that sought to boost public confidence and hopes. Are You Korean? News from the U.S. LPGA tour can be a source of encouragement and elation for Koreans, but it can also spark new questions today. Michelle Wie and Christina Kim, two Korean-American golfers, whom

the Korean media refers to by their Korean names, Wie Seong-mi and Kim Cho-rong, have complicated the perception of "Koreans" among Korean society. Unlike the U.S. media, the Korean media trumpeted the success of the Korean-Americans in much the same manner as their coverage of Korean golfers Pak Se Ri and Kim Mi-hyun. This was true of golf fans in Korea as well. Yet this led to confusion when Christina Kim, who had been selected to represent Korea in a 2004 match between Korea and Japan, was a member of the U.S. team in the Solheim Cup, a tournament between the United States and Europe. In particular, Korean fans did not know how to react to highlights of Christina Kirn, sporting a Star-Spangled Banner face painting, as she cheered for the U.S. team members. Moreover, during an interview with the Korean media, when Christina Kirn responded that she was an American, not a Korean, the support of Korean fans was tested by this view of her identity. This was especially evident on the Internet, where messages were critical of the domestic media, for regarding Christina Kirn as a regular Korean, as well as the Korea Ladies Professional Golf Association (KLPGA), for including her on the Korean team in the Korea-Japan match. Also, there were calls for the media to refer to Kirn by her American name. In contrast to the public attention paid to Korean-American golfers in the United States, the experiences of a Pakistani in Korea are worthy.of reflection

as well. This man from Pakistan, who entered Korea as a migrant worker, later married a Korean woman and acquired Korean citizenship. After a difficult life as a migrant worker in the foreign land of Korea, he got married and moved to a city in Gyeonggi-do Province, where he opened a small store that sold import items from his home country. While enjoying his life as a Korean citizen, one day, he got into an argument with a passerby who happened to enter his store out of curiosity. When the customer began to look down on him for being a foreigner, he retorted that he was a Korean as well and proudly showed his ID card. This riled up the customer, who demanded indignantly to know how this Pakistani could be a Korean citizen with such limited Korean-language capability and the physical characteristics of a foreigner. These two examples reveal the more complex situations that now confront Korean society as a result of rapidly increasing international exchange. As Korea becomes a multifaceted society, in line with the globalization era, the basic categories of "Korean" or "the Korean people," which for long had been clearly understood, are now being reassessed. Korea is also faced with the challenge of adopting more broad-minded cultural views, based on an enhanced awareness of various cultures and peoples. Korea's National Identity It is necessary to examine the historical factors behind the formation of the

Pasa Stone Pagoda was brou ght to Ko rea fro m Ayu ta, In dia by Heo Hwang -ok. She marri ed the founder of the Gaya Kingdom, Kin g Kim Suro [? - 199 1. marking the first-ever internati onal marriage in Korea. Sto ne statue at Gwaereung, th e tom b of King Wonseo ng, the 38th ru le r of Silla , is thoug ht to represent a perso n from so me co untry lying to the west of China, based on the fac ial fea tures and beard.

Korean people's "national community" and "national identity" in order to understand the thought process of modern Korean society. This is essential because the national identity of today's Koreans should be understood as an evolving phenomenon, which has been influenced by the changing times. Since ancient times, Koreans have come into contact and interacted with other peoples in a variety of ways. Korea's ancient Goguryeo Kingdom (37 B.C.-A.D. 668) controlled a vast territory that extended into Manchuria, where Koreans engaged in exchanges with various northern tribal groups. After the demise of Goguryeo, wandering remnants established the kingdom of Balhae (698-926), which included other peoples like the Malgal (or Mohe), thereby forming an early multiethnic society. According to records of the Gaya Kingdom (42-562), it is said that Heo Hwangok (38-89) journeyed from her homeland of Ayuta to Korea, where she became queen and progenitor of the Gimhae Heo clan. Despite uncertainty about the actual location of Ayuta, this is evidence of Korea's contact with faraway peoples from long ago, including those from India. After the collapse of Balhae in the 10th century, the history of the Korean people was generally confined to the Korean Peninsula. Even as various dynasties came and went, Koreans began to increasingly perceive themselves as being part of a community that shared a common historical past and territory. In

the Goryeo period (918-1392), Korea's culture and arts flourished as a result of its robust foreign trade and cultural exchange. Goryeo merchants traded not only with China but also with distant countries such as Arabia, which facilitated the inflow of diverse cultural influences of an unprecedented scale. It was only in the 13th century, while besieged by Yuan Dynasty invaders, that such cultural interaction stagnated because Korea was forced to accept the political mandates of Mongol rulers, along with integrating Mongolian culture into their everyday life. Thereafter, developments of the Joseon period (1392-1910) played a key role in shaping the national identity of the Korean people. Neo-Confucianism became the foundation of the nation's ideology, while the ruling class adopted a structure rooted in Confucian culture and Neo-Confucian principles. The Joseon Dynasty, which maintained a deeply ingrained Confucian state in the 17th century, applied a Confucian world view to understand worldly affairs and enlighten the people. When relations with the Ming Dynasty (1368-1644) were bolstered due to the Japanese invasions of Korea (1592-1598), this alliance played a pivotal role in reinforcing Joseon's cultural identity, because the two nations shared Neo-Confucian values. According to the world view of Joseon's rigid Confucian society, the nations and peoples who did not adhere to Neo-Confucianism were deemed unworthy of attention.

The sense of crisis brought about by Japan's colonial rule aroused the national consciousness of the Korean people. In particular, people clung fast to their cultural roots as a means of defying imperial Japan's assimilation policy, which served to fortify their sense of being a single people, and direct descendants of Dangun. Japan's colonial policy of prohibiting the use of the Korean language also inspired the Korean people to form a linguistic community of their own after liberation.

This world view also shaped Korea's attitude toward immigrants during the Joseon period. Overall, the Joseon Dynasty was favorable and even generous in its treatment of immigrants from foreign lands. In particular, after the downfall of China's Song and Ming dynasties those who sought refuge in Korea received favorable treatment from the time of the Goryeo period. Foreign immigrants from other lands, such as Japan and Manchuria, were exempted from taxes and mandatory labor service for an initial period, along with not having to serve military duty for three generations, so that they could be integrated into the local community. This accommodative approach toward immigrants resulted in the inclusion of a significant number of foreigners into Joseon society. At the time of King Taejong (r. 1400-1418), in the early Joseon period, there were some 2,000 Japanese who had taken up residence in the Gyeongsang-do area. Confucian World View Historical records of Joseon society indicate that immigrants did not face policy discrimination due to their foreign background. In large part, their treatment was based on the extent to which they adhered to the values of

Confucianism, the prevalent ideology of that time. For example, learned individuals, who fled after the downfall of the Song and Ming dynasties, could be entrusted with government positions; however, there was opposition to having the Jurchen people from Manchuria or those from Japan assume government posts. This resistance was based on a belief that these groups had not assimilated adequately into Joseon culture, rather than an objection to their non-Korean ethnicity or country of origin. The cultural identity of Joseon society, which was centered on a Confucian world view, was further consolidated when the Joseon Dynasty was forced to defend its territory against foreign intruders. Large-scale invasions by Japan in the 16th century and Qing China (Manchus) in the 17th century caused serious distress and damage to the Joseon people. According to the Confucian world view of Korea, the countries of these invaders were founded by peripheral peoples who were regarded as barbarians. In the end, the severe consequences of this warfare served to entrench a sense of solidarity among the Joseon people toward Neo-Confucianism. Joseon society's emphasis on cultural assimilation, centering on Confucian traditions, was applicable to foreign immigrants as well as Koreans. Joseon society's ruling class, which formed schools of Confucian thought that continuously engaged in vigorous debate, insisted that sharing a Confucian world view, the essence of society's cultural identity, was a primary obligation of all people, regardless of class. The system of lineage carried on by the eldest son and the attention paid to bloodlines were not so much the ends, but rather a practical means of sustaining a Confucian world view. Although there are various records about the policies of the ruling classes, 12 Koreana I Summer 2008

there are no specific accounts about the kind of relationships that common people maintained with immigrants in daily life. In the 18th century, Bak Ji-won (1737-1805), a scholar of the Practical Learning school of thought and author of the late Joseon period, wrote a short story, The Story of Mr. Heo, that described the experiences of Ming Dynasty refugees who had settled in Korea. In Bak's story, Mr. Heo proposes a radical measure in an effort to shed light on the hypocrisy of the royal court and aristocracy, which had called for an invasion of the Qing Dynasty, in retaliation for its conquest of the Ming Dynasty, a fellow Confucian state. In regard to his proposal, Mr. Heo contended that: if the relations between Joseon and the Ming Dynasty were so critical, then how could Joseon allow the Ming refugees, who fled to Korea, to wander about as vagrant beggars and widowers; and the royal court should arrange for wives for them so that they can be integrated into Joseon society. In this way, Bak Ji-won used his Mr. Heo character to criticize the contradictory nature of Joseon society, in which moral obligation did not comport with the reality of the situation. As such, those foreigners in Korea who were not steeped in the traditions of Confucianism, were not likely to be accepted by Joseon society, and would inevitably be burdened by various difficulties. The Joseon society of Bak Jiwon's time clung tenaciously to a Confucian world view, which called for close relations with the Ming Dynasty and retaliation against the Qing Dynasty. Joseon society's cultural identity was thus rooted in a perception that Korea should be recognized as a kind of successor Confucian nation to the Ming Dynasty. Japanese Colonial Rule The Confucian cultural identity of

Korea was put to the test in the early 20th century, a key turning point of world history. During this time, while the imperial structure was being realigned, Joseon could not afford to invest time and energy into initiating contact with foreign cultures or adopting external technology. Because the demands of the world powers for commercial relations were integral to their desire to pursue imperial aggression, Joseon adopted policies that sought to reject foreign culture, rather than to open up the nation and accept the inflow of new cultures and technologies. It therefore condemned Western culture as being immoral, while seeking to protect the sanctity of its Confucian world view. After Korea succumbed to Japan's colonial rule in 1910, the Korean people began to experience severe ethnic discrimination. Not only had they lost their sovereignty, but their very survival as a people was threatened by the imperial Japan's oppressive policies of "cultural assimilation." These harsh measures, which were intended to eradicate the cultural roots of the Korean people, included prohibition of the use of the Korean language, as well as forcing Koreans to abandon their original names and adopt Japanese names. The sense of crisis brought about by Japan's colonial rule aroused the national consciousness of the Korean people. In particular, people clung fast to their cultural roots as a means of defying imperial Japan's assimilation policy, which served to fortify their sense of being a single people, and direct descendants of Dangun. Japan's colonial policy of prohibiting the use of the Korean language also inspired the Korean people to form a linguistic community of their own after liberation. If Japan's colonial policies of forced assimilation created a nationalism that

Rendering of "C heoyongÂˇs Dance" by the Joseon -era maste r painter Kim Hong -do. The depicted ma sk is attributed to a co untry of the Central Asian region.

.heightened a sense of solidarity among Koreans as a single people with a cultural homogeneity, then the experiences of the division of the nation after liberation and the subsequent Korean War served as a foundation for a deepening of nationalistic sentiments. Cultural Openness Korea's national consciousness is thus a product and accumulation of its historical experiences over time. The circumstances of each historical period influenced the formation of Korea's national or cultural identity. Similarly, the attitudes of today's Korean society reflect Korea's unique historical experiences in the 20th century. Just as the respective cultural identities of the Goryeo period and the Joseon period are markedly distinctive, Korean society must now redefine its national sentiments and cultural identity in accordance with the currents of the globalization era. Today, the previous boundaries of Korean society have been blurred due to international cross-migration . The number of ethnic Koreans, who have

left the Korean Peninsula behind and are disbursed among the far reaches of the globe, has exceeded 6 million, while the population of foreigners who reside in Korea has recently exceeded the I-million mark. Women entering Korea by way of marriage are living new lives as naturalized Korean citizens, along with a growing number of migrant workers who are permanently settling in Korea, instead of returning to their homeland. Traditionally, there has been no need for Koreans to distinguish between the concepts of "nation" and "e thnic group." But the number of people of non-Korean ethnicity who have become citizens of Korea, as well as those ethnic Koreans who are citizens of other nations, have increased noticeably. There are thus increasing numbers of Korean citizens with different backgrounds and languages, along with a number of ethnic Koreans who are not fluent in Korean or have acquired a cultural orientation of their own. As such, the key challenge for Korean society is one of figuring out how to adapt to and embrace these changes. As

Korea proceeds toward becoming a more multiethnic and multicultural society, it must go beyond merely recognizing cultural differences and strive to foster a mature cultural environment that appreciates and embraces cultural diversity. The notion of a single people of "pure blood," which served Korea so effectively in resisting the suppressive efforts ofJapan's colonial authorities, now represents an obstacle that must be overcome. In addition, there is an even more urgent need for Korean society to forthrightly assess a lingering sense of cultural superiority in Korea, which likewise is rooted in our historical experiences. As such, it is necessary to acknowledge the shortcomings of Joseon society's efforts to promote a national identity based on a sense of cultural superiority and homogeneity, as well as a Neo-Confucian world view. In retrospect, the deficiency of this insular approach can be attributed to its inability to keep pace with the demands of the changing times. Today, Korea has embarked on a new path toward a society with ethnic and cultural diversity. ~ Summer 2008 I Koreana 13

With its 28 percent share of foreigners residing in Korea, Seoul is the center of the country's globalization and emergence as a multicultural society. Indeed, there are more than ten foreigners' villages scattered about Seoul today, each having

its own characteristics and attractions. Eun Mee Kim Professor, Graduate School of International Studies, Ewha Womans University Ahn Hong-beom Photographer

n July 2007, the media reported that the number of foreigners residing in Korea, on a long-term basis, had exceeded the I -million mark. This figure might not be a significant share of Korea's total population, at just over 2 percent, but to a majority Koreans, who have long thought of Korea as being a single ethnic-group society, this milestone was worthy of note. This represents the people from more than 40 countries, which would be even higher if it also added the foreigners in Korea on a short-term stay, including tourists, students, businesspeople and industrial trainees. Meanwhile, all indicators point to a continued acceleration of these recent trends.

One Million Foreign Residents Today, Koreans routinely come into contact with foreigners in their daily lives. They bump into foreigners riding the subway, give directions to foreign residents and visitors, see foreigners eating at Korean restaurants, and attend classes with foreign students on university campuses. Foreigners are such a familiar sight to Koreans that there is even a popular entertainment program that features a group of

== -

foreign women, who describe their everyday experiences in Korea in Korean. Seoul is Korea's most globalized city, where 28 percent of the long-term foreign residents in Korea call home. There are more than 10 foreigners' villages in Seoul, including: Seorae Village, situated in the Bangbae-dong and Banpo-dong areas, a community with a heavy concentration of French residents; an Arabic district that features Muslim restaurants and shops, centered around an Islamic mosque in ltaewon; and Mongol Tower, nearby Dongdaemun Stadium, where Mongolian proprietors operate travel agencies, restaurants, bakeries, and beauty parlors. In addition, there is a Philippine market area in Hyehwa-dong, where Filipinos congregate on Sunday to attend church, meet friends, and stock up on items from home; Chinese sections of Myeong-dong and Yeonnam-dong; Little Tokyo in Ichon-dong; and Yanbian (Yeonbyeon) Street, in Garibong-dong, Guro-gu, that includes small business establishments and churches which cater to Chinese nationals of Korean ethnicity, the largest group of foreigners in Korea.

Number of Foreign Nationals Residing in Korea 1,066,273

1,118,495

747,467 678,687 566,835 381,116

1999

2001

2003

2005

2007

3. 2008

Types of Foreigner Areas Foreigners' villages can be grouped into two types: residential and cultural. Residential communities are naturally formed in countries with a long history of immigrant people, such as the United States and Canada, where newcomers tended to gravitate toward ethnic enclaves before being assimilated into mainstream society. Over time, the ethnic character of these communities would likely be diluted as succeeding generations moved elsewhere, in line with their ability to attain economic competitiveness.

