korea magazine [january 2011 vol. 7 no. 1]

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JANUARY 2011

People & Culture J A N

UA R Y

2 0 1 1

GANGWON-DOENJOY A SNOW-WHITE WINTER SONATA

HOPE OF A NATIONKOREAN SPORTING SUCCESS BREEDS A NEW GENERATION OF PRODIGIES



CONTENTSJANUARY 2011 VOL. 7 NO. 1

PUBLISHER Seo Kang-soo,

Korean Culture and Information Service

EDITING HEM KOREA Co., Ltd

E-MAIL [email protected]

PRINTING Samsung Moonwha Printing Co.

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COVER STORY 04

Time flows, but the worth of a country’s

tradition goes forever. As you see Korea’s

crafts nowadays, you might recognize the

spirit of old beauty and modern challenges.

TRAVEL 26

Even though wind blows and snow falls,

winter is a fascinating season to visit

Korea, especially for sports lovers.

You can enjoy skiing and watching sea

at the same place.

GLOBAL KOREA 40

Korea’s floricultural industry grows bigger

and bigger. You can smell flower scents

and enjoy various kinds of flowers, which

are from Korea, all over the world.

NOW IN KOREA

Young Korean athletes are rising in

various kinds of sports field. Many

students take a huge interest and

concern to playing sports to find out

their own talents in the field.

PEN & BRUSH 16

Kim Jong-ku’s language of art is black steel

powder, not so common material in the

fields. He sublimates his personal experi-

ence into art work, with outstanding ability.

PEOPLE 20

As one of the leading architects in Korea,

Seung H-sang tries to find out his ultimate

goal in the philisophy of Korea’s old

architecture.

www.korea.ne

MY KOREA 32

It is not so easy to find soulmate, ir-

respective of all ages and countries. An

American finds out some trends about

dating and marriage culture in Korea.

SUMMIT DIPLOMACY 36

Due to North Korean attack last year,

South Korea’s diplomatic cooperation

gets more important than ever. President

Lee Myung-bak is about to reinforce a

relationship with allied nations.



COVER STORY

04

KOREA

JANUARY

2011

K

JANU

ⓒ

D e s

i g n

H o u s e

I n c .

/ T o n g y

e o n g

C i t y ;

M i l l e n n

i u m

J e o n

j u O N N B r a n

d A g e n c y ;

D e s

i g n

H o u s e

I n c .

/ T o n g y e o n g

C i t y ;

D e s

i g n

H o u s e

I n c .

/ T o n g y e o n g

C i t y ;

D e s

i g n

H o u s e

I n c .

/ T o n g y e o n g

C i t y ;

K i m

N

a m - h

e o n ;

K i m

N a m - h

e o n ;

K o r e a

C u

l t u r a

l H e r i t a g e

F o u n

d a

t i o n

( c l o c

k w

i s e

f r o m

t o p

l e f t ) ; M i l l e n n

i u m

J e o n

j u O N N B r a n

d A g e n c y

( l e f t ) OLD

ANDNEW

KOREA’SCRAFTS:

In the modern world, the element of traditional culture that has remained closesto our daily lives is crafts. As a form of traditional culture, craft proves its value noby merely being handed down throughgenerations,but by reinventing itself assomething relevant in the lives of people

today. Times have changed enormously and people’s desires vary more than ever,original but by adapting while maintainingtheir spirit, traditional crafts remain a livinbreathing link to Korea’s history. by Lee Se-mi



well as architectural techniques learned

through building temples, also laid the

groundwork for traditional crafts.

Crafts became important instruments of

statehood,so governments established

institutions that created masters. Crafts

centered around the needs ofnobility flour-

ished during the Goryeo Dynasty (918-1392),

when highly artistic ceramic crafts and

Najeonchilgi (lacquerwork inlaid with

mother-of-pearl) came to the fore. When the

Joseon Dynasty took power,pragmatismbecame more important.Decorative items

took a back seat to white porcelain,

Buncheongsagi celadon and other straightfor-

ward and practical goods.

ART FOR LIFE Today,Korea has 50 designated

traditional crafts in seven broader categories,

with experts in those fields recognized as

jangin or “masters.”However, the term jangin

doesn’t simply imply a high degree of skill at

building things:it also suggests admiration

for someone who has made it to an artistic

level unreachable by others. A master is an

artist who breathes life into craftworks.

In Korea,artistic activities or skills thathave great historical,artistic or academic

value have since the 1960s been designated as

intangible cultural properties.Such are

divided into state-

designated

“important

intangible

cultural

properties”

and “intan-

gible cultural

properties,”

which are

decided by

municipal or

provincial govern-

ments.Sometimes,

they are also called

“human cultural assets.”

The seven state-designated

traditional crafts are ceramic craft (earthen

ware and roof tiles); metal craft (using gol

silver and other metals to produce tools an

decorate surfaces);woodcraft (the constru

tion of buildings,furniture and instru-

ments); stone craft; textile craft (weaving

fabric or making clothes and accessories);

leather craft (using animal skins or feather

and paper craft, which either produces pa

or decorates objects with paper.

Each niche craft has its masters, includin

sculptors who decorate the surface of metallic objects,woodwork masters who

make large frames for construction,cobble

who craft traditional shoes,and masters in

the art of making works of jade.

People we now call “masters”are the firs

generation of intangible cultural propertie

in craftwork. Even throughout Korea’s

tumultuous modern history, they were abl

to keep their crafts alive.

During Japan’s colonial rule and in the

aftermath of the liberation in August 1945

Korea’s traditional crafts and craftspeople

faced constant upheaval.Rapid industriali

tion brought Western technologies and

fashions,which often threatened to over-whelm traditional crafts completely.Throu

it all, the old masters dedicated their lives t

continuing their craft and passing it down

younger generations.They faced enormou

hardship,and many simply gave up or

turned their hand to more commercial

pursuits.And even now,decades later,just

making a living remains a major challenge

for many traditional craftspeople.

Cho Chung-ik, a master of traditional fa

making, became an intangible cultural pro

erty of Jeollabuk-do Province in 1998. He

began making his fans,adorned with taege

(the yin-yang) patterns similar to those on

the Korean flag, in the 1970s. Today,the fan

are renowned for their beauty and unfailin

practicality,and are a constant presence at

major events promoting Korean culture.

Cho says his fans are “the roots of our

people and the faces of Korea.” The fans

Crafts mirror the times they are created in. If

you want to know more about any given

period, all you need to do is look at work

produced from that era. If crafts refer to the

skills from which objects are made,tradition

can be thought of as the cultural body of

work created from such skills.

Traditional crafts develop according to

each historical environment. In the

prehistoric age,crafts developed out of

necessity,with our ancestors using naturalmaterials to make most of the tools they

needed in their everyday lives.They used clay

to make plates,knitted grass to make clothes,

and cut wood to build homes.

During Korea’s Bronze and Iron ages,

with metal readily available,people started

making accessories and weapons,too.