== -

Number of Foreigners Residing in Korea by Nation

Based on March 2008 statistics

Total

1,118,495

China (Korean-Chinese)

(367,147)

United States

114,808

550,103

Vietnam

74,564

Philippines

50,894

Thailand

46,858

Japan

35,746

Mongolia

34,245

Indonesia

26,076

Taiwan

26,057

Uzbekistan

20,178

Canada

17,013

Sri Lanka

14,256

Bangladesh

12,941

Pakistan

10,432

Russia

9,969

India

7,539

Cambodia

5,912

Nepal

5,546

Australia

5,388

United Kingdom

4,691

Myanmar

4,101

Germany Others

3,397 37,781

Source: Ministry of Justice, Korea Immigration Service Source: Ministry of Justice, Korea Immigration Service

16 Koreana I Summer 2008

These areas would eventually undergo a transformation into heterogeneous communities or be replaced by a new wave of immigrants from another country or region. However, in Seoul, foreigners' villages continue to endure, even with the passage of generations. In large part, this phenomenon in Korea can be attributed to a previous lack of understanding of foreign communities, on the part of Koreans, and the difficulty of foreigners to gain acceptance from mainstream society. Neighborhoods with heavy concentrations of foreign residents in Seoul include Yanbian Street (Korean-Chinese), Seorae Village (French), and Little Tokyo (Japanese). Cultural foreigners' villages, although not inhabited by foreign residents, are where foreigners regularly meet to see friends and observe their culture. This type of cultural area is more prevalent in countries like Korea, which maintain a limited population of immigrants. Since 18 Koreana I Summer 2008

few foreigners were permanent residents, they did not have a chance to establish community roots. Instead, foreigners would congregate in certain areas to meet each other and share their food, religion, culture, and entertainment, while communicating in their native language. The outgrowth of this situation in Seoul includes a Muslim cultural area and Mongolian business district. Chinatown The Chinatown area situated along a tract of the Bukseong-dong and Seollindong neighborhoods, of Incheon's Jung-gu district, is Korea's oldest immigrant settlement. This Chinese community emerged in 1883, when the Port of Incheon was first opened to foreigners, and quickly flourished, reaching a population of some 20,000 at one point. During the 1970s, however, after the government began imposing new restrictions on the ownership of land by foreign nationals (There are no such

restrictions at present), a growing number of Chinese-Koreans departed from the area. Today, Incheon's Chinatown includes some 170 households, comprising about 500 second- and thirdgeneration Chinese immigrants, who continue to preserve the traditions of their motherland. Recently, the Incheon Metropolitan City unveiled major plans to revitalize its Chinatown as a visitor attraction, by the year 2010, through the restoration of turn-of-the-century architectural structures, such as the Russian Consulate building. The local government is also hosting a variety of programs, like the Incheon-China Festival, to promote Chinatown's unique traditions and cross-cultural characteristics. Above all, the Incheon Chinatown is popular for its many restaurants that specialize in authentic Chinese cuisine. In addition to Gonghwachun, known as the restaurant that introduced jajangmyeon, a local version of noodles

with black-bean sauce which remains a staple item of Chinese restaurants around Korea, there are several highly regarded establishments that attract gourmands to the area, including Jageumseong, Junghwaru, and Jinheunggak. Seoul also features a smaller version of its own Chinatown, a 1,170 meterstretch of street-front restaurants and specialty shops crammed into several blocks between Yeonnam-dong and Yeonhui-dong. Some 7,000 ethnic Chinese, accounting for about one-half of the Chinese residents in Seoul, are settled in and around this area. The Seoul metropolitan government is now proceeding with plans to develop a Chinatown area in Yeonhui-dong, which will be similar to the Chinese community in Incheon. Chinese-Koreans, boasting a sense of determination and resiliency of their own, have staked out a claim to Korea's commercial sector, along with becoming a notable contributor to Korean society, even while maintaining their respect for China's longstanding cultural traditions.

Yanbian Street (Korean-Chinese) The largest group of foreigners, living together in a community, are Chinese nationals of Korean descent. Some 12,000 reside in and around the areas of Guro-dong and Garibong-dong, Seoul, centered along a 500-meter-long section nearby Garibong Market, which is known as Yanbian Street. This central area is a hub of public transportation, with service by three subway lines, along with offering lower-cost rental units, and being in close proximity to the Guro Digital Complex, a large-scale employment center. Because of its convenient location, this is the largest residential area for Korean-Chinese, along with Daerim-dong. Yanbian Street is lined with stores selling a variety of Chinese goods, such as foodstuffs; restaurants that specialize in food from northeastern China, the homeland of most of these Korean-Chinese; and snack shops that offer a unique type of kebab from their native land. Yanbian Street is a conglomeration of residential and commercial uses that together form a cultural space. Most of the stores cater to Korean- and Chinese-

speaking customers. Although these ethnic Koreans from China are direct descendants of the Korean people and learn Korean as their native language, they are not truly accepted by mainstream Korean society. Seorae'Village(French) Seorae Village is a French residential area, in Bangbae-dong and Banpodong, Seoul, which has been officially named "France Town" by the Seochogu Office. Consumer establishments, such as banks and retail shops, are located in Banpo-dong, while Bangbae-dong is home to 539 French nationals in 130 households, clustered around Lycee Frarn;:ais de Seoul, a French school. The area accounts for some 40 percent of the French residents in Seoul. Seorae Village came into being thanks to the French people's passion for education. Seventy-five percent of school-age French children in Seoul live here with their families, primarily in multi-unit housing or single-family houses. The Seorae Village area, which is often called "Petite France" or "Korea's Montmartre," features a variety of

At the Ra inbow International School in Yangjae-dong, students are taught a variety of languages, includi ng Korean, English, and Turkish, along with learning how to become me mbers of an in ternational society. Garibong Market, nearby the Korean-Chin ese village in Garibong -dong , is forever bustling with ethnic Koreans from China, who come by to shop and socialize.

Summer 2008 I Koreana 19

French-style galleries as well as wine and cheese shops, creating a distinctive cultural image. Moreover, this district has been a magnet for attracting a growing number of Italian, Vietnamese, and New York-style restaurants and cafes. Both French and Korean are spoken in this community, due to the policy efforts of the Seocho-gu Office to encourage the use of both languages. Thanks to this kind of assistance, this community has come to be regarded as an even more representative venue for learning about French culture than the French Cultural Center in Seoul. Moreover, the area has also been mentioned in various tourism materials as a must-see attraction in Seoul.

community of Little Tokyo that is one of the oldest settlements for foreigners in Seoul. Of the 7,000 or so Japanese residents in Seoul, about 1,400 live here. Although there is no Ministry of Education, Science and Technology-sanctioned school here, there is a Japanese kindergarten, along with various educational and religious facilities, such as churches that conduct Japanese-language services. Thanks to the Japanese kindergarten, there is a higher concentration of preschool-age children here, than anywhere else in Seoul. Also, Japanese is used at many of the area's businesses, including banks, with windows for Japanese customers, as well as beauty salons, restaurants, and dry cleaners, along with shops that specialize in products from Japan. Although Little Tokyo is one of the oldest residential areas for foreigners, it does not project a distinctively foreign appearance, in keeping with the Japanese people's low-profile style. Yet a closer look reveals that it really is a slice of

Little Tokyo (Japanese) Ichon-dong, Seoul is a quiet residential area, across the way from Hannamdong and Itaewon, which is home to a large number of foreigners from various countries. The Yongsan-gu Office homepage also mentions a German Town in addition to the Japanese residential

Japan in Seoul, with women riding bicycles along the streets and restaurant signs in Japanese and Korean. Today, Little Tokyo is a hybrid residential community that has evolved over a long period of time, as a result of the development of educational and religious facilities, consumer conveniences, and commercial areas. Yet unlike other foreigners' enclaves, it is more of a residential neighborhood than a visitor-related attraction. Still, cultural interaction, between the Japanese residents and other foreigners and regular Koreans, is being continuously undertaken. ltaewon Mosque (Muslim) Itaewon-dong, in Yongsan-gu, has long been at the forefront of multicultural influences in Seoul. Even so, a Muslim district that has emerged in Itaewon is among the most unique cultural areas in Seoul for foreigners. Starting with the completion of the Seoul Central Mosque, in 1976, it is now estimated that about 80,000 followers of

Foreinger Villages in Seoul

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Summe r 2008 I Koreana 21

Islam in Korea engage in religious activities at eight mosques, located throughout the country. Each Friday afternoon, some 500 foreign and Korean Muslims gather at the mosque for prayer services. Most of these followers are from Southeast Asian and South Asian nations, such as Pakistan, Bangladesh, and Indonesia, representing a wide diversity of ethnic and language backgrounds. Accordingly, the different peoples will communicate mainly in Korean, since many of the industrial trainees learn basic Korean for their work. The mosque has spawned a commercial district with numerous restaurants and shops associated with Muslim culture, including a butcher shop that offers Halal meat, which conforms to Islamic dietary guidelines, right alongside the mosque. On the weekend, there are usually a few street vendors who sell items from Muslim nations. Islamic restaurants, operated by Koreans who employ foreign chefs, form a foundation of this cultural area, where Koreans and foreigners can experience an exotic culture. Also noteworthy is the extent to

which the Islamic mosque strives diligently to foster favorable relations with the local community. These efforts include the offering of Korean-language lectures on the Arab language, as well as Islamic culture, thought, and religion, and there are also educational programs that seek to provide area elementary students with a proper understanding oflslam.

Mongol Tower (Mongolian) Full-fledged exchange between Korea and Mongolia began in the late 1990s, which has served to attract 2,438 Mongolians, who have taken up residence in Seoul today. In 2001, Seoul and Ulaanbaatar, the capital of Mongolia, opened the Ulaanbaatar Cultural Promotion Center, which has actively promoted two-way cultural exchange, on the city level. Although the Mongolians in Seoul have not formed a particular residential community, in Gwanghui-dong, there is a ten-story building that is known as "Mongol Tower" or a "Mongolian island in Seoul." Trade between Korea and Mongolia, which began with individual merchants, gradually developed

With in the 10-story Mo ng ol Towe r, in Gwanghui - dong, signage in Mongolian, w ri tten w ith the Russ ian Cyrillic alphabet, create a slice of Mongol ia in Korea . 2

On Sunday, a makesh ift market ca n be fou nd in Hye hwa- dong , where Fi lipi no reside nts in Kor ea co me by to purc hase goods fro m their home co un try.

-=== 22 Koreana I Summe r 2008

into small-scale stores and offices, and then into this commercial complex that houses trading firms, travel agencies, shipping companies, restaurants, and grocery outlets. Korean text can hardly be seen in Mongol Tower, where the Cyrillic lettering of Mongolian and Russian is more prominent. On the weekend, Mongolians in Seoul regularly gather here to pick up a Mongolian newspaper or video tape. There are also bulletin boards for posting classified ads. Mongol Tower is a commercial district onto itself; separate from the surrounding

area, where Mongolians can freely interact as though in their homeland. A More Globalized Korea Today, globalization has become an irresistible force . Korea has -long been selective about the inflow of cultural influences from abroad and its acceptance of foreigners. But with the number of long-term foreign residents in Korea on the sharp rise, as evidenced by the foreigners' villages in Seoul, there is an urgent need for Korean society to adapt to this rapid wave of change.

In particular, Korean children must be educated, from an early age, to appreciate cultural diversity, along with appropriate legal measures being implemented and public awareness being significantly enhanced. However, of paramount importance is the need for people to finally abandon their propensity to distinguish between "us" and "them," and recognize everyone as being part of a single people. With the positive momentum generated from the residential and cultural areas of foreigners in Seoul, a more globalized Korea and its people cannot be far behind. ~ Summe r 2008 I Koreana

ssary to integrate foreigners into e a truly multicultural society? Choe Hyun Assistant P ssor, Department of Sociology, Ch Photographs Migrants' Arirang 2008

A mother and daughter are all smiles at the 20 whi ch is held to promote friendship among th

The Seou l Globa l Center, on the third floor of the Korea n Press Center, is a one-stop servi ce ce nte r fo r foreign ers, who ca n get assistance fo r their everyday life in Korea , including the issua nce of credit cards and mobile phones. Here, members of th e popular TV prog ra m, ··The Beauties· Cha tterbox,·· learn about the available se rvi ces. 2 Korea·s lea ding busin esses that hire foreign worke rs will inva riably sponsor Korea n-la nguage classes so that their foreign employees ca n acq uire basic co mmunication skills , in ord er to facilita te more eff ic ient workpla ce operations an d interpersonal re lations. 3 Child re n of international famil ies attend a Korea n culture experience camp to learn abou t Korea , including Korea·s traditional clothing.

-====

26 Koreana I S um me r 2008

hanks to the steady advancement of its economic growth and democratic governance, Korea is well on its way to becoming a multicultural society. As borders continue to be lowered as a result of expanding global interaction, and the pace of economic development continues to trend upward, the number of foreigners in Korea will continue to increase. However, it is likewise apparent that Koreans' identity and systems of nationality and citizenship, which are based on principles of cultural or ethnic homogeneity, are not in keeping with Korea's movement toward a multicultural society. To rectify this problem, Korean society must adopt a system of multicultural citizenship that is capable of embracing cultural diversity and appreciating the benefits of a multicultural society.

Views on a Multicultural Society As part of Korea's resistance against Japan's colonial rule (1910-1945), Koreans developed an ethnocentric nationalism in order to preserve their cultural identity and roots. Even after Korea's liberation, these deep-rooted nationalistic

sentiments were preserved and reinforced. A similar rationale is applied to unification by advocates who claim that the reunification of North and South Korea, two nations that had lived as a single people for thousands of years, is not only proper, but inevitable. With the Korean people's shared historical experiences, the inclination toward ethnocentric nationalism, which values bloodline and culture, is more pervasive and potent in Korea, than in other countries. On the other hand, a poll found that, contrary to this conventional wisdom, Koreans today do not base their perceptions of "Koreanness" on bloodline or ethnicity alone. A survey was conducted on "the requisites for being recognized as a Korean," in an effort to determine whether Koreans based their national identity more on bloodline and culture, or on political and legal factors. Choices related to ethnic and cultural factors included a person who: "Has a mother or father who is Korean," "Was born in Korea," "Carries on Korea's cultural traditions," and "Can speak Korean." As for political and legal factors, the choices included a person who: "Respects Korea's political system and laws," "Contributes to the development of Korea," "Has acquired Korean citizenship," and "Thinks of himself as a Korean." The findings of the poll indicated that respondents most often identified "Thinks of himself as a Korean" and "Has acquired Korean citizenship" as the requisites for being recognized as a Korean. This means that Koreans actually regard political and legal factors as more important in determining Korean national identity. Over 50 percent of respondents were in favor of granting Korean citizenship to foreigners born in Korea. Of particular note, respondents in their 20s and 30s attributed greater importance to political and legal factors than the older generations, along with

having a more favorable view toward the naturalization of foreigners and Korea's adoption of a territiorial principle. These results suggest that many Koreans possess an appropriate mindset and understanding, which would be expected of members of a multicultural society. But there are other attitudes that seem to contradict the survey findings. Many Koreans, even though they might support a principle of granting nationality based on country of birth, believe that foreign workers, who have entered Korea on employment contracts, should return to their homeland upon the expiration date of their work agreements. There are also those who, though they are not opposed to policy efforts that support immigration, maintain a rather negative view toward affirmative action for cultural and ethnic minorities. Systematic Reform and Education Why do Koreans exhibit such a seemingly liberal understanding of a multicultural society but dualistic attitudes toward relevant policy measures? In their hearts, Koreans are open to having a multicultural society, but they have not yet acquired a sufficient understanding of the various social systems necessary to establish and support a sound multicultural society, or the need to extend special consideration to the socially underprivileged. The primary reason for this is the fact that Koreans have not had the time to adopt a systematic approach to a multicultural society, due to the rapid speed in which Korean society is being transformed into a multicultural environment. For a society that includes people from diverse cultures and with different appearances, in order to assure a harmonious coexistence, a system is required to manage and resolve sources of potential conflict and discord. Members of a multicultural society also need to be Summe r 2008

I Koreana 27

well versed in the conflicts that can arise in a multicultural environment and know-how to resolve these matters. It would be simplistic to believe that Korea will automatically become a multicultural society just because of the significant number of foreigners residing here. For this, it will be essential for the public to be properly educated and for the social system to pay special attention to the culturally underprivileged, in order for the people to adopt a liberal attitude based on systematic and practical openness. Moreover, an environment needs to be created that is conducive for Koreans to experience and appreciate a multicultural system.

A multicultural society is not about today's situation of various peoples with various backgrounds living within a framework known as Korea. A genuine multicultural society offers an environment in which people from diverse backgrounds can freely interact with each other, while living amid an atmosphere of harmony and cooperation. Efforts of the Government and Citizen Groups Korean society is only now beginning to discuss the issues of a multicultural society in earnest. In April 2006, the Korean government declared its vision for the future of Korean society

with the slogan: "Realizing an Open Multicultural Society." This was a backdrop to its announcement of a comprehensive social support program for foreign immigrants and biracial individuals, which included the Ministry of Gender Equality and Family's "Education Program for Multicultural Understanding," the Ministry of Culture, Sports and Tourism's "Multicultural Experience Plan," and the Ministry of Education, Science and Technology's "Educational Aid Measures for Multicultural Families." The government also announced its desire to realize a "multicultural society that interacts with the world, and a multicultural society without discrimination or exclusion." The governmental efforts are having a positive impact on promoting a more receptive attitude toward a multicultural society among Koreans. Nonetheless, the recent government initiatives are not without their shortcomings. For example, "Educational Aid Measures for Multicultural Families" of the Ministry of Education, Science and Technology seeks to transform Korea into a "cultural melting pot." To this end, the ministry plans to support the education of children from multicultural families, raise awareness of multiculturalism among Koreans, and include aspects related to a multicultural society in the classroom instruction and textbooks. However, such a "cultural melting pot" approach has been a target of criticism in the United States, where it had been pursued as an objective to promote a multicultural society. In particular, it has been criticized as a policy of assimilation, in which immigrant people are inclined to lose their native identity as a result of a replacement of their indigenous culture with that of the host country. Consequently, the United States has instead adopted a "salad bowl" philosophy,

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A special train ride was arranged for ch ildren of international families as part of an effort to encourage students to enjoy the pleasures of reading. 2-5 The Migrants· Arirang 2008 multicultural festival provided an opportunity for foreigners, cross-cu ltu ral families, and Koreans to collectively appreciate a variety of cultures.

which is better suited to the realization of a multicultural society. This means that immigrants can belong to American society without having to lose or surrender their own original culture. Using artificial means to standardize culture cannot result in a multicultural society, in a true sense of the term. It will be difficult for Korea to establish a sound and harmonious multicultural society while failing to have Koreans accept other cultures and insisting on a standardization of diverse characteristics through a melting pot approach. Meanwhile, citizen volunteer groups are making meaningful contributions to Korea's emergence as a multicultural society. While government program assistance is typically concentrated in Seoul

and other large cities, citizen groups are implementing a variety of activities in the provinces, directly lending a hand to immigrants in practical ways and providing a voice for their difficulties. Most immigrants do not have a political presence in Korea. For this reason, the efforts to protect foreign migrants and promote multiculturalism can only be achieved through the concerted efforts of the Korean public. A multicultural society will become a reality when the government and the people both come to understand the true significance of multiculturalism and share a vision for its realization, by implementing effective policy measures and creating an environment that is supportive of immigrants. ~ Summer 2008 I Koreana

Rapid Growth of International Families Nowadays, ever more Koreans are marrying people of other nationalities. Recently, the number of international marriages in Korea has increased by almost ten-fold, from 4,710 in 1990 to 43,121 in 2005. In particular, marriages between Korean men and foreign women have soared, increasing by 260 times during this same period. The number of Korea's international marriages has decreased slightly from a peak in 2005, but in 2007, the 38,491 international marriages accounted for an 11 percent share of overall marriages. And it is projected that this share will continue to trend upward, reaching 20 percent by around 2020 or so. The number of nationalities of foreign spouses is on the rise as well. Through the early 1990s, spouses from the U.S., Japan, and China were the most common, but non-Korean spouses now include people from Southeast Asia, Europe, and Oceania. The sharpest increase has been recorded by Southeast Asia, Vietnam in particular. Today, marriages between Korean men and Southeast Asian women are nothing out of the ordinary. International marriages are evidence of the emergence of a multicultural society in Korea. According to 2007 statistics, immigrant spouses totaled 110,362, accounting for 14 percent of all foreigners living in Korea on a longterm basis. Also, one out of every 10 immigrant spouses has become a naturalized Korean citizen. The number of children born to multiethnic families is increasing rapidly as well, in line with the steady increase in international marriages. In 2007, 13,445 children of cross-cultural families attended elementary, middle, and high school in Korea, nearly double that of the previous year. As these children take their place within Korean society, they will provide a notable momentum for the transformation of Korea into a multicultural society. ~

Number of Korean International Marriages 43,121

1990

1995

2000

2005

2006

2007

Source: Korea National Statistica l Office

Number of Children of Multicultural Families Attending School

13,445

2005

2006

2007

Source: Korea Nati onal Sta tistica l Office

Ko rea n grooms and fo reign brides are married in a joint cere mony.