Weapons were for hunting, but they also

served to symbolize the holder’s status. It

was during this era that crafts began to

assume true artistic value.

Crafts blossomed during Korea’s dynastic

times, as nations emerged and governments

assumed more power.Buddhist culture

started to take root in people’s lives as well,

exerting a great influence on the develop-

ment of crafts. Crowns,earrings and other

accessories that represented the authority of

the royal palace were developed.Buddhist

temple bells and other religious artifacts,as

06

KOREA

JANUARY

2011

Cho’s work Yunseon fan,

a wheel-like shape made of

bamboo on display.

Cho Chung-ik, a master fan

maker, demonstrates his craft

(above left). One of Cho’s work

Hwangchildanseon fan, also

known as Banggubuchae, is

made of bamboo and hanji

paper (left). Cho’s Taegeukseonfan includes the traditional

Korean symbol, yin and yang

(top). Cho’s Mugunghwaseon

fan imitates Korea’s national

flower, Mugunghwa (above).

ⓒ

M i l l e n n

i u m

J e o n

j u O N N B

r a n

d A g e n c y

K

JANU



the ongoing health of craftworks.To achie

that, it needs to look beyond the stereotyp

images of traditional craftworks and forge

deeper appreciation of the values behind

them. In between the extreme opposites —

an artwork displayed in a glass case in an

exhibition and a mass-produced trinket in

souvenir shop — traditional craft must

recover its identity as a form of living art.

Fortunately, traditional crafts have struc

some genuine chords with the public inrecent times. In universities across the

country,ever more students are applying f

programs related to traditional crafts. Craf

studios in the Bukchon region of Seoul are

offering various programs year-round for

Koreans and foreign tourists alike.By

crafting pieces there,visitors gain a genuin

affinity with traditional culture.

Elsewhere,masters have collaborated wi

contemporary artists,and architecture or

industrial design majors have offered desig

to intangible cultural properties from the

regions. In their own ways,these

are all examples o

tradition

gained their first international exposure at

the 1982 Asian Games in New Delhi,then

again at the 1986 Asian Games and the 1988

Olympic Games,both in Seoul. To someextent a victim of his own success,Cho

today finds himself having to balance the

competing interests of commercial gain and

maintaining the true spirit of his artistry.

Bamboo and hanji (traditional paper) are

the main materials for fan making, though

silk can be used as well. About 80 to 90 bam-

boo ribs are used in creating a taegeuk pat-

tern, and the peacock fan,which uses an

astonishing 8,000 bamboo ribs, takes any-

where between one and six months to make.

Despite his own success, Cho is worried

that no one will follow him into the taegeuk

fan craft after he dies. Pay can be very low

and the future is always uncertain,so govern-

ment support is often needed to keep crafts

such as Cho’s alive. For Cho,making fans

requires dedication to a notion ofeternal

beauty,even at the cost of tremendous

personal hardship. This is an outlook that,in

itself, is highly at odds with what we consider

a work ethic today.

“To become a master requires character.

It’s important how you make things and inwhat sort of mindset,” Cho says.“After you’re

done learning physical techniques,you have

to instill your heart and soul into your work.

There’s hardly any young people who want to

learn traditional crafts.Those who do come

don’t last more than a couple of months.

They have to be determined to learn tradi-

tional culture but since this doesn’t pay well,

they can’t stay on for too long. Craft is art.

You can’t apply economic theories to that.”

In the past, fans were indispensable during

summer.But with air conditioners and

electric fans around,traditional fans are now

recognized primarily for their aesthetic value.

So in order to preserve the tradition of fan-

making,Cho says, creativity and change are

absolutely vital.

“What’s important is the creativity.On the

foundation ofpride in our traditions, we

have to keep creating new pieces,”he says.

08

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2011

K

JANU

ⓒ

K o r e a

C u

l t u r a

l H e r i t a g e F

o u n

d a

t i o n

ⓒ

K o r e a

C u

l t u r a

l H e r i t a g e F

o u n

d a

t i o n

( t o p

) ; M i l l e n n

i u m

J e o n

j u O N N B r a n

d A g e n c y

( m i d d l e

, r i g

h t )

Jang Ju-won, a master of jade artwork is

well known his exquisite and elaborate

technique of carving the stone (above).

Korean knot full of layered patterns and

and beautiful color by Kim Hee-jin, a

master of Korean knot (below).

Hwahyejang , or a master maker of

Korean traditional shoes, Hwang Hae-

bong makes shoes (top). Bamboo is

split into many pieces and used as

material for Hanjibal , Korean traditional

curtains (above). Gayageum master Go

Su-hwan’s instrument (below).

“Cultural art is about creating beauty. A mas-

ter is an artist. The job is to delight people

and to create something new.”

When we say that crafts reflect their times,

it means that craftspeople have to respond to

what people need and want.Today,as in any

other age,crafts must be reborn to reflect the

modern world.Tradition isn’t static,nor is it

built over a short period of time.

REALITY REFLECTS THE FUTURE Preserving

tradition in a creative way means giving acontemporary twist to that tradition.While

inheriting ideas and a certain spirit,tradition

should adopt a new style that fits the current

times. Celadon during the Goryeo Dynasty,

one of the most significant ceramics at the

time, gave way to Buncheongsagi celadon

and white porcelain in Joseon times.

Tradition was inherited and developed while

adjustments were made to meet the demands

and objectives of a new era.

The balance between tradition and

modernity has exercised the minds of

masters for centuries.One example of this

trade-off can be found in the practice of

making string holes in the body of gayageum(12-string Korean zithers). The traditional

technique to make gayageum’s holes isn’t

very precise and even alters the shape of the

body,with strings likely to be left out of

position.A computer drill is far more accu-

rate, keep the body intact and saving time. In

order to ensure precision and efficiency,the

modern craftsman have to find the right

blend of machine and traditional handiwork.

With the recent growth in interest in all

things traditional, Korea’s old-time crafts are

looking as vibrant as they have done for

some time. Traditional craftworks are on

show all over Korea, and if you’re so inclined,

you can sign up for lectures or experience

programs.Aside from exhibitions, craftworks

can be found in art shops,department stores

or duty free shops in the form of small sou-

venirs right the way up to pricey luxuries.

But even these products don’t guarantee



modifying to meet the needs of a different

time. Last October,the Seolhwa Cultural

Exhibition displayed a series of

items that combined traditional

elements with the work of industrial

designer Mah Young-beom. Cho

Dae-yong,a master who makes

bamboo blinds,displayed a piece

that connected optical fibers and bamboo.

Kim Hwan-gyeong, a master of lacquerwork,

drew modern patterns on Joseon-era wooden

furniture. Song Bang-woong, a masterspecializing in mother ofpearl, made a

cosmetics chest with mother-of-pearl pasted

on to metal instead of wooden plate.And

Yoon Byung-hoon,a bamboo master, built a

cabinet with tiny cut pieces of black bamboo.

When they went on display,these utterly

unique handiworks by the six masters caused

a minor sensation.

Crafts, which had long been considered

merely decorative,are increasingly reclaim-

ing their practical roots, too.While the

Seolhwa Cultural Exhibition mostly show-

cased hardware decorated with traditional

crafts, the 2010 Craft Trend Fair,which held

its fifth show in December last year, aimed todisplay the very latest trends in traditional

and modern crafts. Under the theme “Next

Craftsmanship — Change from Succession

to Application,”the exhibition presented a

picture of the future of Korean craft as

reflected in its essence. Visitors could take

look at craftworks and also purchase hand

works at an affordable price,while listenin

to masters’ first-hand account of their

production.It was a real chance for the

public to get closer to crafts.

THE CRAFT OF SOFTWARE In Korea,

biennales and festivals offer opportunities

people to get in touch with traditional craf

The World Ceramic Biennale, held every other year in Gyeonggi-do Province,is the

largest crafts event devoted to ceramics.

Potters from around the world flock to the

show to exchange skills and ideas.The big

increase of these regional festivals in recen

years means people can now experience

traditional crafts virtually anywhere.

In order to tap into modern consumer

markets — rather than just appeal to rich

collectors or tourists — it’s vital for crafts

adopt innovative approaches to sales.Man

have tried to take traditional crafts oversea

but they lacked design or marketing

strategies to compete in the modern globa

market.One big success,however, is212Design,which has set up shop in the

Soho of New York. To crack foreign marke

this design company used traditional craft

and techniques such as balwoo (bowls for

Buddhist monks) and Najeonchilgi to crea

contemporary products.

The Internet has played an important ro

in modern craft, and designing and dyeing

have relied heavily on computer program-

ming. Other prime examples ofthe old us

the new are online exhibitions and online

shopping malls for traditional crafts.

Today, there are many signs that traditio

al crafts are thriving — studios are doing

well, masters are working with brands and

designers, and university students are taki

a greater interest in them. Not confined to

museums or high-brow discussions,crafts

are adapting and staying relevant. This is

surely the best future for traditional crafts

K

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ⓒ

D e s

i g n

H o u s e

I n c .

/ T o n g

y e o n g

C i t y

Designer Jeong Seok-yeon’s

pencil case and measuring tape

are made of wood, reminiscent

of tradional Korean craftwork.

(above). Jeong’s furniture art-

work Sabangtakja table (below

left). Sabangtakja tables,

designed by Kim baek-seon and

made by Jo Seok-jin, produced

using traditional skills in a

modern style (below right).

Gat , a Korean traditional hat

design, is used as a lampshade

in this modern interior. ⓒ

M i l l e n n

i u m

J e o n

j u O N N B

r a n

d A g e n c y



12

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2011

Bukchon,in central Seoul, is the best place in

the capital to experience traditional Korean

culture.Some 20 studios here run programs

in folk painting,traditional paper, kites and

much else.Haneul Mulbit,which focuses on

traditional knotting,dyeing and patchwork,

is owned by 75-year-old Cho Soo-hyun,a 40-

year veteran ofknotting. Bucking the staid,

highly secretive world of traditional crafts,

Cho has drawn in a new generation offans

with her passion and openness.Today, her

son Lucas Hong, a researcher of traditional

dyeing, and her daughter Hong Gwang-hee,

who studies traditional patchwork, help their

mother run the studio.

Traditional knotting uses round-shaped

braids to create patterns, which are then used

to make accessories.Knotting was long used

in norigae (ornaments for women),belts,

pockets and seonchu (fan ornaments) and the

technique has continued to evolve to this day.

Involving spinning thread, dyeing it and

then tying it into knots, knotting is slow,

painstaking work.Becoming an expert takes

at least a couple of years, but just about any-

one can make something pretty in an hour

or two using ready-made thread.

The easiest knotting technique is known as

dongsimgyeol . Dongsim means “the same

heart,”and signifies that whichever direction

you tie the knots in, the four points ofthe

compass (north,south, east and west) will

still be pointing in the same directions.In the

one-day experience program,visitors make a

necklace or bracelet using this technique.

Kwak Soo-young,a jewelry designer, has

been going to Haneul Mulbit once a week for

six months.“I’ve always been interested in

traditional craftwork,” she says.“I signed up

for the class because I wanted to incorporate

some traditional knotting into jewelry

designing. It’s been difficult to master sometechniques but it is a lot of fun.”

Patchwork is similar to hand-made quilts

in many Western countries,so the patchwork

experience program is especially popular

among foreigners. Hong Gwang-hee, who

runs the program,says, “In patchwork,

depending on fabric and colors,you can

make a whole range of different products,

so it is never boring.”

It takes up to three months to make a

complete patchwork, so the one-day program

lets visitors make a hand mirror or a brooch.

The process begins with picking three or four

colors ofcloth, through the design,then the

sewing. All the pieces are ready to go on thesame day,making the visit ideal for tourists

passing through.

NATURAL DYEING One traditional craftwork

experience program is for natural dyeing.

Rather than using chemical dyes,traditional

Korean dyeing uses elements from nature to

create more natural-looking colors.Sources

for these dyes include persimmon,indigo,

walnut and bamboo. They can also be

extracted from red clay and squid ink — so

essentially anything with a color.

Cheongdo-gun in Gyeongsangbuk-do

Province is home to about 30 studios offer-

ing programs in natural dyeing. The county

produces about a quarter of all persimmons

consumed in Korea — but nowadays, much

of the crop has another purpose.

In July 2010,persimmons start falling from

the trees, and unripe ones are simply discard-

ed. When a typhoon passes through,a hug

number of persimmons accumulate on the

ground, with many going to waste.Then

many years ago, Cheongdo native Kim Jon

baek started picking up these persimmons

use as the source of dyes.When farmers

worried about wasted persimmons, Kim

would teach them how to dye using unripe

ones. It was such a success that Kim made

living out of it, and in 1998,he opened his

own studio,Kkokduseoni.Dyeing with persimmon is a simple

process.First, you need to wash a handker

chief or a piece of cloth in water and dry i

the sunlight.Then dip the fabric into the

persimmon extract,and work it in gently.

After 10 or 15 minutes, squeeze all the mo

ture out and hang it on a line to dry.The

color comes to life as it dries under the sun

The tannins in persimmon leave a brow

color when dried in sunlight.Different

shades are achieved by first spraying water

onto the dried cloth then drying for four o

five days. Repeating this process three to fo

times is the only way to get the full range o

persimmon colors.

Kkokduseoni also has a gallery of produ

displaying clothes,carpets and more. A vid

shows other dyestuff, such as tea leaves, and

chestnut blossoms. Enjoy traditional arts:

they will even color your heart and soul.