30 Korea na I Summ er 2008

Government Infrastructure for a Multicultural Society Provision of Informational Networks The Ministry of Justice is putting forth much effort to develop an immigrant spouse network program and provide counseling services for multiethnic families and foreigners residing in Korea. The ministry is establishing nationality-specific networks, in conjunction with the 14 immigration offices around the nation, in order to help foreign spouses and residents adjust to Korea's society, culture, and economy, and to prevent unfair discrimination. As of 2007, 14,860 immigrant spouses had been registered as members of the network systems operated by the 14 immigration offices. The Ministry of Justice is thus implementing practical measures to enable foreigners to become integrated into the mainstream of Korean society, through such efforts as designating immigrant spouse representatives, by nationality and region, and holding regular discussion sessions. There are also plans to continuously upgrade the counseling services to help foreigners overcome various difficulties. Support for International Families The Ministry for Health & Welfare and Family Affairs is focusing on the provision of various assistance measures for international families. The number of Immigrant Spouse and Family Support Centers, which offer assistance to multiethnic families created through international marriages, has more than doubled from 38 in 2007, to 80 in 2008. Similarly, Hangeul education and support for children of international families has increased dramatically, with educational assistance funds for immigrant spouses surging from 2.3 billion won (about $2.3 million) in 2007, to 18.2 billion won (about $18.2 million) in 2008. In particular, the ministry plans to dedicate more efforts to on-site educational projects, such as the "On-site Hangeul Education Services" and "On-site Children's Education Services." These projects, which provide education assistance where the recipients re-

side, have been highly praised by program participants, especially migrant workers. It is estimated that in 2008 some 6,000 adults will benefit from the Hangeul education services, along with another 10,000 students being assisted by the children's education program. Employment Assistance The Ministry of Labor provides employment assistance for foreigners and also administers an employment license system in order to promote the welfare of foreign laborers. The employment license system ensures that employers comply with standard labor provisions when signing contracts with foreign workers. Under this system, employers are required to enroll employees in various insurance programs, which provide coverage for their safe departure and any unpaid wages, thereby creating a more comfortable workplace environment for foreign workers. Moreover, the Ministry of Labor intends to continuously improve the working environment so that foreign workers can live and work in Korea with pride, in part by ensuring the basic rights of foreign workers, in accordance with labor laws and without discrimination, in regard to such matters as industrial accident insurance, minimum wage levels, and labor union rights. Hotline for Women's Rights Since 2006, the Ministry of Gender Equality has been operating a hotline for migrant women, (15771366), in an effort to prevent the abuse of foreign migrant women, in terms of domestic violence, sexual abuse, and sex trafficking. Today, operators who are fluent in such languages as Vietnamese, Chinese, English, Russian, Mongolian, and Thai, are available on standby, 365 days a year, to provide counseling and assistance. Confidential counseling is provided in regard to such matters as immigration issues, spouse abuses, and labor issues. ill

Summer 2008 I Koreana 31

Young students removing oil residue from rocks, one by one, along a sandy beach, company workers and housewives gathering up oil-soaked rags, and military personnel providing various clean-up equipment and supplies-overall, more than 1 million volunteers from all corners of the country, of every age and social standing, have contributed to the efforts to restore the natural conditions of this once pristine coastal region.

34 Koreana I Summer 2008

aean Coast National Park has long

As the Korean government's disaster

been known for its gorgeous

relief and Coast Guard crews frantically

seascape that features the bluest

attempted to stem the flow of crude oil

of seas, picturesque islands, and endless

spilling from the tanker, the residents of

tracts of sandy beaches. However, this

the coastal area, while looking on with

graceful coastal atmosphere was abruptly

disbelief, did what they could to remove

shattered on December 7, 2007, when the

the oil that came ashore with buckets and

ocean currents brought ashore a massive

dustpans. After hearing about this disas-

slick of black crude oil. A floating crane,

ter on TV and radio, citizens from all over

which was being towed some 8 kilome-

the country headed to the area to lend a

ters northwest of Mallipo Beach, nearby

helping hand. Cleaning up as much as

Taean-gun, Chungcheongnam-do, collid-

10,000 tons of oil residue with their hands

ed with the Hong Kong-registered oil

alone, since little could be done with

tanker HEBEi Spirit, causing some 10,900

mechanical equipment, these volunteers

tons of crude oil to spill into the sea

helped to share the pain and hardship of

waters.

the local residents, along with contributing to the restoration of the natural envi-

Daunting Challenge Due to the ocean currents and winds,

ronment. This well-coordinated clean -up process, involving an endless wave of vol-

the crude oil spread rapidly toward the

unteers, was made possible by the orga-

seashore. Various government agencies,

nizational efforts of civic groups.

including the Korea Coast Guard, Ministry

The Korean Federation for Environ-

of Maritime Affairs and Fisheries,

mental Movements (KFEMJ launched an

Chungcheongnam-do Provincial Govern-

on-site project center on the same day

ment, and the Taean-gun County Office,

that the incident occurred and immedi-

which were mobilized to minimize the

ately sought to recruit volunteers with the

damage caused by the massive oil spill,

slogan : "Let's clean up the tears of the

had estimated that the oil residue would

West Coast." The establishment of a sys-

reach the coastal areas about 24 to 36

tematic volunteer system, distribution of

hours after the initial spill. However, the

informational materials for the clean-up

oil actually reached the coastline within 13

activities, and operation of a nationwide

hours. The coastal areas along the Yellow

donation campaign to help the West Coast

Sea, where the oil spill occurred, include

area residents, through the website

inter-tidal zones, such as tidelands, along

(www. kfem.or.krl, as well as the public

with stretches of rugged coastline . The

media's detailed coverage of the recovery

area's maritime conditions include tides

efforts, were all instrumental in getting an

that move toward the seashore at a rate of

initial group of 3,000 volunteers to gather

1 kilometer per hour, and 6-hour intervals

at the disaster scene on December 15,

in the tidal ebb and flow.

just a week after the date of the incident.

Th e oil s pill's devastation has fo rever alt ered the liveli hoo d of res idents engaged in oyster farmi ng. Entire oyster far m areas have been covered wit h a thick coat of oily sludge .. 2 Th e se nsitive tidal la nds areas , in which nu merous orga ni s ms make the ir ho me, were also ru in ed by the oil res idue. 3 Hord es of vo lun teers desce nd ed onto the afflicted coastal areas. as citi zens fro m all over the country. wea ri ng ru bbe r rai ncoats and boots , helped to clea n up more than 10,0 00 tons of oil, with little more than thei r ba re hand s.

Summer 2008 I Koreana 35

TV coverage of the activities of the

serving as "citizen reporters." As such, an

program to highlight the restoration activ-

KFEM volunteers spurred into action six

efficient area-restoration system, led by

ities. Initially, the KFEM officials had con-

local governments, including the Taean-gun

volunteers, was soon in place. Moreover,

cerns about live broadcasts from the proj-

County Government and Chungcheong-

citizen reporters helped to highlight vari-

ect center, but an agreement was worked

nam-do Provincial Government, to estab-

ous issues, like the personal hardship of

out after it was concluded that this kind of exposure would help to encourage the

lish a comprehensive support structure

local residents due to the oil spill, which

for the volunteer efforts. The stream of

regular media reporters had no time to

participation of additional volunteers and

vo lunteers who made their way to the

cover, and distributed the accounts over

the contribution of needed assistance.

West Coast area continued unabated

the Internet, in the form of text articles,

In fact, the SBS program well exceed-

photos, and video. These real-life stories

ed everyoneÂˇ s expectations. Soon after the

put a human face on the catastrophe that

first episode of the program aired on

throughout the Christmas and New Year's holidays and well into 2008. The KFEM's on-site project center

enabled Koreans and foreign residents to

December 15, 2007, all the full-time vol-

bustled with a frenzy of activity, with hard-

better understand the extreme adversity

unteer positions were filled , while visits to

ly a moment for anyone to take a break.

of this crisis.

the KFEM homepage jumped 10-fold. In with not only the damage caused to the

special webpage and by telephone. Full-

Publicity Efforts Pay Off As part of an all-out effort to recruit

ti me volunteers were selected and

volunteers, the SBS [Seoul Broadcasting

well, which resulted in the dispatch of

assigned to such tasks as management of

System) TV network sought to join hands

clean-up crews to the afflicted islands.

volu nteers, gathering information, and

with the KFEM for the airing of a special

the second episode, the program dealt

Requests to participate in the volunteer activities poured into the center via the

36 Korea na I Summer 2008

coastal areas but to adjacent islands as

Of note, the Taean oil spill also

spawned a series of media reports on

plans to stage a large-scale concert,

"volun-tourism," as well as the communi-

together with other performers, in June

ty-minded efforts of popular celebrities.

2008 when the clean-up efforts are likely

Volun-tourism is a term that combines

to be concluded. Moreover, a number of

"volunteer" and "tourism ." In essence, it

other celebrity figures have contributed to

represents a new type of activity that inte-

the recovery activities through their fan

grates volunteerism with tourism. In this

clubs and the provision of donations.

regard, the Ministry of Culture, Sports,

These assistance activities have had a

and Tourism has defined this concept as

noticeable influence on Korean youth,

"an activity designed to revive the vitality

w hile these individuals have come to be

and hope of the Taean area, based on

regarded as role models for encouraging

efforts to restore the physical environment

the public's participation in volunteerism.

and extend compensation for losses, in addition to giving a boost to local tourism ."

1-2 Th e en dless ma rch of vo lunteers has come to be known as the "M ira cle of Taean." Th e coastal areas of Taea n have gradually be en restored in large part. Nevert he less, the damag e to the ecosystem and hardshi p of local residents of West Coast areas will conti nue to ling er fo r s ome time.

An Army of Volunteers

Meanwhile, the Korea Tourism Orga-

Young students removing oil residue

nization has also announced that it will

from rocks , one by one, along a sandy

continue to implement theme-based

beach, company workers and housewives

tourism programs, which combine vo_lun-

gathering up oil-soaked rags, and military

teer activities and tourism. As such, vari-

personnel providing various clean-up

ous volunteer programs are being imple-

equipment and supplies-overall, more

mented not only to restore the natural

than 1 million volunteers from all corners

ecosystem of the Taean area, but also to

of the country, of every age and social

help revive the local economy, as part of

standing, have contributed to the efforts

concerted efforts to aid in the recovery of

to restore the natural conditions of this

the coastal environment and the liveli-

once pristine coastal region, as of Febru-

hood of residents.

ary 21, 2008, just over two months from

Relief activities undertaken by popular

the date of the oil spill. This total is 15

entertainers have included the Taean

times more than the resident population

Project Group, established by Lee Hyun-

of Taean County. Indeed, the mobilization

woo, and the Revive Taean Project, orga-

of this army of volunteers , 1-million

nized by Kim Jang-hoon, which have both

strong and counting, is a real-life miracle.

garnered considerable public attention.

This number well exceeds the 300,000

The Taean Project Group produced and

volunteers who helped clean up Mikuni

released a song entitled "Miracle," which

village, in Fukui Prefecture , in 1997, an

expresses hope-filled messages that the

event which was referred to in Japan as

West Coast of Taean, despite being so

'The Miracle of Mikuni."

seriously damaged by the oil spill, will be

The Taean oil spill, the worst-ever dis-

miraculously restored to its original state.

aster of its kind in Korea, will hopefully

This song became an instant hit, zooming

never be repeated . However, Korean soci-

up the charts on online music sites and TV

ety has used this incident to promote a

pop music programs. The proceeds from

culture that is focused not only on the

users who downloaded the song from

provision of aid, but also on a sharing of

online sites have been contrib.uted to the

the hardship wrought by the disaster. The

restoration efforts of the Taean area .

massive scale of the volunteer efforts to

Singer Kim Jang-hoon, whose gen-

restore Taeari was heartily applauded by

erosity is already legendary, has donated

participants at a recent gathering of the

some 500 million won [about $500,000]

IAVE [International Association for Volun-

for the recovery activities. In addition, he

teer Efforts], held in Panama on April 2,

has been actively involved in the recruit-

2008, and has since attracted much global

ment of some 300 volunteers per week,

attention. From the dark despair of this

with whom he takes the time to personal-

tragic incident, Taean and Korea can now

ly help out with the clean-up work . He

look out at a brightened horizon. 11:> Summer 2008 I Koreana 37

38 Koreana I Summer 2008

Atta Kim Takes Photography to an Unknown Realm "Moving beyond" is an endeavor that is regularly pursued by artists. Through such efforts, they seek to transcend the natural lim itations of a particular medium or art form in order to realize a breakthrough into a brave new world . In this sense, it can be said that Atta Kim has taken photography to an unknown realm . Yoon Seyoung Senior Editor, Photographic Art

Photograph es Ahn Hong-beom, Atta Kim Studio

tta Kim [b. 1956) can be thought of

off guard New York audiences, who are

"Human Cultural Properties" that fea-

as an individual who has used pho-

among the most knowledgeable about the

tured master craftsmen who possessed

tography, which was invented in

latest developments in modern art. This

such a resolute dedication and personal

the West, to express Oriental sentiments,

group includes such sophisticates as the

integrity. Although at a casual glance you

and more importantly, demonstrated,

editor of the Aperture photography maga-

might think that Kim's photography is

through his exhibits in the city of New

zine, Melissa Harris, who when seeing

rather straightforward, he focuses on the

York, a Mecca of contemporary art, that

Kim's work for the first time, is said to

unique inner realm of objects, rather than

photography is in fact not an art form that

have inquired : "Where did .you come

their exterior appearance.

is designed to show people things but

from? The moon?"

The unconventional photography of

In this way, Kim 's photography demonstrates his ability to reveal the under-

rather make them think.

Outside the Box

lying essence of his subjects. This capa-

this cutting-edge artist from Korea moves

Early on in his career, Atta Kim would

beyond the quest to capture a moment or

visit mental-health hospitals in an effort

series of photographs that dealt with the

phenomenon, which is typically associat-

to capture the essence of psychiatric

theme of deconstruction . This "Decon-

ed with photography, to create works with

patients who could not readily distinguish

struction" series depicts naked people in

profound philosophical and ideological

between their imaginary world and reali-

lifeless positions in such settings as

insight. His photography has even caught

ty. He also produced a series entitled

fields, ponds, and streets to convey the

bility was further highlighted in 1991 in his

Summe r 2008

I Koreana 39

Atta Kim fea tured master crafts men of Korea in hi s effo rts to hi ghlight thei r resolute ded icat ion and pe rsonal inte grity. The Portrait-fl 009. chromogen ic pri nt, 90 x 113cm , 1991 . 2 Atta Ki m s ou ght to convey the notion of an ideo lo gica l artifact by plac ing modern peop le within acrylic boxes. The Museum Pr oject 045, chromogenic print , 122 x 162cm, 1998. 3 The me ltin g of a Mao Ze dong ice sc ulpture was in tended to ex press a belief tha t all ideo lo gies and lea ders will event ually disa pp ea r. The water was then place d in 108 bottles. ON-AIR Project 113, 116 -2, 116 -4, 121 - 1, chromogenic print, 188 x 233cm, 2005.

thought that people are as much an inte-

Exhibited from 1995 to 2002, "Mu-

consistently stated that the intent of his

gral element of nature as the stones or

seum Project" captured naked people

"Nirvana" series was not to shock the

locked within Plexiglass boxes, which

public, but rather to challenge existing

After disproving a notion that human

served as icons to represent such sub-

notions.

beings ruled over other creatures, Kim

jects as human sexuality and violence, as

presented his highly acclaimed "Museum

well as political and religious ideology.

Project" and "ON-AIR Project." His photo-

Whereas the vast majority of artifacts

branches lying about.