EXPERIENCING AND CREATINGKOREAN BEAUTY Creating traditional handicrafts, ratherthan just looking at them, makes youappreciate them all the more.Andthroughout Korea, there’s the opportu-nity to do just that in a series of craftshops that show you how to make tradi-tional pottery, knotting, embroidery anddyeing. This firsthand experience withtraditional craftworks, no matter howbrief, will open the door to a far greaterunderstanding of the artistry, practical

value and history of these remarkablepieces. by Lee Se-mi | photographs by Kim Nam-heon

K

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INFORMATION ON

TRADITIONAL CRAFTWORK

EXPERIENCE

1. TRADITIONAL KNOTTING

> Place Haneul Mulbit Studio

(Bukchon Cultural Center or

Jeongdok Public Library

depending on how many

people sign up)

> Address 23 Gahoe-dong,

Jongno-gu, Seoul

> Information +82 10 9155

6352 (Reservations required)

> Fees 40,000 won (US$36)

for three hours

> Items Necklaces,

bracelets

2. PATCHWORK

> Place Haneul Mulbit Studio

(Bukchon Cultural Center or

Jeongdok Public Library

depending on how many

people sign up)

> Information +82 10 3751

7801 (Reservations required)

> Fees 30,000 won (US$27)

for two hours

> Items Hand mirrors,

brooches

3. NATURAL

PERSIMMON DYE

> Place Kkokduseoni Studio

> Address 593-1 Yudeung-ri,

Hwayang-eup, Cheongdo-gun,

Gyeongsangbuk-do Province

> Information +82 54

371 6135 (Reservationsrequired)

> Fees 10,000 won (US$9)

for two hours; includes

fabrics

> Items Handkerchiefs

COVER STORY

Traditional Korean patchwork art (top).

A bronze mirror is made with usinga

traditional quilt technique(above).

Patchwork is used as props and decorations in life. Sewing

teacher Hong Gwang-hee, right, shows a student how to se

(above left). Knot researcher Cho Soo-hyun, right, teaches

student about traditional knots (above).



Seventy-one years since his birth, and 52

since he began learning his craft, Song Bang-

woong plies his trade in the Tongyeong Craft

Learning Center in the coastal city of

Tongyeong. Growing up in a city whose

breathtaking landscape had provided

inspiration for numerous Korean artists,

Song had dreamed of becoming a writer

while at school, but when he graduated, aged

19, his position as the eldest of five siblings in

a poor family meant he had little choice but

to follow his father into the family trade.

Song’s father,Song Joo-an (1901-1981),

was a towering figure in the najeon world,

and so the craft was ever-present as Song

grew up. “I started working on najeon even

before I was born,”he says.

Song spent 10 years learning the najeon

craftsman’s skills, battling physical and psy-

chological pain while having scarcely a friend

in the world. Once he reached a certain level,

he began setting new goals for himself. He

started to study art,so that he could imbue

his work with greater artistry. He pored over

stacks of books,and after picking out his

favorite pieces from them,he would find out

all he could about them and create almost

perfect replicas.As he did so, Song developed

an ever sharper eye for aesthetics.

“I was very impressed with our predeces-

sors’sense of aesthetic balance,at a time

when they didn’t even have rulers,”he says.

Song began producing his own, original

pieces in the 1980s.In 1985, he won awards

at the Korea Annual Traditional Handicraft

Art Exhibition and the Tourism and Folk Art

Work Exhibition, the two largest craft shows

in the country. By winning at shows focusing

on traditional pieces and more contempo-

rary ideas, Song was recognized as a master

of the traditional and the modern in

Najeonchilgi. In 1990, aged 50, Song becameKorea’s youngest ever officially designated

intangible cultural property.

LIGHT FOR A THOUSAND YEARS Tongyeong

has long been famous for Najeonchilgi, the

craft of mother-of-pearl. In 1604, there were

a dozen studios around Sebyeonggwan (the

former administrative capital for three

provinces — Jeolla,Chungcheong and

Gyeongsang,where Tongyeong is located)

that produced a wide range of goods,

including military supplies and offerings for

the royal palace.Of those,Tongeyong’s

najeon studio and the painting house gave

rise to Najeonchilgi.Located in the south,Tongyeong’s warm climate made it ideal for

craftsmen,while its abalone shells, the

material for Najeonchilgi, were renowned

for their brightness and smoothness.

Najeon,or jagae in the ancient tongue,

means processed abalone shell,while

Najeonchilgi refers to lacquered najeon.A

complete Najeonchilgi piece requires wood

(as the base), metal (for the handle that gives

it the practical purpose) and lacquer.

“Najeonchilgi is a work of art that

combines najeon craft,woodcraft, lacquer

craft and metal work,”Song says.“If a piece

of craftwork doesn’t perform its designated

function, that it’s merely a sculpture.”

Najeonchilgi has more than a thousand

years of history in Korea, dating back to the

Goryeo Dynasty.China and Japan also devel-

oped Najeonchilgi at the same time,but

whereas the Chinese version became more of

sculpture and the Japanese one turned into

painting, Korea’s Najeonchilgi has remaine

true to its original form. In its long heyday

Najeonchilgi was decorated with symbols

longevity and prosperity and given as gifts

envoys and rulers from overseas.

In the 1960s and ’70s Najeongchilgi was

symbol of wealth in Korea, and a series of

new studios popped up to cater to buoyan

demand. Such was its success that the supp

of abalone shells dried up,and other mate

als, such as pearl shells and turban shells,hto be imported from Taiwan,Australia and

the Philippines.In the 1980s,increasingly

exorbitant prices precipitated a major decl

in the Najeonchilgi market,to the point th

today,the tradition barely survives.

More than 30 complicated steps are

necessary to produce a single piece of

Najeonchilgi. First, in a process known as

baekgol , the frame must be built from woo

The frame is then sanded,wi th any gaps

filled in using special paint made of lacque

tree resin and clay. Jagae is then pasted ont

the frame, before some polishing work and

more lacquering.Finally,the piece is bur-

nished to create its remarkable finish.“When I produce something that I really

love,then I never sell it, no matter how

desperate I am for money.When I do sell

one, then I tell the buyer,‘Please take care o

my daughter.’ It’s as if I am marrying off m

daughter.No matter how well you’ve built

it has no value unless it’s used properly.”

Song’s most common pieces include jew

boxes,comb holders (for cosmetics), dalbi

chests (for wigs) and soban (small dining

tables). He also takes interest in works tha

apply modern sensibilities to traditional

najeon. This year,when making a cosmetic

chest, Song used a metal base and cut the

steel frame with a laser, before pasting the

najeon in the time-honored way.By embra

ing the modern while being master of the

ancient, Song is creating something new a

vibrant, as well as providing hope for the

future of this most venerable ofcrafts.

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From delicate hands comes a brilliantspectrum of light. Najeonchilgi, ormother-of-pearl craftwork, is really the face of Korean traditional craft-work. It has retained its beautiful lightfor more than a thousand years, andMaster Song Bang-woong — whoseskills have been designated among theimportant intangible cultural proper-ties in Korea — has devoted his life tocarrying on that tradition. KOREA

traces the roots of his dedication.by Lee Se-mi | photographs by Kim Nam-heon

A MODERNMASTER OF AN ANCIENT ART

COVER STORY

Making Najeonchilgi needs intense

concentration and patience (top).

Najeonchilgi coaster, resembling a

Christmas tree (above).

Master Song Bang-woong explains his

work (above). Song emulates old

objects which have faded away (below).



Kim Jong-ku

Modern man has been tamed by the trappings of civilization.

What’s worse,many of us are now hopelessly addicted.Living

among a forest of tall steel buildings,we sometimes feelnostalgic for the forgotten.And it’s precisely this feeling that

Kim Jong-ku looks to stimulate through his work.

As the audience admires his landscapes,they often feel a

deep inner calm. On the flip-side of his works,however,is a

deep human sorrow.“My works are not landscapes filled with

joy,” Kim says.“Calligraphy written above my landscapes

expresses the sorrow flowing within man’s inner self.”

AN ARTIST’S SORROW LIVED THROUGH CALLIGRAPHY There

is an unfortunate tale behind Kim’s use of steel powder

instead of the ink normally used in traditional landscape

paintings.In 1996,when Kim was Korea’s best-known steel

sculptor, a large collection of his work was stolen from an

outdoor exhibition in Lewes, near London. Utterly dispirited,

he returned to his workshop to find the sole residue from hissculptures:black steel powder.

“I worked by grinding the steel bar and found that the final

sculpture and residue steel powder had different forms,” he

says.“As I recognized the worth of the steel powder, I was able

PEN & BRUSH

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FINDING FORM

FROM RESIDUEThe substance that best represents sculptor Kim Jong-ku is “black steel powder,” theresidue from cutting steel bar. In Kim’s works, steel powder gathers on a white canvasto form mountains and oceans on a traditional Korean landscape painting.Videocameras are installed above the painting, capturing changes in perception as theaudience walks by. A sculptor,photographer and painter, Kim says that “the mind of an artist should try to express his own artistic philosophy using as many languagespossible, irrespective of genre.” by Bang Geum-suk | photographs by Kim N am-heon

Steel powder paintings are produced using material collected during the transition

from steel to powder (top). He creates his own style by showing different views

(above). Artist Kim Jong-ku writes poetic inscriptions on his work (opposite).

ⓒ

K i m

J o n g - k u



anxiety and energy alive 24 hours a day is the best way to

establish your own artistic philosophy.

The Grinding Project , another of Kim’s best-known wor

turns the actual process of carving steel bar into a work of

art. Kim is now preparing similar displays for exhibitions i

Korea and the United Kingdom,where he will carve pictur

and messages into a tank as spectators look on.

A NEVERENDING STORY, A GRINDING PROJECT Steel is

one of the strongest substances in the world and is also

sometimes portrayed as an expression of war.Kim plans to

carve representations of fighting and destruction into the

tank, and while the noise and sparks fly, the audience will

be able to watch and imbue the performance with the

meaning they feel it conveys.

Artists continue their careers because they are not satisfi

Philosophical anguish is like carving steel,where the artist

carves his own artistic beliefs. Kim’s own anguish means he

will never stop undertaking his own artistic experiments.“

want to give hope to the barren sensitivity of modern man

he says.Without art, Kim seems to be saying,we are no

different from robots.And that is one trapping of civilizati

that Kim will never tire of fighting.

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to go beyond the characteristic values of sculptures.”

More recently, at the Spencer Museum of Art in Kansas in

the United States,Kim installed a 13-meter large mediainstallation called Mobile Landscape. He used snow that fell

while he was working to make the steel rust, and then wrote

calligraphy into the rust.Steel powder absorbs water and with

several layers being added to the calligraphy, the work now

weighs around 40 kilograms.Kim installed the Mobile

Landscape, and also captured images of the landscape on the

wall together with the audiences’moving feet.

SPECULATION AND IMMERSION Kim was captivated by

sculpture from an early age,and started studying it while

living with art teachers and artists in his high school years.

Later,Kim received bachelor’s and master’s degrees from

Seoul National University, and another master’s degree from

the Chelsea College ofArt and Design, London, in 1996.

While in college,Kim received the grand prize for sculptureat the National University Arts Festival in Korea,and subse-

quently traveled to India,Thailand and Singapore as student

representative. Coming from a country where foreign travel

was still restricted by the military regime, Kim’s journeys

were truly extraordinary:Among many other experiences,he

met Mother Teresa and imbibed of the spirit of Gandhi,

thereby learning the amazing power of altruism and nonre-

sistance in response to even the harshest of circumstances.

Kim’s work the man, on display on the Gwangalli beach in

Busan,is one of the works of his “the boxer”series that aims

to express the deceptively powerful spirit of nonresistance.

Kim has also imbued the work with a sense of humor by

installing a microscope, so visitors can see one of his largest

works from the smallest possible perspective.

Rain Tree, a fountain housed in Mapletree Business City,

Singapore,also shows Kim’s poetic sensitivity and the

enormous effort he puts into his work. This work was

inspired by weeping willows on the riverside of the Hangang

River,with 70 main water spouts expanding into 600 smaller

water spouts.This seemingly impossible creation took 14

months to complete,and called on all Kim’s artistic and

technical knowledge.

Kim is currently working as a professor at the sculpture

department in Ewha Womans University in Seoul. To his

students just starting to learn sculpting,he emphasizes that

they must have “passionate speculation.” He also says that

artists are by nature filled with anxiety, but keeping this

Kim with steel powder painting at ONEAND J Gallery (top). Mobile Landscape

Installation at Spencer Museum of Art, University of Kansas (above).

Korean ink-and-brush paintings and calligraphy using steel powder (above).

ⓒ

K i m

J o n g - k u ( l e f t , o p

p o s i t e )



PEOPLE

The name Seung H-sang is synonymous with Korean architecture.He journeyed through an elite course of architectural education,studying at the Department of Construction Engineering at SeoulNational University and the Vienna University of Technology. In1989 he established his own architectural firm, “Iroje Architect &Planners,” and has since gained ever more admirers of his uniquecolors and philosophies. by Oh Kyong-yon | photographs by Park Jeong-roh

AN ARCHITECTGUIDED BYHUMANISM

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Architect Seung H-sang says reading is one of the main sources of his inspiration.



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Seung draws a rough sketch on a yellow tracing paper (top). He works at his

company’s office, Iroje, designed by himself (above).

Seung’s tools for drawing blueprints (top). A building minature (above).

“The Middle East is a charming and exciting locale for

architects,” says Seung.“The desert leaves no traces,just like a

clear canvas before a picture is drawn. It is like a dream

world,a world of fantasy.”

However, Seung’s most famous works are in Korea. One of

his best-known is Subaekdang (1998) in the city of

Namyangju, whose blueprints now reside in a permanent

collection at the Museum of Modern Art in New York

(MoMA).Other works that depict Seung’s architectural phi-

losophy — “the art of emptiness,” as he calls it — include

Sujoldang (1992),and Welcomm City (2000),both in Seoul.