Fleeting Images Atta Kim's "ON-AIR Project" portrays

graphic works from the 1980s and the

exhibited in museums ar.e historical

scenes of t he city streets of New York,

1990s seemed to have provided a founda-

relics, Atta Kim managed to express a

among the busiest cities in the world, in

tion for his subsequent endeavors. Of par-

kind of ideological artifact by placing living

which not a single person is shown , only

ticular note, the keen philosophical

people inside acrylic boxes. Meanwhile, a

buildings. The dim after-images, reminis-

theme, dramatic approach, vibrant ener-

performance conducted as part of the

cent of a horror film, cause the viewer to

gy, and large-scale works of these two

"Nirvana" sub-series, in which a Buddha

contemplate the likelihood that, at some

series had the effect of bowling over those

departs from his seat in a sanctuary and

point in time, humans must have existed

who had heretofore become accustomed

is replaced by a naked young woman,

there. The visual image was created by

to regarding photography as something to

elicited a controversial reaction . Although

using an extended exposure method, in

be placed neatly within a frame .

criticized for this irreverence, Kim has

which all moving objects eventually disap-

40 Koreana I Summer 2008

peared. The eight-hour exposure caused

The scene of a New York street, cap-

All media forms possess inherent

fast-moving objects to disappear more

tured with an extended eight-hour expo-

limitations in regard to artistic expres-

quickly, while conversely, slow-moving

sure, can thus be contrasted with a com-

sion. As such the differences between

subjects remained visible for a longer

posite photograph created by combining

poetry and novels, or even paintings and

period of time. The .. ON-AIR Project .. was

10,000 images taken from the same spot

photography, can be understood as being

designed to express Kim 's personal phi-

over a period of eight hours. What is the

rooted in the fundamental characteristics

losophy that "a ll living things eventually

difference between capturing a single

of each medium, in terms of its ability to

disappear ...

scene over an extended period of time

communicate an expression or message of

As for "India ... the latest segment of his "ON-AIR Project, .. it was created by

and combining up to 10,000 images into a

the artist. To this end, Atta Kim has been

single photograph ?

successful in surmounting the long-stand-

standing in one spot all day long and

Although various responses might be

ing boundaries of photography. With pho-

depressing the camera shutter some

plausible, one thing is certain-these

tographic techniques such as long-term

10,000 times, and then consolidating all

processes could only have been under-

exposure and superimposition of images,

the images into a single photograph.

taken by an individual with a truly liberat-

he has created a visual language for

While pressing the camera shutter 10,000

ed spirit, who sought to transcend the

expressing his personal philosophy that

times in one day makes for an arduous

restraints of time and space. As such, the

"all existing things eventually disappear...

task, the creation of a single photograph,

ability to produce an 8- or 24-hour expo-

by scanning and imposing 10,000 images,

sure, or to create one photograph by

is an even more painstaking process .

combining 10,000 images taken from the

New Horizons Kim's use of photography to express

What message is Kim striving to get

same place, is undeniable evidence of

the Oriental philosophy goes hand in hand

across? " Pressing down on the shutter

this photographer's pursuit of moving

with his belief that no other form of media

10,000 times in a day essentially meant

beyond his medium . For his part, Kim

can better convey ideological thought than

that , at the very least, I gazed at my

simply notes that he only wanted to

photography. The expression of meta-

intended subject 10,000 times. I also won-

escape from the existing photo-taking

physical concepts, such as ideology,

dered about what the combination of

conventions in an effort to convey his per-

through photography, a medium more

10,000 images would look like ...

sonal message.

known for its ability to vividly depict reality,

Summe r 2008 I Koreana 41

might seem to be rather counterintuitive.

Kim's surprising reversal of the bound-

Notwithstanding this apparent paradox, to

aries of expression of photography.

Kim, no other art forms or media are as

In addition to holding a personal exhi-

ideal as photography. In this sense, Kim's

bition at the International Center of Pho-

"Po rtrait of Mao" can be regarded as a

tography [ICP) in New York, in 2006, Kim

simple and direct expression of the nihility

also published a collection of his pho-

of ideology, power, and politics.

tographs, titled "Museum Project," in the

Starting out with an ice sculpture bust

Aperture photo journal. In the winter of

of Mao Zedong [1893-1976). an icon of the

2007, he made a big splash in the world of

ideology that prevailed throughout China

art when one of his works sold for a few

during the 20th century, and ending with

million dollars at an art fair in New York.

the sculpture's eventual melting into a

In describing Atta Kim, Christopher

pool of water, this process was captured

Phillips, one of the organizers of the ICP

in a series of four photographs, called

exhibition, noted: "Ame rican culture is

"Mao." In the first photograph, which

one of the most materialistic cultures in

caused numerous viewers to shudder, the

the world, and one that is enslaved by

sculpture of Mao's face begins to melt.

consumer objects and items, all of wh ich,

The subsequent photographs depict a thin

I believe, has generated a huge void. Atta

half-melted face, forms of a head barely

Kim has been able to attract so much

visible on a neck, and finally the base of a

attention because he has essentially

neck alone. This simple and vivid depic-

showed us a way to fill this philosophical

tion of the fact that over time, all ideolo-

as well as spiritual void."

gies and leaders, no matter how predomi-

Following exhibits in Korea, the Unit-

nant at one time, will eventually disap-

ed States, China, and India , Atta Kim's

pear, like melting ice, can be regarded as

" ON-AIR Project" is now slated to tour

Artistic expression is inevitably constrained by the characteristics of an art form or medium. However, Atta Kim has long been overcoming the inherent obstacles that most people would associate with photography. With photographic techniques such as long-term exposure and superimposition of images, he has created a visual language for expressing his personal philosophy that "all existing things eventually disappear:·

Thi s photo of New York·s Time Squa re was taken w ith an extended eig ht-h our exposure. According to Atta Kim·s personal philosophy, all existing things will eventually vanish from sight.

ON-AIR Project 110-2. chro moge nic pri nt, 188 x 248cm,

2005.

Koreana

I Summer 2008

throughout Europe during the summer of

Through his images, Kim has essentially

2008. "ON-AIR Project'Âˇ has made it possi-

sought to urge people worldwide to con-

ble for audiences to glimpse a new world,

sider that: "The world you see now is the

which heretofore has Likely not been seen

world you must move beyond ."" One can

nor contemplated . In Lieu of Language,

only wonder what the future holds for this

Kim has used photography, his optimal

extraordinary artist when he can move

medium, to directly express his thoughts.

beyond himself. ~ Summe r 2008 I Koreana 43

ARTISAN

Guksae (State Seal) Consummate Work of Korea's Master Craftsmen Guksae, the state seal of the Republic of Korea, is the nation's official symbol that is affixed to the Preamble of the Constitution, certificates of decorations and orders of merit, and formal diplomatic documents. On January 30, 2008, the nation's fourth Guksae was completed by the experienced hands of dedicated craftsmen of various fields . Cheon Jingi Head of Research Division. National Folk Museum Seo Heun-kang Photographer

orea 路s state seal Guksae was not created by a single

Korea, which together with the wings make up the overall image

craftsman, based on a single engraving method or style;

of a phoenix, a symbol of peaceful times.

rather, it represents a harmonious integration of the

"For the creation of formal implements used for official state

expertise of a variety of master artisans. The handle of the seal,

affairs, dynamic and elaborate images that display a nation 's cul-

or innyu, requires metal crafting, while the imprint of the seal, or

tural prowess are more desirable than simple and modest deco-

injang, is the product of masterful calligraphy and engraving. A

rative elements. Ifs important to display bold vitality and majestic

master of royal seal engraving, Min Hong-kyu spearheaded the

grandeur, while at the same time conveying national integrity. For

overall production of the Republic of Korea's fourth Guksae.

the seal's engraving, which reads

'cH~l2.!;::-路 each straight stroke

of the Korean lettering is made up of minute curves to create a

New State Seal Unlike regular craftwork, Guksae must attain more than aes-

sense of vibrant energy. The vertical strokes are thicker toward the bottom, giving the image added weight and solemnity."

thetical appeal alone, given its status as the nation's official sym-

As Min pointed out, every aspect of the Guksae, from its orna-

bol. As it represents the authority and sovereignty of the state of

mentation and engraving to its overall form, is designed to

Korea , Guksae should convey an underlying philosophy in addi-

embody the dignity and authority that the official state seal must

tion to having a stately appearance. Only by embodying Korea 's

convey. In the process of producing the fourth state seal of Korea,

national spirit, tradition, and sentiments can it be recognized as a

Min stubbornly adhered to a principle that it was imperative for its

state seal with genuine authority and integrity.

appearance to transcend physical beauty by revealing the

"The height of the handle is 99 millimeters, which is identical

nation's fundamental spirit and character.

to the width and length of the seal's square engraved surface. The handle is carved in the shape of a phoenix, an auspicious bird that symbolizes an era of peace. It is situated atop a cloud . We

Significance of Guksae During the time of Korea 's monarchial rule, the state seal

sought to project a dynamic image by highlighting its powerful

was traditionally called Oksae, which served as the foremost

legs," explained Min. 路路According to Korean tradition, a phoeni x

symbol of the king and the country. During the reign of King

has two tail feathers, one of which is raised upward and another

Gongmin Ir. 1351-1374). of the Goryeo Dynasty [918-1392). the

that curves downward. The tail feathers signify the people of

term Guksae first emerged . At the time of the Joseon Dynasty

44 Korea na I Summer 2008

[1392-191 O). the Oksae was recognized as the symbol of the royal

In China and Japan, the tradition of

family and only its legitimate holder was authorized to exercise

making the official state seal was discarded

the powers of the country's supreme ruler. Because it was for the

after the demise of their monarchial rule,

exclusive use of a king, the Oksae was naturally one of the most

while in the West, most countries use

revered royal treasures. In times of insurrection or dethronement, possession of the Oksae was critical to prove the legitimacy of ruling authority. During the Joseon Dynasty, Oksae served as the symbol of royal authority and for authentication of official documents. It was also affixed to all documents or certificates related to state ceremonies or royal banquets. For diplomatic matters, the Oksae was the official emblem of the Joseon Dynasty. It was frequently applied to the diplomatic documents carried by foreign envoys as evidence of the king's affirmation . Whenever a new king ascended the throne, the handing over of the Oksae was a formal event that symbolized the transfer of power. In royal processions, the Oksae took its place at the head of the procession to symbolize the king's authority.

History of the State Seal The state seal has existed in various forms and has served several functions throughout Korea's history, which can generally be categorized into gugin, or national seal, primarily used for diplomatic correspondence with China; and eobo, or the king's seal, for domestic purposes. Up through the Reform of 1894 [Gabogyeongjangl. most national seals were received from the Chinese emperor, while the other seals used by the king were produced domestically. As part of the 1894 reform measures, which sought to modernize Joseon, Korea terminated its subservient relationship with China. This led to an abandonment of the existing national seals from China and the emergence of the first Guksae. 46

Koreana

I Summer 2008

an embossed-imprint state seal. Korea is thus one of the few countries in the world that continues to maintain a traditional state seal, which in large part can be attributed to the consummate craftsmanship of Master Min Hong-kyu and his fellow artisans.

Min Ho ng-kyu prepares a beeswax form as part of the prod uction process for the official state sea l. Molte n gold is poured into the cast mo ld, which is made by coa ting the beeswax form wit h clay. Th e tasse l for the seal handle, whi ch was made by Kim Hee-jin, a master of orname ntal knot- making, enables a user to grasp the seal more securely. Park Myeong-bae, a maste r of woodcraft, works on the case for sto ring the impleme nts that accompany the Guksae. Master of lacq uering !I ntangible Cu ltural Property No. 1131 Jeong Su-hwa was responsible fo r the final stage of making the seal's case. The nin e laye rs of lacquer add a lustrous s heen to the entire surface.

Upon the founding of the Great Han Empire (1897-191 Ol. the Guksae was officially recognized as the national seal for all state affairs . In May 1949, one year after the establishment of the Republic of Korea, a new Guksae was created. The seal was in the shape of a square and measured six centimeters along each side . It was engraved with the Chinese characters ":*:Ult.~z~ "

Several Crafts, Many Hands The process of creating a Guksae involves several art forms of the Joseon Dynasty period, along with traditional artistic genres such as calligraphy, painting, sculpture, seal engraving, and metalwork, as well as philosophical thought. The production team led by Min Hong-kyu was comprised of 28 distinguished

meaning "Seal of the Republic of Korea. " Regulations of the state

masters. The seal engraving was the work of Min and three

seal were amended in 1962, and a new seal was made, which

assistants, while the 16 accessories that accompany the seal,

included a square of seven centimeters per side onto which the

including its casing and wrapping cloth, were created by 25 of the

"cH21~~ ..

most prominent artisans in each specified area, which included

in a Jeonseo font. The handle was carved into the shape of a tur-

nine masters who had been named Important Intangible Cultural

tle, a symbol of longevity. However, this seal was the subject of

Properties.

country's name was engraved in the Korean alphabet

considerable public criticism because its design was thought to

The techniques for making a Guksae were orally transmitted

be inappropriate as a modern nation 's official symbol. So, in 1998,

from the Master Royal Seal Engraver to a single apprentice by

when the engraved surface began to show signs of wear, the gov-

means of a song (yeongsaebu). which described the secret

ernment commissioned a new state seal that featured engraved

methods. To become a true master of Guksae, which is not only

lettering in a Hunminjeongeum font and a carving of a phoeni x on

a great work of art but also a symbol of the country's sovereign-

the handle, to represent a sage ruler.

ty, an extensive apprenticeship must be served over several

In 2005, however, the third Guksae began to develop minor

years and even decades. According to Min 's explanation, the

cracks, which called for the creation of another state seal. The

process of making a state seal can sound simple enough : "A

government formed an advisory committee to oversee the pro-

mold is created by carving characters into beeswa x, which is then

duction of the new Guksae. Based in part on public input, it was

covered with clay and baked. Molten gold is poured into the mold

decided that the Hunminjeongeum font and phoenix motif for the

to produce the seal. " However, this process involves numerous

handle would be retained in the new seal. The committee then

secret techniques and calls for the purity of an artisan's natural

held an open competition to select a craftsman for each individ-

state of mind.

ual aspect of the production process. Of note, Min Hong-kyu was

As in the past, the process of producing a Guksae requires

selected as the engraver for the seal's lettering and for carving

meticulous craftsmanship and no less than an entire year to

the decorative handle. Moreover, he was also assigned the task of

complete. In spring , high-quality clay for the cast mold is soaked

coordinating the entire team of craftsmen involved in the multi-

in water to remove any impurities. During summer, the calligra-

faceted process of creating the new Guksae , using traditional

phy for the seal is refined, along with the designs for the handle.

practices and methods.

In autumn, the beeswax mold is made by engraving the seal's Summe r 2008 I Koreana 47

48 Koreana I Summer 2008

The Guksae body is carved in to the form of a phoe nix, an auspicio us myt hi cal bird that symbolizes an era of peace, ato p a clo ud. The sea l's square imprint, upp er left. measures 99x99mm. 2

On Janu ary 30, 2008, a de di cation ce remony, he ld to unve il th e new Guksae, was attend ed by all the master craftsme n w ho had contribu te d to its produ ct ion

calligraphy text and the handle decoration. Then, the clay that

cloth], cord to tie the cloth, layered case, footed tray, tablecloth for

had been prepared in spring is applied , layer by layer, over the

the tray, and a lock. These items serve to enhance the appearance

beeswax mold to form the cast mold. Throughout autumn and

and presentation of the seal, along with adding a certain dignity to

early winter, the cast mold is left to dry out in the air. In winter,

the process of using, transporting , and storing the Guksae. These

the cast mold is baked in a kiln to melt the beeswax, and molten

items w ere created not by a single artisan but by a team of

gold is poured into the form to produce the seal. The amount of

renowned masters who exerted their utmost efforts to create the

gold that was used for the fourth Guksae was valued at some 250

most exquisite work possible in their area of specialization.

million won [about $250,000).

The tassel on the seal handle, which enables a user to grip

For Korea 's third Guksae, the Korea Institute of Science and

the seal more securely, was created by Kim Hee-jin, a master of

Technology [KAISTJ was selected to oversee the production

ornamental knot-making , who has been designated Important

process. For this, KAIST applied cutting-edge technology, but hair-

Intangible Cultural Property No. 22. Kim has dedicated her entire

line cracks developed even before its completion and the lettering

life to the art of maedeup, or traditional knots, by contributing to

was not perfectly aligned, resulting in irregular impressions. In

the preservation of this traditional craft with her extensive

this regard, Min has noted: 'The modernized process did not allow

research efforts. The Guksae is complete and official when the

the molten gold to spread evenly onto the cast mold. So this pro-

tassel is duly attached, with the graceful lines of the tassel and

duced air bubbles, which led to cracks on the seal's surface."

cord providing a final touch to the seal's elegant dignity.

He said that he is confident that these problems can be over-

The two-layer case for the seal and the larger case used for

come by following traditional techniques and methods. A master

its transport represent the collaborative efforts of the foremost

royal seal engraver must be fully knowledgeable in all the secret

craftsmen who specialize in the various stages of the production

production techniques: making the beeswax mold; carving and

process. From construction of the case to its lacquering, painting,

engraving; producing the cast mold from ohapto [five types of clay

and decorating, each and every artisan was singularly focused on

ta ken from propitious sites around the country], which is known

a common goal of enhancing the Guksae 's stately appearance.

for its consistency and heat-resistant qualities; carving the han-

In China and Japan, the tradition of making the official state

dle of the seal; engraving the text on the seal; handling a five-

seal was discarded after the demise of their monarchial rule ,

metal alloy; being familiar with the mysterious structure of the

while in the West, most countries use an embossed-imprint state

daewang kiln, built exclusively for Guksae production ; and

seal. Korea is thus one of the few countries in the world that con-

attaching the handle to the gold en seal, which involves joining

tinues to maintain a traditional state seal, which in large part can

together different materials. Min Hong-kyu carried out the entire

be attributed to the consummate craftsmanship of Master Min

process with flawless precision to produce the fourth Guksae of

Hong-kyu and his fellow artisans.

the Republic of Korea.