BUILDING BOOKCITY At present,Seung’s main focus is thePajubookcity project in Paju,Gyeonggi-do Province.Seung’s

involvement gained international attention in the

architectural community because this project wasn’t just a

structure,but a loosely defined “book city”that had to be

conceived and constructed from the ground up.

Seung has invested more than 10 years in the project,

which has been a key factor in his being named an Honorary

Fellow at the American Institute of Architects and the first

architect to be named Artist of the Year by the National

Museum ofContemporary Art in Korea. Seung also received

considerable acclaim from international architects when he

introduced the Pajubookcity project at the Venice Biennale

of Architecture.

“The Pajubookcity project is where the publishing

industry teamed up with architects to create a large-scale,professional space that catered to their needs,” says Seung.“I

believe that we had almost complete freedom to design the

city,as no personal interests or formal concepts were i nvolved

at the outset.”

In such a vast,freeflowing project, it was inevitable that

some ideas simply wouldn’t get off the ground.Seung had

envisaged Pajubookcity being a “Slow City,”with speed limits

for cars of 20 kilometers per hour.But due to technical issues,

this was never realized.

At the end of 2010,construction began on a second

Pajubookcity project near the original site,but Seung

himself isn’t involved. When asked who is handling that one,

Seung is reserved, saying only that a younger architect far

more talented than he was in charge.

AIMING FOR AN INCONVENIENT LIFESTYLE Seung has

articulated his “art of emptiness”concept in works such as

Beauty of Poverty (1996) and Structuring Emptiness (2005).

But why does Seung turn “emptiness”into a virtue in a

Seung H-sang’s architectural boundaries are not confined to

the national borders ofKorea. He was invited to take part at

the 2002 and 2008 Venice Biennale of Architecture,and held

exhibitions at the University of Pennsylvania in 2003, Gallery

Ma, Tokyo, in 2004,and Aedes East Berlin in 2005. Seung isalso taking part in architectural projects around the world,

notably in Japan,Germany, the United Arab Emirates(UAE),

Malaysia and China.

Of all the international projects Seung has participated in,

the “Commune by the Great Wall”project in Beijing was

among his most memorable.In a lot near the Great Wall, 12

Asian architects worked together on a hotel complex, for

which Seung designed the main club house and 11 villas.

“With the historical architectural marvel of the Great Wall

in the distance, it was a truly unforgettable and worthy

experience,” he says.“But it was also very di fficult because we

were building a hotel on top of a mountain.Nonetheless, it

was tremendously exciting to experience the Chinese archi-

tectural scene which is quite different from that of Korea.”

Another memorable undertaking was the GuggenheimAbu Dhabi project located on Saadiyat Island,just off the

coast ofAbu Dhabi. The project enlisted the talents ofa

veritable who’s who of the architectural world, including

Jean Nouvel and Frank Gehry.

discipline that is basically about filling up empty spaces with

new buildings? In explaining his ideas, Seung cites the

example of the madang (yards) of traditional Korean style

housing known as hanok.

“The Korean madang is a space of undecided emptiness.

On its own it is just an incomplete and unstable space,but as

the inhabitants use the madang for various pursuits the space

is finally complete.”

Seung says that another definition of architecture should

be “anti-ecological.” He says,“The characteristics of

architecture make it work against nature.If I were to insist

on environmental protection in regards to architecture,it

would be in terms of architectural structure applications orsustainable maintenance.Ultimately, however, the industry

of architecture cannot be harmonized with nature.” It is for

precisely this reason that Seung is so skeptical of current

trends toward “environment-friendly architecture.”

Because he believes that architecture is by nature anti-

environmental, Seung has turned his attention to the

humanistic aspect of sociocultural ecology.

“Architecuture is finite and limited. We must be aware th

the structure will eventually collapse even before we embaron a project. However, the land on which the architecture i

raised is infinite and unlimited. The records and tales of th

land is what we must focus on.”

In Seung’s opinion, architectural design is “an addition

upon the records written on the land.”Because of this, his

greatest inspiration is the land and base on which the

structure will be erected.In coming up with plans, he is les



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concnered with blueprints than with the records of the land

in its earliest architectural stages.

Another architectural philosophy that Seung adheres to isthe “aim for inconvenience.” In this instance, Seung cites

Seoul’s Bukchon Hanok Village as an “ideal space” where

memories,records and traces of people have slowly passed

into the land. He believes that such places must be preserved

from redevelopment, even at the cost of discomfort or

inconvenience to the owners.

“The convenience of space was what the generation before

ours thrived on,” he says.“If the 20th century emphasized

speed and convenience, the 21st century will be a time for

remorse in this obsession with convenience, and perhaps a

push back toward a degree of ‘incovenience’in our lives.”

Seung’s architectural philosophies are in evidence in his

creations,most of which don’t even have elevators.Indeed,

the building housing the offices of Seung’s own firm and his

rooftop apartment relies entirely on stairs,too.

“I have to climb many flights of stairs.Whenever my wife

buys groceries,she summons me to the first floor to move the

groceries to the rooftop.That is when I regret not installing

an elevator in this building,”he says with a laugh.

GWANGJU DESIGN BIENNALE 2011 Seung laid out his plans

and tasks for this year at the beginning of 2010.Last March,

he accepted the general manager’s position for Gwangju

Design Biennale 2011, which will be held from September 2

through October 23.Almost every week, Seung has to find

time in his hectic schedule to commute to the city in Jeollado

Province.In what is the fourth year for the Gwangju event,

Seung is the first architect to be its general manager,a posi-

tion he is sharing with its first foreign general manager,

Chinese artist Ai Weiwei.

“I am trying to distinguish this Gwangju Design Biennale

from all the ones that have been held before,”says Seung.

Giving an example,designs will not be divided into sectionswithin the exhibition,but will instead harmonize within a

single large pavilion designated as a “city area.”

The theme for Gwangju Design Biennale 2011 is “Design is

design is not design.”This Zen-like slogan is actually inspired

by the first sentence of Laozi’s Tao Te Ching , a classic work

from the Taoist religions.“The Way that can be told of is not

an unvarying way; the names that can be named are not

unvarying names.”

The theme was chosen to simultaneously convey

traditional Asian values and new visions of design at the

heart of major civilizational changes.Seung cites the

weakening of designer brand concepts and power as a

characteristic of modern society,saying, “As today’s society

is symbolized with the ‘smart environment,’designers no

longer design.Instead, consumers become the principal

agent of design by creating the designs they want.”

To draw attention to what he sees as such a fundamental

shift, Seung will be asking the question “What is Design?”

and giving his answer in his capacity as the general manager

of Gwangju Design Biennale 2011.

DREAMING OF KOREA Seung’s ultimate aim is “returning to

the past,”and starting with truly Korean architectural styles.