The Republic of Korea 's fourth Guksae is the product of not only the tradition and techniques that have endured on the peninsula for over 600 years but also represents the sprit and passion

Accessories There are 16 items or accessories that must accompany a

of the master artisans who created this magnificent work of art,

Guksae, including the tassel on the seal handle, bojagi [wrapping

which captures the sentiments of the Korean people. I) Summer 2008 I Koreana

MASTERPIECES

Vairocana Buddha of Dopiansa Temple Symbol of Social Harmony During the mid-ninth century of the Unified Silla period [668-935]. the loc;:al magnates of Cheorwon sought to express their political ideology and aesthetic ideals through the creation of Buddha statues. The iron Va irocana Buddha of Dopiansa Temple [National Treasure No. 63]. located in Cheorwon, symbolizes an ardent plea of the local faithful to assure the unity and harmony of the ruling class as well as community residents. Lim Youngae Professor, De partment of Cultural Resources Studies, Gyeongju Unive rsity

s for the Unified Silla Kingdom, one of its distinc-

ninth century this production was also undertaken in

tive characteristics was the broad appeal of Bud-

the provinces, in line with the growing influence of local

dhism, which flourished nationwide. Even today,

magnates. This trend was especially evident in Cheor-

everywhere you turn in Gyeongju, its capital, there are

won, a county along the northern border of Unified Silla

Buddhist relics and artifacts from this period. On and

territory, which eventually became the capital of the

around the venerable Mt. Namsan, the remains of some

Later Goguryeo Kingdom [901-918). founded by the Silla

112 temples have been fo~nd, along with 80 Buddhist

monk Gungye.

images, while many more sculptures and monuments have undoubtedly been lost over time.

The pedestal of the Dopiansa Vairocana Buddha remains intact, but the mandala, which represents the

You can get an idea of the proliferation of Buddhist

light emanating from his body, has been lost. The statue

imagery in Gyeongju from this excerpt of Samgung-

was completed in 865, not long before the kingdom 's

nyusa [Memorabilia of the Three Kingdoms): "Temples

collapse. Unlike most other statues of the Buddha, the

are scattered all over the city like the countless stars in

exact year of its production is known, thanks to the

the night sky, and pagodas are as numerous as a flock

inscription on its back, which reads : "In th e first month

of wild geese taking flight." Nevertheless, the iron

of the year 865, almost 1,500 male Buddhists were

Vairocana Buddha of Dopiansa Temple was not pro-

mobilized to make a statue of the Buddha at

duced in Gyeongju, the political and cultural center of

Dopiansa Temple in Silla's Cheorwon dis-

the kingdom, but instead in the somewhat remote coun-

tric;t, where they tirelessly worked with a

ty of Cheorwon, of Gangwon-do Province.

firm determination to create the stat-

Detailed Inscription

Buddha statue was a product of the

ue." The inscription reveals that this Up through the eighth century, Gyeongju was the production center of Buddhist statues; but, from the 50 Ko reana I Summer 2008

fervent belief of several hundreds of Buddhist followers.

V.ery few of the Buddha statues from the Three Kingdoms period and the subsequent Unified Silla period included specific information about their background and production. Therefore, the Vairocana Buddha of Dopiansa Temple is an exceptional case with an inscription of nearly 100 Chinese characters, which provides detailed information about its background, production process, year of completion, and project sponsors, adding much to the statue's significance.

New Characteristics Understanding the following four questions will be helpful for people to better appreciate the Vairocana Buddha . First, why was the statue produced in Cheorwon , and not in the capital of Gyeongju? In the eighth century, when the Seokguram Grotto (National Trea. sure No. 24) was created nearby Gyeongju, the primary sponsors of Buddhism-were the members of royal families and elite aristocrats who resided in the Silla capital. In the ninth century, however, as the number of believers in the provincial areas increased, they began to build their own temples and Buddhist statues, thereby resulting in a broadened distribution of the Buddhist faith and related works. And in the ninth century, more Buddhist statues were being created in the provincial areas than in Gyeongju. The Vairocana Buddha of Dopia nsa Temple, which included the efforts of some 1,500 Local believers for the benefit of their community, also exemplified a transition of Buddhist society in the ninth century. Second, why was the statue made of iron? Ancient records indicate that gold, silver, bronze, iron, and tin were used for making Buddhist statues, among which bronze was the most common Summer 2008

I Koreana 51

A rubbing of th e inscri pti on on the bac k of the Vairocana Buddha of Dopiansa Temple includ es almost 100 Chinese cha ra cters , which identify the date of its completion, names of sponsors, and background information. ÂŠ

Lim Youngae

material. A typical Buddhist statue would be cast from bronze combined with zinc, to which a gold finish was applied, resulting in a "gilt-bronze statue." Most of the existing Buddha statues of metal were made in this way. Early on, iron was rarely used because it was more difficult to handle, as compared to bronze, especially in the rendering of fine details. Moreover, the casting process would result in markings on the surface, especially in the case of large-scale statues. These marks, which were due to the seams of the mold, can be seen on the chest area of the iron Dopiansa Buddha. It is also believed that, prior to this time, the lack of Buddhist statues made with iron was resulted from a need to use iron for the making of weapons and agricultural implements. NonetheleÂˇss, the use of iron for making Buddhist sculptures began in the mid-eighth century, reached a peak in the ninth century, and continued through the early years of the Goryeo Dynasty [918-1392). There has been considerable conjecture about why Buddhist statues came to be made from iron. Perhaps the nationwide fervor for Buddhist statues increased the demand for bronze, beyond the capacity of suppliers, which necessitated the use o_f an alternative material, like iron. In fact, this view is supported by the fact that the production of iron Buddhist statues became prevalent at large temples in the outlying provinces, which were supported by local magnates. In addition, the advancement of iron-ore mining toward the end of the Unified Silla period likely contributed to this trend as well. Third, iron Buddha statues of this time often featured 52 Koreana I Summer 2008

Very few of the Buddha statues from the Three Kingdoms period and the subsequent Unified Silla period include specific information about their background and production. However, an exception to this is the Vairocana Buddha of Dopiansa Temple that features an inscription of nearly 100 Chinese characters, which provides detailed information about its background, production process, year of completion, and project sponsors, adding much to the statueÂˇs significance.

a unique hand gesture. But, what is the significance of

Another distinctive feature is the folds of the robe

this gesture? The hands of the Buddha of Dopiansa are

that covers both shoulders, which are rendered in an

joined at the chest, with the right hand clasping the left

unnatural style, with identical spacing between each

index finger. Buddha images were created with a variety

fold. In fact, the body looks like it has been wrapped with

of hand gestures [mudra) to express different mean-

a bandage several times, making this statue appear

ings. For this Buddha, its hand gesture [bodhi-sri

less realistic and elegant, as compared to the Seokgu-

mudra) is characterized by a clasping to-gether of the

ram Buddha. However, the serene facial expression of

hands, which symbolizes the oneness of human beings

the Vairocana Buddha, in contrast to the authoritative

and the Buddha, as well as that of delusion and enlight-

look of the Seokguram sculpture, represents the emer-

enment. Typically, a statue with this hand gesture is a

gence of a new aesthetic in Buddhist imagery. The

Vairocana Buddha, which represents truth, light, and

provincial Buddhists seemed to favor a Buddha with a

hope.

down-to-earth demeanor, rather than the aloof

Vairocana Buddha statues first appeared in the

assertiveness of previous images.

eighth century, and gained considerable popularity during the ninth century. Today, there are more than 50

Natural Surface

such statues from the ninth century, including the Dopi-

In 1989, a gold finish was applied to the Dopiansa

ansa Buddha. The dominance of Zen Buddhism during

Buddha, which disguised its identity as an iron statue.

this period provided a fertile ground for the emergence

However, in 2007, the gilt coating was removed, expos-

of a cult-like following of the Vairocana Buddha. In the

ing its natural face. The clean-cut eyebrows and oval

mid-ninth century, the monks who had returned to

face of this Buddha distinguish it from the austere-look-

Korea after studying in China actively propagated Zen

ing eighth-century Buddhas, while its gentle smile

Buddhism among the populace. As the Vairocana Bud-

exudes a warm friendliness . Embodying a concept of

dha was worshipped as the principal Buddha at many

oneness, the Vairocana Buddha had immense appeal

temples of the Hwaeom Order and Zen School, it

among the Buddhist believers in the countryside .

became the dominant form of Buddhist sculpture.

Indeed, the Vairocana Buddha was the ultimate object of

Fourth, why does the Buddha of Dopiansa have such

worship for these people, who earnestly appealed for

a distinctive appearance, as compared to the Buddha

"unity and harmony," amid the social instability caused

sculpture of Seokguram Grotto, even though both were

by internal strife of the ruling class and the emergence

created during the Silla period? As for the Dopiansa

of influential provincial clans.

statue, which was completed about 100 years after the

The Vairocana Buddha of Dopiansa Temple is a truly

Seokguram sculpture, it includes a more oval-shaped

unique Buddhist statue and precious treasure, which

face, along with .. snail-shell" curls with numerous

sheds much light on the Unified Silla Kingdom, in

bumps on its head, and a barely visible topknot which is meant to signify supreme wisdom .

[u?nis?l.

regard to the characteristics of its religion, cultural and artistic pursuits, and society. f) Summe r 2008 I Koreana

Two-Man Exhibition Based on the Bonds of Artistic Friendship

. A unique exhibition , featuring the works of Choi Young-Lim [1916-1985] and Munakata Shiko [1903-1975]. a Japanese printmaker and Choi's teacher, was presented at the National Museum of Art, in Oeoksugung Palace, from January 23 to March 30. Kim Youngna Professor , Depart ment of Archa eology & Art History, Seoul National University Photogra phs National Museum of Art, Deoksugung

he relationship between the two artists began when Choi traveled to Japan in 1938 to learn printmaking from Munakata Shiko. After the

imposition of Japan's colonial rule in 1910, no art school was established in Korea . For those who aspired to become artists and were able to afford the expense, Japan was the place to study art. Choi, who was living in Pyongyang at that time, was introduced to Munakata by Ono Tadaakira [1903-1994). the curator of the Pyongyang Museum, who also tutored young students like Choi in the basic arts. When Choi graduated from high school, he was sent to Japan to study with Ono 's hometown acquaintance Munakata. However, when Choi's father, a wealthy merchant in Pyongyang, wanted his son to take over the family business, Choi cut short his studies in Japan after two years, and returned home. The outbreak of the Korean War [1950-1953) forced Choi to leave his family behind and seek refuge in South Korea. Due to this misfortune, it was inevitable for Choi to rebuild his life and artistic career from scratch in the South. Munakata , on the other hand, became a worldfamous artist after he received the first prize in the print category at the 1956 Venice Biennale. Aware of the recent success of his teacher, Choi wrote a letter to Munakata, after which the two remained in close contact until Munakata's death in 1975. This exhibition, hosted by both the National Museum of Contemporary Arts, of Korea, and Aomori Museum of Art, of Japan, reveals the process in which the two artists-a teacher from the colonizer Japan, and a student from the colonized Koreamanaged to develop an enduring bond, despite the political circumstances of their respective countries, and acquired a mutual respect for each other as artistic equals. In addition, the exhibition, a retrospective of their life's work, represents a rare opportunity to gain insight into the artistic world of the two individuals.

Mastery of Woodblock Born in the small town of Aomori, Japan, Munakata was not the kind of artist who received a regular course of art classes . The son of a blacksmith, he worked as an errand boy at a law firm after completing elementary school. Around this time, he came across an illustration of Vincent van Gogh 's

sunflower in the Japanese art magazine Shirakaba,

which inspired him to become an artist.

Hindu goddesses and Taoism. These

bespectacled and thinly framed Munaka-

After moving to Tokyo, Munakata officially

images, each accompanied by brief texts of

ta, who is hunched over while working on

entered the art world when he was

MunakataÂˇs sentiments, reveal his insight-

a woodblock which practically touching

awarded first prize by the state-spon-

ful knowledge and artistic talent, despite

his face.

sored, art exhibition Teiten .

his limited education . Munakata also pro-

During the late 1930s, when Choi

duced a wide range of art works, such as

Young-Lim was a student of Munakata,

screens, book illustrations, and Nihonga

Munakata was relatively unknown. How-

[modern Japanese-style painting).

Contemporary Artistry Whereas Munakata specialized in woodblock prints, Choi Young-Lim

ever, his works, such as fvtantabo [1935)

Munakata 's works which combine

focused more on oil painting . Choi , who

and The Life of Prince Yamato Takeru

images with text, clearly reflect his adher-

was 13 years younger than Munakata,

[1936) attracted the attention of Yanagi

ence to a literati style that had long been

developed a keen interest in contempo-

S6etsu, the founder of the folk art

practiced in Korea, Japan, and China. It

rary modern art. This is clearly evident in

[fvfingei) movement in Japan. Through

might have been somewhat difficult for

his abstract oil paintings and the thick

Yanagi, Munakata was introduced to the

visitors who are unfamiliar with Japanese

textural expression of his paintings, root-

distinguished Japanese potters, Hamada

culture or writing to appreciate the

ed in the Art lnformel movement, the

Shoji and Kawai Kanjiro, as well as a well-

underlying themes of his prints and text.

most prevalent influence of that time .

known patron of the arts, Mizutani

However, what attracts most people is his

While the works that he created during

Ryoichi, and through their acquaintances,

amazing ability to freely exercise or inno-

the 1950s featured bold lines, likely

Munakata were encouraged to study Bud-

vate the techniques of woodblock. Such

influenced by woodblock prints, which

dhism. Inspired by a statue of the Subodai

vivid, impromptu, and natural lines and

projected a dark ambiance, his style

from Gokokuji Temple, which were shown

shapes on woodblock surfaces, as well as

became increasingly abstract from the

at a special exhibition at the National

the witty humor of the short texts, are

1960s.

Museum in Tokyo in 1939, Munakata went

among the attributes that differentiate his

Although Choi used mainly shades of

on to create 'fen Great Disciples of the

works from that of other well-known

ochre or brown, his work reflects delicate

Buddha, perhaps his most representative

Japanese printmakers, such as Hokusai.

color contrasts as well. Rather than using

MunakataÂˇs self-portrait, flower composi-

strong color contrast, he mainly used

The current exhibition includes a

tions, and rhythmical lines are clear indi-

ocher, to which he added thin lines of

number of Buddhism-inspired prints,

cators of the lasting influences of Vincent

pink, yellow and red, to create a peaceful,

along with works related to Monk Kukai,

van Gogh, the original inspiration of his

sentimental, and fantasy-like atmos-

who introduced esoteric Buddhism to

artistic career. At the entrance to the

phere. To convey an indigenous character,

Japan, as well as images adapted from

exhibition area, one could view a video of a

Choi smeared his canvas with a mixture

work.

Whereas Munakata Sh1ko adhered to a trad1t1onal Oriental style of literati p.unting, m which images re combined with text, Choi Young-Lim relied on a retired sense of color and purity to depict vc1nous themes, i clJd ng scenes of parad

se, ttie mercy of Buddha,

nd fa ry tales.

In Praise of Flower Hunting, woodcu t prin t on paper, 132.0 x 158.0cm, 1954, Munaka ta Shi ko Memorial Mu seum of Art

56 Koreana I Summ er 2008

In Praise of Shokei. the kiln of Kawai Kanjiro, woodcut print & color on pape r, 45 .4 X32.7c m, 1945, 1969, Mun akata Hanga Art Museum

of loess, sand , and glue, and then applied oil paint to this surface. During the mid1960s, he began to work with woodblock printing and to focus intently on imagery, which might have been related to his renewed contact with Munakata. He also started to deal with such themes as folk tale, Korean classic novels, fairy tales, and Buddhism, until his passing in 1985.

New Impetus A revealing example of comparative works between Choi Young-Lim and Munakata, can be found in their female imagery. In Choi's A Woman and a Cow, there are women with round faces, burgeoning breasts, and sensual hips that are meant to highlight an exaggerated sense of voluptuousness , thereby expressing an archetypical image of a woman. Their curvaceous forms and round faces were in fact inspired by the image of a goddess produced by Munakata. However, Choi's womanly figures exude a sense of wholesomeness and innocence that contrasts with a notion of divinity associated with MunakataÂˇs work. Choi's women symbolize abundance and fecundity, and are presented in a paradisiacal setting, in which they perfectly harmonize with the flowers and animals. If the cow and woman motifs were from a fairy tale, then the hill, bird, and tiger images were adopted from a folk painting

minhwa. Overall, the painting is meant to depict an idyllic paradise . What was it that

From the Story of Shim-chung, oil on ca nvas, 85.0 x 81.0cm. 1967, NÂˇational Museum of Contemporary Art, Ko rea 2 Season, woodcu t print & colo r on Korean pape r. 83 x 46cm, 1961, National Museum of Contempo rary Art, Korea 3 Woman , oil on paper. 64.5 X51.5cm, 1959, Leeum, Sa msu ng Museum of Art

58 Ko reana I Summ er 2008

attracted Choi to these themes? While he never sought to portray social issues or mundane elements of everyday life in his painting, these Utopian themes perhaps helped Choi, who had been forced to leave behind his family in North Korea, to divorce himself from such ideological conflict of Cold War or social reality. In the 1960s, Munakata·s travels around the world led to an expansion of his themes, which came to include illustrations of Edgar Allan Poe·s stories, New York's Manhattan area, and even the Nike of Samothrace, the Hellesnitic sculpture at the Louvre. His techniques also became increasingly more elaborate and detailed. Choi Young-Lim, on the other hand , remained focused on the theme of paradise, Buddhism, and folk tales. Yet this exhibition clearly reveals he was an artist with a subtle sense of refined color and rich texture. With the cooperative efforts of museums and relevant organizations in Korea and Japan, including the sponsorship of the Japan Foundation, this exhibition was first held in Japan before being shown in Korea. The current trend toward the establishment of cooperati ve relations and networking between the Asian region·s art museums is indeed an encouraging development. To this end, this exhibition will hopefully serve as a new impetus for an expansion of KoreaJapan cultural and artistic exchanges. ~

Summer 2008 I Koreana

DISCOVERING KOREA

Darcy Paquet Global Ambassador of Korea's Film Industry Now that Korean films have received a series of awards at prominent international film festivals, the world has started to pay keen attention to Korea's film industry. To the movie fans all over the world, who are desperate for information on Korean films, Darcy Paquet is indeed a godsend . Not long after his first chance encounter with a Korean movie, Paquet has been serving as a kind of "global ambassador" of Korea's film industry. Lee Soo Jin Freelance Writer

I Ahn Hong-beom Photog raph er

arcy Paquet, 36, is known as an ambassador of

Paquet has also served as a programming con-

Korean film who is dedicated to connecting

sultant for a number of film festivals . Selection of

Korea to the world through the medium of film.

program content and awards for film festivals

Over the past ten years, he has been working as a

requires an in-depth understanding of all aspects of

correspondent for movie magazines and a program-

filmmaking, as well as careful consideration of the

ming consultant for Korean films, in conjunction with

primary theme of a festival and preferences of the

a number of international film festivals. But, exactly

viewers. As an expatriate specialist of Korean film,

what is it about Korean films that has so fascinated

who takes great pleasure in publicizing Korean films,

this American, with a Ph.D. in Russian Literature? In

Paquet is an indispensable professional at film festi-

order for a country's cultural content, such as film, to

vals, both in Korea and abroad .

become widely accepted, a broader understanding of

In Korea, he has participated in the Chungmuro

the country itself is required . In a similar vein, what

International Film Festival and the Puchon Interna-

Paquet is so eagerly striving to publicize on the world

tional Fantastic Film Festival. He also serves as a

stage is not only Korean movies but Korea's culture

program consultant for Korean films at two European

and people as well.

film festivals : The Udine Far East Film Festival, which celebrated its 10th anniversary this year and is the

Spreading the Word on Korean Film Darcy Paquet has been involved with the Korean film industry through various jobs in Korea and abroad. He has covered Korean films while working as a correspondent in Korea for the U.S. magazine Variety, and for Screen International, a film trade

largest of the European festivals that introduce Asian films; and the San Sebastian Film Festival held in Spain, the oldest and most influential event of this kind for Spanish-speaking audiences. Paquet's website on Korean film [www.koreafilm.org]. to which he has devoted much energy and

magazine based in London. In Korea, he has kept film

careful attention for 10 years, contains an abundance

buffs informed of the latest news through his movie

of information on Korea's movie scene. Visited by over

columns in the weekly Cine 27, in addition to working

4,000 viewers a day, most of them non-Koreans, this is

as an English editor of the Korean Film Council, help-

a must-see site for any foreigner who is curious about

ing with the overseas promotion of Korean films.

Korean movies, where the insightful commentary of

60 Koreana I Summer 2008

Paquet is available in English . Currently, Paquet is

unrealistic, but the memory ling ered on . After watch-

finishing up a book, Short Cuts Series-New Korean

ing Our Twisted Hero and other Korean movies, he

Cinema, which is slated for publication in 2009 in the

found himself fascinated by Korean film.

U.K. A reporter for film magazines, programmer for

He first came to Korea in 1997 to teach English at

film festivals, web blogger, and author, Da rcy Paquet

Korea University. At the time , it was meant to be a

is indeed a multimedia advocate of Korean film.

temporary stay, on his way to Ru ssia . But his full-

Introduction to Korea Paquet is from a small town in Massachusetts

watched all sorts of films, from the black-and-white

scale exposure to Korean film got underway. He movies of the 1950s and 1960s to contemporary fea-

where he grew up and graduated from the local high

ture films . He was also intrigu ed by the unique

school. While living in the countryside, with no movie

scenes that could be experienced only at Korean the-

theater in the area, he spent his time reading and tak-

aters : people quietly gnawing on dried squid instead

ing photos. To study more about the Russian writers,

of crunching away on popcorn; the subtitles posi-

who impressed him so deeply, he majored in Russian

tioned vertically along the right edge of the screen;

Literature at Carlton College, in Minnesota. While liv-

old wom en scalpers doing their business just outside

ing for the first time in a city with readily accessible

the ticket booth; and the endless line of people wait-

movie theaters, he became more and more attracted

ing to buy movie tickets on national holidays.

to film, a form of art that combined his loves: litera-

Whenever he bought a ticket, the booth attendant

ture and photography. Then, one day at school, he

would invariably ask: 'This is a Korean film . Are you

happened to see a Korean film. "The first Korean film that I saw was Seopyonje by

sure you want to see this? It's not dubbed in English. " Today, however, no such warning is needed because

Director Im Kwon-taek. When doing my master's

he is so fluent in Korean that he can comfortably

work at Indiana University, I made friends with an

enjoy a Korean movie without English aids. After all,

exchange student from Korea University, and he

he has become th e foremost foreign specialist of

showed me the film . In spite of the beautiful scenery

Korean film, who after living in Korea has acquired

of Korea in the movie, I could not empathize with the

Korean-language fluency. Even in the late 1990s, only

story."

a handful of foreigners knew much about Korean

Seopyonje is the story of a pansori (traditional

filmmaking , while the industry and the government

form of Korean narrative song) master who drugs his

were less than successful in promoting Korean film

apprentice daughter so that she becomes blind, as a

abroad . As for Paquet, he was confident that the

means of enhancing her sensitivity to music. Paquet' s

world would eventually pay attention to Korean film.

first encoun t er with Korean film left a powerf ul

So, he decided to assume a role of introducing it to

impression; he felt that the story was somewhat

people around the world .

Darcy Paquet is a film cri tic, corresponde nt fo r movie magazin es, and prog rammer for Ko rea n films at va rious internatio nal film fest iva ls. 2 For an introduction to Korean films , he recommends: The Host !di rected by Bo ng .J un~ho , 20001and Spring, Summer, Fall, Winter, and Spring !directed by

Kim Ki-duk, 2003)

62 Koreana I Summer 2008

"Korean films have excellent visuals, and this is true for low-budget productions, too. The performances of actors and actresses are also very entertaining and full of life. But most of all, the power of Korean film comes from the great number of young talented individuals working in this field. That is the source of power that leads to the production of various kinds of films."

Of the 100 or so films produced in Korea last

producers will have to work harder and come up with

year, Paquet personally viewed 85 . When foreign-

more innovative and creative projects to capture their

made films are included, the total reaches 200,

fancy.

which means he sees about four movies per week.

For those who have never seen a Korean film, he

People often wonder if he ever gets tired of watching

recommends two movies. First, The Host is a story

so many films. To this, he firmly responds that he

about a teenage girl who is abducted by a mutant

has never gotten bored or tired of watching movies,

creature that lives in the depths of the Hangang River,

not even once. He says he feels fortunate about every-

which flows through Seoul. Her family members risk

thing-lucky to have started doing film-related work,

their lives to rescue her in a series of breathtaking

to be living in Korea, and to have met his Korean wife

pursuits and desperate struggles with the monster.

here.

The movie was a huge success in Korea, with its impressive special effects, and set a new box-office record. It was also presented in 71 theaters in North

Friend of Korean Film Paquet has his own thoughts about the strong and weak points of Korean film ... Korean films have

America in 2007. Second, Spring, Summer, Fall, Win-

excellent visuals, and this has been always highly

It portrays the life cycle of a Buddhist monk, who

ter, and Spring is suggested for middle-aged viewers.

praised by European audiences. Even in low-budget

resides at a mountain temple, with his transition

films, visuals are almost always quite professional. In

from childhood to old age being compared to the four

addition, the performances of actors and actresses,

seasons.

especially supporting players, put life into the movie,

Paquet recently quit his correspondent work for

making it more alive . But most of all, the power of

Variety to focus more on his homepage. When he

Korean film comes from the great number of young

started the website out of his personal interest, he did

talented individuals working in this field. That is the

not imagine it would come to play its current role: a

source of power that leads to the production of vari-

gateway to Korean film . The popularity of his website

ous kinds of films. Just look at how many short films

demonstrates that movie fans outside of Korea have a

are produced here every year."

keen and growing interest in Korea's film scene.

Paquet also makes note of the unpredictability of

Although he is now burdened with added responsibili-

Korean audiences, which makes a film producer's job

ty, he is more satisfied than ever because of his love

all the more difficult. However, he sees this fickleness

and passion for Korean film . He says he wishes to be

as being helpful for the future of Korean film . If the

not only an observer but also a friend of Korean film.

audience Âˇs response is straightforward and pre-

With such a dedicated friend as Darcy Paquet,

dictable, similar types of films would flood the mar-

Korea's film industry can take comfort in the fact that

ket, thereby suffocating experimentation and creativi-

its successes will not go unnoticed by the many avid

ty. On the other hand, if the audience is unpredictable,

fans of Korean movies the world over. Ill Summe r 2008

I Koreana 63

ON THE GLOBAL STAGE

WooYoungmi Promotes Her Own Haute Couture Brand in Paris

In and around the Marais area, a trendy hotspot of Paris, it is not uncommon to see young, nattily-attired Parisians carrying shopping bags emblazoned with 'Wooyoungmi." They are toting a creation by the Korean fashion designer Woo Youngm i, who has operated her own menswear boutique in the city since 2006. Shin Eugene Editorial Di re cto r,

ELLE Korea Photograp hs Vizu Communication

64 Koreana I Summer 2008

he haute cuisine and fashion have something in

those who prefer the bold, meticulous lines of

common: they remain the domain of the male

Hugo Boss might think Woo·s designs

gender. Top-rated women chefs are so few and

are too sentimental. As for Woo Youngmi ,

far between that when a restaurant, led by a female

her fashions are delicate and artistic, while

chef, earned three stars from the ··Michelin Guide "

maintaining an inherent balance.

[2007]. this rarity became the talk of the town. The same

Above all, they are not rooted in femininity.

is true for the world-class fashion houses, such as

Rather, as compared to the ultra slim-fit

Louis Vuitton, Christian Dior, and Chanel, which in large

and decorative looks created by Hedi Sli-

part are influenced by male designers. In the male-

mane, the former head designer of Chris-

dominated world of fashion, Woo Youngmi is one of the

tian Dior Homme, whose works drew

few women designers who has been making a name for

inspiration from Pete Doherty, lead

herself with her distinctive line of menswear items.

singer of the English rock band

Menswear with a Woman's Flair

ations might be thought of as being

Babyshambles, Woo Youngmi's creIn 2004, the fashion group Dunhill named Woo

quite basic and straightforward . Her

Youngmi as one of the top ten emerging menswear

clothing is not overtly feminine, but

designers who was expected to become a mainstay of

there is a quiet subtlety, much like a

the French fashion scene. Today, after 12 seasons of

wife or mother who will gently

showing her creations at the Paris Menswear Collec-

straighten out a collar or smooth out a

tion, the European media refers to her as a ··female

crease at the doorway.

designer who understands the men of Paris," which has been accompanied by a steady rise in the number of stores now carrying Woo·s line of menswear. In addition to her own Wooyoungmi boutique in Marais, Woo·s

Dreaming of Paris Woo Youngmi has maintained a leadership standing in the Korean

clothing items are now available at popular shopping

menswear market for the past 20 years,

malls across Europe, including Pressing in Paris and

since the launch of her "Solid Homme"

Dantone in Milan. Starting this fall, they will also be offered in the U.K.,

line in 1988. If she had invested as much effort into her career in Seoul as she has in Paris

at Selfridge's department stores and Brown shopping

over the past six years, she would have devel-

malls. It is particularly noteworthy that, since 2006, the

oped multiple lines in Korea some time ago.

Wooyoungmi clothing line has been selling well in th e

So what motivated her to travel along this

high-end menswear section of the Le Bon Marche

more difficult path? "I didn't set out to do

department store in Paris, alongside such world-

shows in Paris from the beginning. But I got

famous brands as Miu Miu, Helmut Lang, Marni, and

frustrated when my creations had to be sold at

Neil Barrett. Woo Youngmi strives to embody a woman's flair and sentiments in her design. In this way, her fashion creations capture an appearance that women find stylish in

lower prices at trade shows, just because I hadn 't participated in the big-name collections, " she explained. She may have been an established designer in

menswear. Her clothing line thus conveys a natural,

Korea, but breaking into the European market was

clean-cut style, but rather than appearing formal or

another matter altogether. Although she had been

pretentious, they reflect a sense of boyishness . For

showing her collections at the New Wave in Seoul, along

those accustomed to the sleek and refined look of Gior-

with other young, enthusiastic designers since 1993,

gio Armani designs, they might be disappointing. Or

this did little to help her gain recognition in Europe.

Summe r 2008

I Koreana 65

She was not even certain what Western men would think of

to slow down, that my line is already rapidly expanding. But

her designs. But she continued to show her wares at trade

I feel that I am a newcomer who should be fully prepared. I

events, which eventually paid off. She picked up additional

have to be different from others."

orders over time and even began to notice people in her

When she first contacted the Paris Menswear Collec-

clothing on the streets of Europe. Her dreams of showing

tion, Woo Youngmi was impatient and anxious. She tried

her creations in Paris thus began to take shape.

to show a large number of items, as she had done at

·· 1 had been doing shows in Korea for more than ten

shows in Seoul, and asked buyers what style they want-

years, but here, things are done in a completely different

ed . But now she concentrates on developing her own

way. In Korea, the shows were simply for showcasing new

unique designs. "Parisians have an intimate knowledge

designs, but here in Paris, the fashion shows were where

of clothing . They might visit a store at least five times, to

sales deals were finalized. I learned so much from the

scrutinize an item, before an actual purchase . As for

trade show buyers, who

fashion merchandisers, even

placed orders for my Solid

if they like a collection, they

Homme line, that I felt like I

tend to wait and observe for

owed them "tuition· for my

another season or so before

education,·· she recalled .

agreeing to a contract."

Many of these merchandis-

New Horizons

ers, her teachers according to Woo, maintained their con-

Woo Youngmi said that

fidence in her, along with

she is only now beginning to

extending staunch support

understand the haute cou-

when

her

ture world of Paris. Although

··wooyoungmi'' line at the

being humble about her cur-

she

debuted

rent situation, her confidence

1992 Paris Collection.

in the long-term success of the Wooyoungmi line was evi-

Need for a Solid Foundation A number of Korean designers have sought to conquer

dent. In fact, this has emboldened Woo to expand her hori-

the European stage, but failed, while many more dream

to gain consumer acceptance in order for the Wooyoungmi

about making it big as the new star designer in Paris, New

line to be recognized as a truly global brand. But in reality,

York, or Milan. Woo Youngmi's advice for these dreamers

this is a daunting challenge for an individual designer to

is to first succeed on their home ground, if they hope to

take on, without a proper sponsorship.

pursue their dreams on the global stage.

zons to the U.S. market, where she believes it is necessary

'What I envy the most about the European fashion

"A solid business foundation in Seoul is essential. Even

houses is their history and tradition. These are things that

while I was preparing for the Paris Collection, I invested

can never be bought. So, in order to advance into the U.S.

much time and effort in restructuring my staff and man-

market, I need the help of strategic marketers who know

agement system in Seoul. Above all, it's much easier to

the market inside and out."

establish yourself as a designer in Seoul than abroad.

A renowned fashion designer once invited Woo to join

Without a firm foothold in Seoul, you will likely be nothing

its staff .as an in-house creative director. Although this

but a lonely stranger in Paris," she said.

would have been a golden opportunity for her to acquire

As such, Solid Homme served as a foundation for the

instant recognition in the fashion industry, Woo politely

subsequent success of Wooyoungmi in Paris. And thanks

declined the offer, because it was more important for her

to Wooyoungmi in Paris, the 20-year-old Solid Homme line

to build up her own line, based on her own designs. Based

has remained fresh and successful in Seoul. The two fash-

on the successes of her Solid Homme line in Seoul, and

ion lines, based in Paris and Seoul, are like a mother"s two

Wooyoungmi line in Paris, it seems only a matter of time

children. ··1n Paris, my nickname is "Madame Vite, Vite,' for

before the creations of Woo Young mi are seen in the retail

'quick, quick.' The French staff is always telling me I need

outlets of the United States and beyond . ~

Sum m er 2008

I Koreana 67

n large part, planning a summer vacation to escape the urban heat involves making a choice between venturing to the mountains or the seaside. For those who enjoy a varied setting, they might find an ideal destination in Samcheok, of Gangwon-do Province, located along KoreaÂˇs east coast. Here, visitors can luxuriate in the lushness of densely forested valleys of the Taebaeksan Mountains that overlook coastal areas facing the East Sea , which feature sandy beaches and delightful seaside scenery. The natural attractions of Samcheok include the cool air of its mountainous areas, deep blue ocean waters extending to the horizon, and the mysterious wonders of natural caves such as Hwanseongul Cave, one of the largest in Asia .

East Sea Coastline Samcheok is located along the eastern coast of the Korean Peninsula, facing the East Sea, which is known for its deep blue ocean waters. A continuous stream of visitors make their way to this city to enjoy its beaches in the summer and graceful coastal scenery yearround. Along with the timeless splendor of the East Sea's boundless waters, you can also experience the irrepressible vitality of SamcheokÂˇs local residents at Samcheok Port, as they go about their daily routines. In this area, where warm and cold currents converge, the fertile waters produce an abundance of seafood, which supports the livelihood of coastal residents. As such, there is always a '.iteady flow of fishing boats entering and departing the Samcheok Port, heading out to sea and returning home with their catch . South of Samcheok, the graceful coastline includes a series of six small ports, each with a local character of its own . The ports of Jangho and lmwon, which

ution. Even a casual observer can easily detect

house large fleets of squid-fishing boats, offer a

the indefatigable vigor and love of life of the

dazzling scene at night, as the bright lights of

Samcheok people as they go about their every-

the boats create reflections that dance wildly

day activities.

across the darkened waters. The boat crews

From the city, the sea assumes an entirely

catch squid throughout the night and return to

different appearance by day and at night. In the

port at sunrise, which sets off a flurry of activity

daytime, the waters are tranquil, providing a

as vendors buy up the squid and others get to

source of relaxation and recreation. In contrast,

work with their preparation for sale and distrib-

after nightfall, the sea is abuzz with the activi-

70 Koreana I Sum mer 2008

Squid-fishing boats use bright lights to attract squ id at night, wh ich creates a dazzling nig httime scene on the East Sea waters. 2

Due to the abundance of the squid catch , dried squid is a specia lty of Samcheok.

ties of those who depend on its bounty for their

the sun emerge from the horizon across ocean

livelihood, including the numerous squid boats

waters is an especially magnificent sight. The

that can be seen bobbing in the distance on any

sea's rolling surfa ce , of dark cobalt before

night of the year.

dawn's first light, seems to blush like a new bride as th e sunlight illuminates the faraway

Memorable Scenery Th e daily sunrise, nature' s opening act , might well be one of its most glorious performances. A sunrise is always lovely, but see ing

horizon . As the sun appears, its ra ys of light paint the sky and sea waters with brilliant hues of red and orange. This wondrous scene might inspire you to reflect upon your sense of selfSummer 2008

I Koreana 71

importance and the majesty of this everyday

sunrise, the atmosphere at Jukseoru [Treasure

presentation by Mother Nature.