Seung believes that while modern architecture does not have

a natural ecological point of contact,traditional Korean

architecture is built on the foundations of nature making it as

environmental friendly as any architectural form. He thinks

his other great idea,the art of emptiness,is equally true for

the foundations of traditional Korean architecture.

“When I visit ruins of old chogajip (traditional Korean

house where the roofis made from reeds and straw) and

hanok, they are utterly empty,”he says.“This is because the

structures were built from 100% natural materials like clay

and trees. Because these structures are built with natural

materials,traditional Korean architecture harmonizes with

the surrounding nature without any feeling that the

structures are intruding.My ultimate goal is to integrate th

characteristic of naturally ecologic architecture into moder

architecture designs,but this is not a simple task.”

The roots of Seung’s emphasis on humanism can also be

found in traditional Korean architecture.“Korea’s tradition

house are not just residences,but emphasized the importanof ethical relationships between households and people. An

example is the madang, where many people gathered to

establish relationships.”

I ask Seung, now almost 60,what he considers his greate

work. He mentions Oscar Niemeyer, a Brazilian architect w

still works despite being over 100. “Most architectural mas

pieces came about when the architect was between the ages

60 and 70. My major work? It will come soon enough.”

One of Seung’s representative architectural works Subaekdang , locates at

Namyangju, is seen (above).

Seung H-sang works on his computer (top). One of Seung’s distinctive designs,

Welcomm City , located in Jangchungdong, Seoul (above).

ⓒ

I r o j e ( o p p o s i t e b o t t o

m , r i g h t )

TRAVEL



TRAVEL

Snowboarders enjoy High 1 Resort’s ski courses blanketed with s

Winter in Korea is a time for sports.After having itchy feet for much of the year,skiers and snowboarders can finally return to the slopes, with many

opting for Gangwon-do Province, home to the country’s finest resorts.Surrounded by the towering mountains, Gangwon-do Province boasts astring of world-class leisure complexes.Even if you’re a veteran of ski resortsworldwide, you’ll find a unique charm in Gangwon-do Province and itspicturesque resorts. by Chung Dong-muk | photographs by Kim Hong-jin

W inter S ports and



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Visitors skiing and snowboarding at Alpensia Resort (top). One half of a couple falls

over in a snowfield (middle). People can enjoy winter sports in High 1 Resort (left

above). Woljeongsa Temple in Pyeongchang is famous for the gentle fir trees either

side of the road to it (opposite).

The wind is howling. As if about to devour every living

creature in the vicinity,f erocious gusts rise like a giant wave

toward the top of Mount Jijangsan, right next to Mount

Baekunsan.It churns up snow on the mountain tops before

swooping and whistling down the mountainside.

But the people there are anything but afraid. They laugh

once the winds have passed and carry on what they’ve been

doing all day: skiing and snowboarding.With only one

shortish season available to them,Korea’s skiers and boarders

know they can’t be put off by occasional weather tantrums.

If anything,the occasional bursts of wind just add to the

pleasure ofthese most devoted of sports fans.

SLEEK SLOPES The ski hills at the High 1 Resort in Jeongseon

in Gangwon-do Province bustle with avid skiers and board-

ers. Colorful outfits and dazzling boards and skis dot the

slope’s big white canvas. So named because it sits higher

above sea level than any other Korean ski resort, High 1 has

some of the best slope and lifts in the country as well.

High 1 Resort has three peaks: the “Mountain Top”on

Mount Jijangsan and the two “Valley Tops” (1,376 meters

above sea level) on either side. There are 18 slopes coming

down from these three peaks, including one for beginners

and a giant slalom slope that has been certified by the

International Ski Federation.The 4.2-kilometer valley course,

stretching from the Mountain Top to Mountain Hub (1,250

meters high) through the ski house and Valley Condo,is the

highlight ofHigh 1. Take the 20-minute gondola ride,and

you can ski down a slope with a 645-meter drop in altitude.

High 1 has two authorized slopes for World Cup ski events,

an indication of its future ambitions.It has all the necessary

facilities to host the Disabled Alpine Skiing World Cup and

the Freestyle Ski World Cup. In addition, some 900 guest

rooms,a Korean restaurant and a fusion restaurant, plus an

outdoor spa with a gorgeous view of the province ensure

everyone has a comfortable stay.

If you wanted to know why most of Korea’s ski resorts are

located in Gangwon-do Province,you’d first have to

understand the country’s geographical quirks.Many Koreans

believe their peninsula resembles a rabbit — but more like to

see in it the shape of a gallant Korean tiger.

The highest mountain on the peninsula is Mount

Baekdusan,stretching 2,744 meters into the sky.This magnif-

icent mountain,up in the northern province of Hamgyeong-

do, is the tiger’s face.Stretching down south along the east



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Fishermen rolling up their net just after returning to port (top). There are several wind

power plants on Maebongsan Mountain in Taebaek (above).

Jeongdongjin Station is the railway station closest to the sea in Korea (above).

coast,there are Mount Duryusan (2,309 meters),Mount

Keumgangsan (1,638m),Mount Seoraksan (1,708m), Mount

Odaesan (1,563m),Mount Dootasan (1,353m),Mount

Taebaeksan (1,567m), Mount Sobaeksan (1,440m),Mount

Deokyusan (1,614m) and Mount Jirisan (1,915m).Thesemountains comprise the Baekdudaegan mountain range,

which forms the backbone of Korea and the spine ofthe tiger.

Right in the middle of the peninsula is Gangwon-do

Province,which has more high mountains and steep hills

than any other.It snows often and winters are very cold,

making it the perfect venue for winter sports.

The province is surrounded by big mountains,and it has a

beautiful,wide river with plentiful trout and salmon.With

four clear-cut seasons,Korean climates produce wondrous

natural scenery, and Gangwon-do sees the best ofit all. The

province is also home to Pyeongchang,which is bidding to

host Korea’s first Winter Olympics. Pyeongchang is blessed

with a wide range of excellent ski resorts,including Hyundai

Sungwoo Resort,Yongpyong Resort,Phoenix Park,

Daemyung Vivaldi Park and O2 Resort, to name just a f ew.

Alpensia Resort is perhaps the most exclusive of them all.

Built to emulate an Alps-style resort,Alpensia is not very big,

but aims squarely at top-end business. Its seven slopes cover

the range from beginners to expert, as well as slopes for the

bell (designated National Treasure No 36) in Korea.

Gangwon-do Province is also well known for its proximity

to the East Sea. Mother Nature has endowed Gangwon-do

with some extraordinary coastal backdrops,which are best

enjoyed on trains that run through stations at Jeongdongjin,

Donghae,Chuam, Samcheok Beach,Samcheok and,at the

end of the line,Gangneung.