No. 213). a pavilion situated among thickets of

About 5 kilometers to the north of Sam-

bamboo and a gently flowing stream, is all the

cheok is Chuam, which is known as an ideal

more serene and soothing . Jukseoru, w hich

location to behold a truly gorgeous sunrise.

means ··pavilion to the west of bamboo trees,'"

Today, Chuam Beach is no longer within the

is a perfect complement to Osipcheon, a 50-

administrative district of Samchoek City; it has

kilometer-long stream that winds its wa y

been in corporated into Donghae City since

through Samcheok and out into the East Sea.

1980, after long having been part of Samcheok.

From ancient times, Koreans have built

Nevertheless, the residents of Samcheok still

pavilions in places of scenic beauty so that they

count this scenic spot as one of their city"s nat-

could gather there to socialize and appreciate

ural treasures.

the wonders of nature. While relaxing at the

The beach area got its name of Chuam,

800-year-old, two-story wooden pavilion that

meaning ··candlestick rock,"" from a natural

overlooks the gurgling stream, it is easy to

roc k formation that emerges just offshore,

imagine just how much ancient Koreans

which looks like a huge candlestick. Standing

enjoyed themselves here, writing poems about

tall in the sea waters, amid the constant swirl of

the beauty of nature, or simply absorbing its

ocean currents at its base, this natural edifice

elegant splendor.

conveys a solitary sense of stateliness. Moreover, at dawn, as the sun·s early rays break the darkness, the rock looks like a giant candle,

Mysterious Caves In addition to picturesque sunrises, nature

casting a brilliant glow.

has blessed Samcheok with an even more

In contrast to the magnificence of an ocean

unique resource: natural caves. The city features

Jukseoru pavilion sits on a bluff overlook in g Osipcheon Stream. The picturesq ue la ndscape su rround in g the pavi li on has long bee n a so urce of in sp iration fo r Ko rean poets and painters. A memora ble sunri se is reg ula rly prese nted at the beach area of Chuam, which means ··candlestick rock·· for the natural rock fo rmatio n just offshore.

72 Koreana I Summe r 2008

Korea ' s largest concentration of limestone

from the main entrance to the cave's entryway.

The natural attractions of

caves, of which 55 have been catalogued. In

Samcheok includes two exhibition halls that

2002, the city hosted the "Samcheok World

offer various educational programs on the

air of its mountainous areas,

Cave Expo," an international event with the

characteristics of caves. At the Mysterious Cave

deep blue ocean waters

theme "City of Caves. " In particular, Hwanseon-

Hall, visitors can Learn about the process of

gul and Daegeumgul caves have been devel-

cave formation as well as the types, environ-

oped into visitor attractions, with the installation

ment, and ecology of caves, while viewing dis-

of Lighted walkways so that people can easily

plays in a circular exhibition area with a central

experience the mysteries of these underground

column in the form of a large stalagmite . At the

caverns.

IMAX theater, you can view dramatic scenes of

Since its opening in 1997, Hwanseongul

Samcheok include the cool

extending to the horizon, and the mysterious wonders of natural caves, such as Hwanseongul Cave.

caves in the area that are not yet accessible to

Cave has been a must-see destination for any

the public. The Cave Exploration Hall, a building

visitor to Samcheok. The interior of the 6.5-kilo-

with an exterior in the shape of a bat, features

meter-long cave is so immense that there is a

models of various caves around the world and

platform which can accommodate over 10,000

equipment for cave exploration.

standing people. In addition, a number of waterfalls within the cave create an eerie scene that

Reliance on the Sea

might make you think you have somehow been

Samcheok, where the mountains meet the

transported to another planet. At Daegeumgul

sea, is located between the Taebaeksan Moun-

Cave, which has been open to the public since

tains to the west and the coastal area along the

2007, there is an ecological theme park adjacent

East Sea. The Taebaeksan Mountain range that

to the cave and a monorail that visitors can ride

traverses the eastern region of the Korean Summe r 2008

I Korea na 73

At Haesin dang, Shrine of th e Sea God, residents of Sa mch eok continue to pray fo r th e protection of fisherm en from the perils of th e ocean and for a bountiful catch.

74 Korea na I Summer 2008

Peninsula is known as the "Spine of Korea."

There is an age-old custom of hanging phallic

With areas of the mountains being too precipi-

symbols at the shrine, which is based on the

tous for human access, the area 's rocky terrain

following folktale .

is not suitable for rice farming, while allowing only a limited amount of farm crops. However,

Once upon a time. there lived a young man and

the area does yield various mineral resources,

woman who were deeply in love with each other.

primarily limestone.

One day. they went out to sea to a small island to

Due to its remote location on the eastern

gather seaweed. Later. the man returned to the

edge of the Korean Peninsula, Samcheok has

mainland for some food. But. stormy weather sud-

long existed in relative isolation with only limit-

denly appeared. Violent waves and wind prevented

ed exchange with the outside world . This factor

the man from getting back to the island, while the

has contributed to the uniqueness of the area 's

woman. who had been waiting by herself , was

well-preserved local culture . In particular, its

swept away by the storm and never found . After

folk beliefs reflect the people's heavy reliance

this trag ic incident, the village suffe red one misfor-

on the sea as the primary source of their liveli-

tune after another. Fishing boats came back from

hood. For example, popular veneration of the

the sea without any catch, and there was a series

Sea God embodies their appeal for protection

of shipwrecks due to treacherous ocean storms.

from the perils of the sea and an ample catch.

The villagers thought that this misfortune was

The residents continue to conduct rituals to

because the ghost of the young woman was so dis-

appease the Sea God at Haesindang, a shrine

pleased with being separated from her lover. To

on a rocky hill nearby the beach at Sinnam-ri .

console her soul , they built a shrine. named

Haesindang, on the edge of a hill overlooking the

Practical Adaptation

sea . Nevertheless, unfortunate events continued to

In the past, ordinary Koreans wo uld often

plague the residents. Then , one day, a drunken

build a home with earthen walls and thatched

man went to the shrine and urinated on it because

roofs. Since r ice farming was so prevalent, rice

he was infuriated with the villagers' in ab ility to

straw was plentiful for the building of homes .

escape this bad luck. The following day, after this

But this was not the case for the Samcheok

man went out to sea , he returned with his boat

area, where rice farming was not possible. So,

overflowing with fish. This made the villagers rea l-

residents built their homes out of wood, wh ich

ize that the ghost of the young woman was actually

could be obtained from the nearby forests.

seeking male vitality, so they used straw to hang

For the roof, they used tree bark or planks

phalluses at the shrine . Soon thereafter, everything

of timber. Of note, the homes were designed

returned to normal with no more misfortunes.

w ith an all-in-one floor. plan, whic h included rooms and a kitchen for the people, along with

Even today, longtime residents participate in

Ancien t mill for processing grain that harnessed hydro power. As water flowed in to an ind entation on one end of a lever, it li fte d a pestle at th e opposite end. When th e wate r was em ptied, the pestle wo uld drop and pound th e grain in the mortar.

In the mounta inous areas of Samcheok, peop le in the past built houses with roofs made of tree ba r k. The closed stru ctu re of such houses , ca lled gulpijip, was effective in pro tecti ng the inhab itants fro m the co ld winte r.

areas for their cattle and livestock. This provid-

annual rites at the shrine, where a huge phallic

ed protection for livestock from the harsh win-

symbol is placed on the altar, along with offer-

ter winds flowing down from the mountainsÂˇ as

ings of food and beverage. The ritual represents

well as safety from wild predators. Instead of

an earnest plea of the village for the safety of the

under-floor heating (ondol). the homes were

fishermen and a bountiful catch, as well as a

heated with a Western - style fireplace (gokol),

community event to encourage harmonious and

which used pine knots as fuel, because it pro-

cooperative relations among residents.

duces less smoke. Ill Summer 2008

I Koreana 75

CUISINE

Soup (Guk) An Essential Part of the Korean Meal

76 Korea na I Summ er 2008

The Korean word guk refers to a boiled soup that is made with ingredients such as vegetables, fish, and meat. Soup is an essential element of the Korean food culture; in fact, it could be said that no Korean meal would be complete without guk. Along with their meal, Koreans especially enjoy a serving of soegogi miyeokguk [beef-seaweed soup] or soegogi muguk [beef-radish soup]. Paik Jae-eun Professor of Food and Nutrition, Bucheon University Kang Heekap Photog raph er

Park Yong-ill Cuisine Consultant

hereas direct heating is popular in the West, Koreans have developed a variety of soup-based cooking methods, along with a vast assortment of guk dishes. The significance of guk, in terms of KoreaÂˇs food culture, can be understood from an excerpt of Joseonmussangsinsikyori-

jebeop, a cookbook from the Joseon period [1392-191 OJ, which reads: "'Guk is second only to steamed rice

in terms of its importance at the Korean dinner table, and represents the most essential side dish. A meal without guk is equivalent to a face without eyes. No feast is complete without guk." Accordingly, while rice is the basic staple of the Korean diet, guk is the most important side dish, and an indispensable item at that. There are numerous types of guk, made with a variety of ingredients, such as vegetables and meat, which can be served as a side dish or a main course, when combined with a generous helping of rice.

Varieties of Guk The varities of guk can be grouped into four basic types : malgeunguk, clear broth; tojangguk, soup flavored with doenjang (fermented soybean paste]; gomguk, thick beef soup; and naengguk, cold soup. In general, malgeunguk refers to a clear broth that is combined with only a limited amount of ingredients, or geondeogi. When a large volume of malgeunguk is prepared , a large piece of beef would usually be boiled for a long time, whereas for regular servings, meat would be sliced into pieces, seasoned, and sauteed, then boiled in water to produce a flavorful broth . Malgeunguk is typically seasoned with salt and soy sauce.

Soegogi miyeokguk Ingredients Beef shank, for soup, 100 grams, Dry seaweed 50 grams, Seasoning [1 teaspoon salt, 1 teaspoon sesame oil, dash of black pepper]. 2 teaspoons sesame oil, 8 cups water, Splash of soy sauce, Dash of black pepper

Preparation 1 Slice the beef into flat pieces and combine with seasoning.

2 Wash and soak dry seaweed in water for about 30 minutes. Then, drain and cut the seaweed into 4-centimeter-long strips.

3 Pour sesame oil into a pot, and saute the beef prepared in step 1. Add the seaweed and continue to saute. When the oil is spread evenly around the pot, pour in the water and bring to a boil over mediumhigh heat.

4 When the water comes to a boil, lower the heat, and season the soup to taste.

Summer 2008 I Ko reana 77

Even today, tradition calls for soegogi miyeokgukto be served to a mother after childbirth, for the provision of nourishment and to accelerate her recovery process. It is also customary for people to eat it on their birthday. Soegogi muguk is popular because it is simple and quick to prepare.

Because of the addition of fermented soybean paste, tojangguk soups feature a hearty taste even when they might contain little or no meat. Koreans will regularly add hot pepper paste or red pepper powder to tojangguk in order to enhance its savory taste. Similar to gomtang, meat/tripe soup, or seolleongtang, bone soup with beef, gomguk is made by boiling tougher cuts of beef, or beef bones, until the fat has dissipated and a desired consistency attained . Although it can be seasoned with salt and soy sauce before the broth thickens, salt is usually added at the table, as is the case with seolleongtang or

yeonggye baeksuk, a soup made with spring chicken and ginseng. Naengguk, which typically consists of such ingredients as cucumber, seaweed, and kelp, is a type of soup served cold , to which a splash of vinegar is added to create a refreshing taste that can help to perk up your appetite during the oppressive heat of summer. For its preparation, the broth should fill about three-quarters of the cooking pot, while the soup to ingredients should approximate a 3:1 ratio. Since guk is prepared with such a diversity of ingredients, including various meat, fish, and shellfish, along with vegetables and seaweed, there are naturally certain types that are closely associated with the different seasons. For example, tojangguk with wild herbs, such as ssuk [mugwortl and naengi [horseradish). is regularly served in spring, whereas summer tables are routinely graced with such delightful offerings as oi naengguk [cold cucumber soup). miyeok naengguk [cold seaweed soup). kkaetguk [sesame soup). yeonggye baeksuk, and chueotang [loach soup). Autumn is the ideal time to enjoy such fare as toranguk [taro soup). songitang [pine mushroom soup) and baechutguk [Chinese cabbage soup). while popular winter soups include gomguk, seonjitguk [ox-blood soup). tteokguk [sliced rice cake soup). and manduguk [dumpling soup). Whereas Western-style soups are mainly served as an appetizer or starter course, Korean soup is meant to be eaten together with your meal. Moreover, in many cases, the soup is served as a main course, especially when combined with rice. Examples of main-course soup meals include gomtang, seolleongtang, and samgyetang [ginseng chicken soup).

Guk with Beef Soegogi miyeokguk and soegogi muguk are good examples of easy-to-make types of guk that are regularly enjoyed by Koreans at home. Even today, tradition calls for soegogi miyeokguk to be served to a mother after childbirth, for the provision of nourishment and to accelerate her recovery process. Seaweed is rich in calcium and iodine, which are both important for your good health. For a new mother, calcium helps to prevent postpartum complications, along with contributing to the sound maintenance of bones and teeth, while iodine is an essential mineral for regulating thyroid activity. It is also customary for people to eat soegogi miyeokguk on their birthday Soegogi miyeokguk is prepared by slicing beef into small pieces, then sauteing and boiling it together with seaweed. It can also be made by combining seaweed with a broth made with beef-brisket or beef bones. It can be prepared with little or no meat, or with dried mussels. Soegogi muguk is a dish that Koreans regularly make at home. It is made by chopping a radish into flat pieces, sauteing the radish with meat, and then boiling the two in water. This soup is popular because it is simple and quick to prepare. Although it is enjoyed all year round, it is especially delectable when prepared with freshly harvested radish in the fall. iÂŁi 78

Korea na

I Summe r 2008

" - P.repa.ration .

.; .... : t.; .

·~ • • •

Cut the beef into.flat pieces and combine 'wliK ~ easoning.

2 Wash and cut radish into 3-centimeter-wide strips, aAcl chqp -int© 3,X 2.5 centihieter pieces. 3 Pour sesame oil into a pot and saute the beef prepared in step 1. Add the eh@pped· radish and minced garlic and continue to saute. When the oil is spread evenly around the p0t, pour in the water and bring to a boil over medium-high heat.

4 Clean kelp with a dry dish towel, and place into soup. 5 When the soup comes to a boil, skim off the fat and bubbles from the surface. Lower the heat and season the soup with soy sauce to taste.

6 When the desired taste has been attained, cut the kelp into pieces, about the same size as the radish, and add to the soup. Chop the green onion diagonally and allow it to simmer, together with the kelp and radish, for a few minutes. Garnish with black pepper and serve.

Summer 2008

I Koreana 79

LIVING

Garment of the Wind Enjoys an On-screen Revival A revival of the hanbok has been underway on movie and TV screens, returning to the spotlight as a vivid indicator of the social class and role of a particular character in historic dramas. While having long been appreciated for its traditional elegance and sensuality, the hanbok has proven to be adaptable to the changing times as well. Kim Min-Ja Professor, Department of_ Clothing & Textiles, Seoul National University Photographs Cine21, born Film Productions Co., Ltd.

he expression "garment of

lines and the texture of its fabrics. A deli-

the wind" aptly captures

cate silk chima, the most enticing "gar-

the allure of hanbok-in

ment of the wind," is a skirt that is modest

how the chima hemline quietly

as well as flattering on a woman's body.

brushes against a woman's

As such, in films about the Joseon

legs as she walks, or in the

Dynasty period [1392-191 O), the enchant-

glimmer of its enchanting

ing appearance of a woman in a sensual

silhouette, revealing only the

hanbok is a classic motif for the seduction

slightest hint of womanly

of male characters. In history-based TV

curves when a breeze pass-

dramas and films, the hanbok serves to

es by . Koreans often use

highlight the alluring glamour of women

the word baram, or wind, to

characters and indirectly identify the sett-

refer to a sense of euphoria

ing, while also enhancing the overall visu-

like when someone falls in

al imagery. In the films Hwang Jin Yi,

love or is engrossed in

about the life of JoseonÂˇs best-known

work, lost in a world of

courtesan, and Forbidden Quest, noted

oblivion. Wind symbolizes

for its depiction of liberal sexuality and

a freedom to take flight,

love, in defiance of Confucian social

effortlessly and weight-

norms, the characters all wear a variety

lessly. The wind also

of hanbok, while in certain scenes the

refers to rhythmic move-

hanbok functions as an essential tool of

ment or an incessant,

seduction, which serves to intoxicate the

undulating flow.

male characters. Joseon society strictly adhered to a

Deviating from the Norm

80 Koreana I Summer 2008

rigid status system and gender segrega-

Koreans express the wind, in

tion, in accordance with Confucian princi-

the design of hanbok, through its graceful

ples. Men would aspire to the virtues of

The TV drama ÂˇÂˇ Hwa ng Jin Yi .. portrayed the life story of the Joseo n Dynasty's best - known courtesa n. Although the cou rtesans of Joseon stood at the forefro nt of fashion . the dramatic boldness of Hwa ng Ji n Yi's atti re was a vivid sym bo l of her reputation as the most bewitching sedu ct ress of that time. Traditiona l hanbok. for everyday wear by women of the Joseon period , emp hasized modesty and elegance , in contrast to the provocative desig ns of co urtesa ns, like Hwang Ji n Yi.

gunja, a Confucian male ideal, w hile

White is the color that represents the

The clothing of the literati, who main-

women sought to be obedient and sup-

pure spirit of the literati. The Joseon

tained a low-key character and focused on

portive wives. A similar philosophy was

scholar's attire, comprising a white over-

spiritual values, can be likened to a tradi-

applied to clothing, which resulted in a

coat, waistband, seonchu pendant, and

tional ink painting . As an art form, ink

formal, conservati ve style that empha-

gat [horsehair top hat), form a simple sil-

painting seeks to express its images and

sized ethical propriety. But the courtesans

houette devoid of ornamentation, with

theme solely through the application of

of Joseon, called ginyeo, stood at the fore-

only the colors of black and white.

black ink onto white paper. As such, the

front of fashion, creating new styles that

The Confucian-bound literati of Joseon,

would often be adopted by the elite women

who regarded harmony and propriety as

are both expressions of the scholarly prin-

of society. As for the history-theme films

the most important spiritual values,

ciple of encouraging moderation, in terms

and dramas, in light of society's propensity

sought to balance rational thought and

of physical and material human desires.

for conformity, the deviations in hanbok

emotional sentiments . To practice an

literati's clothing style and an ink painting

Th e storylin e of Untold Scandal

style of lead characters serve to under-

"aesthetics of purity," their ultimate goal

revolves around JoseonÂˇs most notorious

score the boldness and individuality of

in everyday life, they steered clear of such

philanderer and his love affairs with the

materialistic pursuits as affluence and

virtuous ladies of noble families. The film,

extravagance . This lifestyle was repre-

an adaptation of the French novel, Les

their personalities.

sented by a spirit of cheongbaengni, liter-

Liaisons Dangereuses, which has also

Whereas the women's hanbok in

ally meaning "clean white offi cials, " asso-

been the inspiration for several American

these history dramas are notable for their

ciated with an exemplary scholar of

and European movie versions, unfolds

sensuous glamour, the w hite dopa, or

impeccable stature. As a reflection of this

against a backdrop of 16th-century Korea.

Pursuit of Pleasure

overcoat, worn by the male protagonist in

ideal, the people of Joseon favored simple

On the surface, the leading man appears

Untold Scandal, which starred Bae Yong

and modest clothing, devoid of lavish

to be a typical literati scholar of the peri-

Joan, the Korean Wave sensation, along-

embellishment. This kind of reserved atti-

od, noble and high- minded [like a crane).

side Jeon Do-yeon , winner of the Best

tude is similar to the health- and environ-

skilled in poetry, calligraphy, and painting,

Actress at the 2007 Cannes Festival for

ment-conscious lifestyle that today has

as well as th e martial arts.

Secret Sunshine, well conveys the

gained considerable acceptance in Kore-

unadorned beauty of the color white.

an society.

But in truth, he scoffs at the authoritarian and patriarchal ways of Confucianism, Summer 2008 I Koreana

declines senior-ranking government

attire, which he wore for official duties

positions, and instead immerses himself

Authority and Dignity Korean-history films and drama

in romantic intimacies with several

series are typically centered around the

it became his burial clothing. Therefore,

women. Although he dresses immacu-

life story of well-known kings, along with

the gollyongpo, w hich the king wore

and royal banquets. And upon his passing,

lately, as would be expected of a Joseon

the behind-the-scenes affairs of the royal

throughout the time of his reign, along

scholar, in a white overcoat and black

court. Just as Henry VIII, Louis XIV, and

with the royal horsehair hat ikseongwan,

horsehair hat, he wears a waistband of

Napoleon Bonaparte have frequently

were representative symbols of the king

striking red, which was well beyond the

been portrayed in history-drama films in

and his ruling authority.

bounds of decorum of the literati class.

the West, King Sejong [r. 1418-1450). the

A similar robe was worn by the crown

The red waistband, worn over his imma-

architect of the Korean Hangeul alphabet,

prince and the king's eldest grandson.

culate white coat, was an overt symbol of

whose portrait is printed on the 10,000-

However, the robes were specifically

his lustful desire.

won bill, remains one of the most fore-

defined by color, material used for the

In the feat ure film Hwang Jin Yi. the heroin e possesse d an abu ndance of accessories , whi ch serve d to co mpleme nt her ro le as a professiona l co urtesan.

most figures in all of Korean histo-

waistband, and hyungbae [embroidered

ry, as evidenced by his portrayal in

insignia). to reflect the wearer's ranking.

the recent TV drama "The Great

The king wore a crimson gollyongpo,

King Sejong ." The lives of Korean kings

whereas those of the crown prince and

have often been dramatized for TV

the eldest grandson were a dark blue. The

series, with another recent example being

two types of waistband for the royal robe

"Yi San," which presented the life story

included jade and crystal.

of King Jeongjo [r. 1776-1800).

The hyungbae was embroidered with

Among the royal robes

variations of a dragon image: five-clawed

worn by the characters in

dragon for the king, four-clawed dragon

these history dramas, the

for the crown prince , and three-clawed

most noteworthy is the

dragon for the king's eldest grandson. As

gollyongpo, literally

an imaginary creature that was said to

meaning "dragon robe. "

possess the strengths of various animals,

This robe, worn exclusively

the dragon represented an all-powerful

by the king, was a symbol of

being. In line with this, all terms related to

royal authority and dignity. It

the king would include "yang, " or dragon.

served as the king's everyday

The king's face was called yongan [dragon

face]. the king's virtue, yongdeok [drag-

images of the ink paintings of Joseon, and

on's virtue]. the king's status, yongwi

the outline of a tile or straw roof and win-

[dragon ' s status]. the king's throne,

dow frame of a traditional Korean house,

yongsang [dragon throne]. and the king's robe, yongpo [dragon robe).

as well as the use of julienne ingredients

According to Korean tradition, a drag-

in Korean cuisine, and the weave of hemp, cotton, and silk fabric.

on ' s power becomes effective and the

Moreover, elegant lines are also

creature attains majestic status only when

evident in the silken hair of women, and

it ascends to heaven with a cintamani, a

the hanbok 's silhouette, created by the

mythical wish-fulfilling jewel, in its mouth.

jeogori [bolero-like jacket) and chima

Accordingly, the five-clawed dragon, of the

[skirt). In Korean, the w ord te xture, or

king 's insignia, is depicted ascending

gyeol, refers not only to the weave of

The bright red waistband, which contrasts sharply with the white dopo coat, was well beyond the bounds of decorum expected of the literati class of the Joseon period. As for the lead character in the film Untold Scandal, the red waistband worn over his immaculate white coat was an overt symbol of his lustful desire.

through the clouds, on its way to heaven, with a cintamani in its mouth. Symbolically, the color red was used to signify the sun, the south, and fire , while in Confucian thought, red indicated propriety and eminence. By wearing crimson robes, the king of Joseon could display his dignity and be reminded of his stately obligations.

2 As co mpared to th e everyday attire for J oseo n scho lars (left]. which was des igned to match the ir conservative Lifes tyle , the phila nd ering nob leman in the fil m Untold Scandal wo re a bright red wa ist band, wh ich reflected his Casanova ro le. 3 Gollyongpo, the roya l robes of the Joseon Dynasty royalty, we re brilli antly dep icted in all the ir gra nd eur in the TV drama "The Great Kin g Sejong...

Modern Variatio ns

A distinctive aspect of Korean art involves the use of graceful lines. Japanese scholar Yanagi Muneyoshi [18891961) defined the key characteristic of Korean art as the beauty of line, that of Japanese art as the beauty of color, and that of Chinese art as the beauty of form. Lines are what make up the ling ering Summer 2008 I Ko reana 83

a fabric or the patterns naturally devel-

romance, she allows her jeogori, a symbol

oped over time , but also to the wisdom

of her modesty, to slip off. In a Korean

rooted in Korea 's traditional aesthetics,

and purity of Korean women. As opposed

hanbok, the ribbons of the blouse, curve

which have been refined over time. The

to the rigid lines of geometry or engineer-

of the sleeves, and drapery of the skirt

longstanding hanbok, which has been

ing, Koreans express texture through nat-

continuously shift in response to bodily

revived through recent TV dramas and

The intricate beauty of the hanbok is

ural and flowing lines, which are not influ-

movements and positions . The skirt's

films, now includes a diverse range of

enced by artificial constraints. In these

drapery is inspired by the flowing lines of

variations that serve to highlight the inner

lines, Yanagi Muneyoshi discovered the

nature, like that of the wind and waves,

nature of featured characters. As for

subtle elegance of unrequited sorrow, an

creating a sense of fleetness.

Korean-history movies and TV drama

intrinsic Korean sentiment.

Both in the East and the West, expos-

series, the exquisite designs of these han-

On the other hand, the Korean aes-

ing a woman's private parts is a social

bok adaptations will no doubt add much to

thetic of lines is not simply about a state

taboo. But the women of Joseon seduced

the viewing pleasure of their audiences,

of melancholy. In the hanbok, straight

men by lifting the tip of their skirt flap to

both Korean and foreign . .,

The "Gung" TV drama attracted a Loyal following of you nger-genera tion viewers , in part, because of the innova tive design variations featured in the hanbok of th e royal fam ily. 2 Th e storyline of Untold Scandal revo lves around Joseon·s most notorious phila nd erer and his Love affairs with the virtuo us Lad ies of noble families. In this film, the hanbok serves as a sym bol of a wo man ·s virtuous ness as well as a means to exude a subtle eroti cism . 3 The film King and the Clown , which po rtrays th e Lives and Loves of Joseo n· s cou rt officials .and jesters , beca me the biggest box office hit in Korea at the ti me of its release. Pa rt of this success has been attri bu te d to the exqui site costumes, which reflect th e status and persona li ty of th e individual performers .

lines, oblique lines, and curves are har-

reveal a glimpse of their petticoat, clearly a

moniously integrated, conveying a sense

part of their private territory. The enticing

of moderati on, dynamism, and rhythm,

appeal of a Joseon ginyeo was expressed

along with evoking a certain intrigue and

through her silky tress, jeogori ribbons,

sensuality. The distinct lines of the jeogori

chi ma flaps, and beoseon socks with point-

embrace the form of the human torso,

ed tips, creating a sensuous aura, like the

including the curves of the neck, shoulders,

subtle fragrance of an orchid. Unlike Kore-

collar, and bust, creating a quiet graceful-

an-history films of the past, the costumes

ness that cannot be easily disrupted.

in Hwang Jin Yi, which portrays Joseon 's

It is a refined look that emphasizes

courtesan culture, played a more promi-

the chastity of Joseon ladies. For exam-

nent role in dramatizing the hanbok's

ple, the heroine of Untold Scandal, while

seductiveness. In part, it was the hanbok's

remaining chaste as a widow, reflects her

intoxicating allure, in terms of its accentu-

abstinence by wearing her hair in a tight

ation of a woman's graceful curves, which

bun and dressing in attire that conformed

caused so many men to fall under the spell

to social norms. But as she is trans-

of Hwang Jin Yi, perhaps the most bewitch-

formed into a woman enraptured by

ing courtesan of Joseon.

84 Koreana I Summer 2008

Journeys in Korean Literature

Jeong Yi Hyun

Upon her debut in 2002, literary critics in Korea christened Jeong Yi Hyun the "Cinderella of the literary scene." Following the release of her first collection of short fiction Romantic Love and Society, it immediately captured the attention of readers with stories about a fresh cast of female characters, quite unlike anything previously portrayed in Korean literature, along with witty prose and unexpected twists and turns in the storyline.

CRITIQUE

Does the Citadel of Desire Assure a Wonderful Life? Park Hye-kyung Literary Critic

eong's stories are not centered on the internal conflicts or an impulse to flee of women living in a patriarchal society, nor did they voice criticism about gender inequality by means of a prickly assessment of a male-dominated environment. The female characters of Jeong do not passively accept their given fate as a woman nor do they react with aggressive resistance. They are a new breed of bad girls who employ their femininity as an elaborate weapon in their strategic scheming for success. These women, in their pursuit of the capitalist myth of success, in regard to money, love, and fame, dutifully learn and apply the rules of conduct laid out by the social system in terms of virginity, beauty, and capturing a man's heart. For these women, life is a daily battleground of the conflicting standards that dictate and control their behavior, as they intently focus their desires and actions on a singular goal of attaining success. They are less concerned with living like women than conforming to the image of a woman that is demanded by society. Jeong's first story collection Romantic Love and Society recounts, with vivid insight, the essence of capitalist desires, in which a devil lurks behind an angelic mask of success, from the perspective of a woman who obsessively chases after materialistic. gains. But from this capitalistic phenomenon there emerges a notion that it is the misguided principles of society which should be blamed for the rise of these bad girls. In Jeong's first novel Sweet City of Mine, which readers regarded as a perceptive and provocative portrayal of the sexual scene in contemporary Korea, the young women characters are fully immersed in the societal conventions that shape the

86 Koreana I Summ er 2008

desires of individuals. Along with a keen sense of reality, Jeong Yi Hyun vividly captures the inner turmoil of these women as they go about their everyday lives with her articulate writing. In her second story collection Lies for Today (Moonji Publishing Co., Ltd., 2007), Jeong's examination of the capitalist world goes beyond tl1e desires of bad girls by delving into the everyday experiences of today's middle class. Jeong's stories repeatedly point out that, in today's world, it is practically impossible for people to deviate from the social norms. For this, however, she does not rely on an exaggerated state of despair, resignation, cynicism, or agitation. Instead, she ponders such questions as: For people who adhere to social conventions and never get off track, does this assure a wonderful life? Can a life centered on social stability and normalcy provide people with a true sense of security in this day and age? The detached voice that Jeong adopts in these stories sounds almost like that of someone gazing into this fictitious abyss called life, after having lost faith in its inherent truths. Jeong's stories reflect a realization that the romantic fantasies propagated by society are fictitious illusions. By meticulously revealing cross sections of a despondent reality, without overstated expressions of despair or disenchantment, Jeong's writing can detect minute cracks within the seemingly secure lives of the middle class. Jeong 's short story "Sampung Department Store" depicts a woman coming of age in Gangnam, an affluent district south of the Hangang River in Seoul, against the backdrop of tl1e structural collapse of Sampung Department Store, a real-life event that

occurred in 1995. In Korea, Gangnam is a symbol of extravagant consumerism and the wonderful life of affluent households. The female protagonist, a recent college graduate who has just entered the job market, identifies herself as part of Gangnam's consumer culture, in which your material possessions determine your social status. She describes herself as having "mildly right-wing parents, a clean, supersize single bed, translucent green Motorola pager, and four handbags." But at the same time, this Gangnam girl, who dismisses her possessions as commonplace, is just an ordinary woman, easily found in every corner of Korean society, who was once believed to be a gifted child, but has become just another faceless statistic of the unemployment ranks. Although she conforms to life's procedures as dictated by social convention, she also abhors herself for doing so, and although she abides by the societal manual on urban relationships, she claims that "gauging the right distance between one heart and another was something very difficult for me then, and it still is." She does not agree with the materialistic values of consumer-oriented society or with the conservative values of the older generation, but at the same time she does not want a life entirely divorced from these spheres, either. What Jeong portrays in this story are the dayto-day inner struggles of a young woman in Korea in the 1990s. "Sampung Department Store" follows a timeline from the moment our protagonist encounters her high school classmate, R, a girl from the opposite side of the river who now works as a salesperson at the ill-fated store, up to the building's collapse.

Inserted within this narrative of the young woman's tedious and ordinary days are paragraphs with a sans serif font, ominously tracking the silent, unnoticed developments that result in the ultimate collapse of this former landmark of the Gangnam area. R disappears after the collapse and the protagonist is left with a key to R's home, which had been received from R, who said she could use the place. The site of the store's collapse is soon paved over and a towering commercial/residential building is constructed thereon, while the protagonist "puts the small, incomplete-looking silver-colored key in the bottom drawer of my desk and lets ten years go past." Which door could she open in this world with R's "small and incomplete" key? This story ends with a passage, "It was only after I left there that it became possible for me to write," as if in response to the heightened pathos brought on by R's disappearance. In this way, Jeong seems to wonder if our reality is any different from what the situation had been within Sampung Department Store, as its clock ticked down to a disastrous conclusion. The lead character is described as a perfectly ordinary girl who does not dare to resist social systems or conventions. Perhaps this reflects the writer's intent of suggesting that the collapse of this department store did not signify an extraordinary incident, but rather a pervasive reality underlying Korean society. If, as Jeong Yi Hyun's story suggests, that life within this fortified citadel of desire, reinforced by our lifestyle of consumerism, is much like walking a tightrope without a safety net, then, how much safer is our life today, as compared to this sudden collapse that occurred a decade ago? ~

Summe r 2008 I Korea na 87

The Korea Foundation Seocho P.O. Box 227 Diplomatic Center Building, 2558 Nambusunhwanno, Seocho-gu, Seoul 137-863, Korea www.kf.or.kr

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A few small kernels of grain can fill a village with smiles of joy This quiet village in Tanzania's Manyara region is buzzing with excitement today about a grain-puffing machine from a faraway land called Korea. All the village children have brought containers, some full of com, others empty. As they anxiously wait, the machine makes a deafening "boom". Instantly, there' s plenty of fresh puffed corn for everyone. And as each child' s container is filled witl1 the delicious treat, their smiles of joy show they are the happiest kids in the world.

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