Jeongdongjin Station,which is closer to the sea than any

other train station in the country, gained fame after appear-

ing in Sandglass, the most popular Korean TV series of all

time. The name Jeongdongjin is derived from its geographic

location,directly east ( jeongdong ) from Seoul.In the town,

docked on a mountainside like Noah’s Ark,is what appears tobe a ship, but is actually a hotel called Sun Cruise. Every New

Year’s Day,the hotel is packed with visitors come to get the

perfect view of the first sunrise of the New Year.

In Donghae,Mukho Port is well worth a visit. Markets and

seafood restaurants overflow with fresh fish caught the night

before. Pick the fish you want,and the restaurant owner will

catch them and slice them into hoe (sushi) right before your

eyes. Though it may seem a bit rough and ready for genteel

city types, it is a snapshot of real Korean coastal life.

Time stands still in Chuam and Samcheok Beach stations.

Take your time walking along the seafront there, and then

take a taxi to visit Samcheok’s famous Daei-ri cave region.

Hwanseongul and Gwaneumgul caves are among the most

beautiful limestone caves in the country, their interiors a

beguiling mix of eeriness and beauty.It’s winter in Korea,so the mountains in Gangwon-do are

submerged in snow.If you like skiing or snowboarding, Korea

may be one of the best places you’ve never tried. Though not

of the same scale,its resorts have a charm that distinguish

them from those in the Alps or North America.And wherever

you are, you’re never too far from the embrace ofthe sea.

<Information>

GETTING TO HIGH 1 RESORT

> Bus The resort runs a seasonal shuttle from Sinchon

Jonggak and Jamsil in Seoul. For more info, visit

www.inettour.co.kr or www.buspia.co.kr

> Train Take the train from Cheongnyangni Station to

Gohan or Sabuk stations, then take the shuttle bus. Fo

more info, visit http://info.korail.com/2007/eng/

eng_index.jsp. For shuttle info, visit www.high1.com/en

Hhome/main.high1 or call +82 1588 7789

GETTING TO THE EAST COAST

Take a train bound for Gangneung from Sabuk or Gohan

arrive at one of East Coast (Donghae) stations. For mor

visit http://info.korail.com/2007/eng/eng_index.jsp.

GANGWON-DO PROVINCE TOURISM INFORMATION

http://en.gangwon.to/page/index.html

SKI RESORTS IN GANGWON-DO PROVINCE

Alpensia www.alpensiaresort.co.kr

Tel +82 33 339 0000

Hyundai Sungwoo www.hdsungwoo.co.kr

Tel +82 33 340 3000

Yongpyong www.yongpyong.co.kr/eng/index.asp

Tel +82 33 1588 0009

Phoenix Park www.phoenixpark.co.kr/ global/english/default.aspx Tel +82 1577 0069(#1)

Daemyung Vivaldi Park www.daemyungresort.com/

asp/language/english/Tel +82 1588 4888

O2 Resort www.o2resort.com/english/

Tel +82 33 580 7000

exclusive use of tobogganists and snowboarders.

Alpensia,too, has no shortage of places to stay,with about

900 guest rooms and a smattering of five-star standard hotels.

There is also an indoor water park open year round, a 45-hole

golf club,a convention center for 2,500 people,a concert hall,a spa and a luxurious sauna.

SNOWY RAILWAYS BY THE SEA Gangwon-do Province isn’t

only about the skiing, however. Snow blankets the entire

province,so if you get tired of roaring downhill, go and see

some of Gangwon-do’s more serene wintery beauty.

One way to do so is to visit temples up in the mountains.

Most Korean temples are located on mountainsides,and

when they’re deluged in snow,they assume an even greater

air of peaceful beauty.

Woljeongsa is one of Pyeongchang’s most famous temples.

Located on Mount Odaesan, Woljeongsa Temple was built in

643 during Korea’s ancient Silla Kingdom. Its famous path

from the main entrance to the main temple stretches for

about one kilometer along a valley, and is lined on either side

by fir trees. This spectacular trail is named “Passage ofa

Thousand Years.” And if your visit to Woljeongsa whets your

appetite to see more Korean temples,then try going a little

farther up Odaesan to Sangwonsa,home to the oldest bronze

MY KOREA



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KOREA

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2011

The first time I stepped foot in Korea was

in 2001.Skirts were longer,and publicdisplays of affection were more unusual.In fact,

at that time, my biggest clue for figuring out a couple’s

relationship status was whether or not they were wearing

matching outfits.

Ten years later, I walk down the streets and find it common

for couples to be snuggled up while waiting for a bus, sitting

in a coffee shop or whispering into each other’s ear.If you ask

me how I feel about this,I would say I find it refreshing; it’s

not, on the whole, openly sexual,but mostly sweet. When I

see a man carrying his girlfriend’s purse, I can’t help but

smile. However, catch me on a day when I’m painfully aware

I’m still single and “refreshing”may not be the word that

comes to mind.

So what’s a single girl to do? In Korea,one of the most

common ways to meet the opposite sex is online. Dating

websites such as Duo claim almost 23,000 members. As in

most countries,it’s common to meet at work or in school,

while a great many dates are also set up by friends or even

family members.I giggle when I hear female friends talk

about constantly being asked by concerned

ajumma (older women) if they are married or

have a boyfriend. I’ve listened to more than one

Korean friend lament about her mother’s excessive

concern for her being single.The idea of becoming an old maid is definitely somethin

to worry about in this country. When a female crosses the

of 30, she is getting close! The average marrying age is 28 f

women and 31 for men. But marriage in Korea isn’t merely

between a man and woman. It’s a marriage between famili

Due to the high value placed on marriage, it is still

common for a family to hire a matchmaker to find their so

or daughter a spouse — especially in upper class society. A

couple could also be introduced through their parents, an

arrangement referred to as a seon, which allows pre-screen

to be done by the family. However, in both cases the adult

children are not bound if they are uninterested.

In the last 10 to 20 years, dating and marriage in Korea

have begun to feel the influence of outside thinking.Minds

are beginning to broaden with the influx of foreigners

moving to Korea,as well as changing attitudes in the media

Things that were considered taboo are becoming openly

acceptable.Tradition that had been firm and unyielding is

beginning to loosen its grip on the younger generation. Is i

THELABORSOF

LOVEThe course of true love,as they say, never runs smooth.And whenthe partners come from countries that are practically cultural

opposites,that course becomes even more treacherous. Severalfriends of Ann-Cherise Simmons discovered that lesson for

themselves when they dated Korean men. But whilethe obstacles they faced were so difficult that

many gave up, the prize for staying thecourse were relationships of true

devotion.



high up my list of priorities. Watching how my Korean

friends help each other out and honor their families leaves

me thinking: maybe this culture that shares one another’sburdens really does have something on the “my four and no

more”environment that I was been raised in.

For a person who prioritizes choice, equality and

individuality,it’s easy to perceive a culture that values

tradition and honor as narrow-minded. However, taking

time to step back and look at the dating and marriage world

of Korea has caused me to do a lot of my own re-thinking.

I believe one of the keys to Karen’s success in being able to

marry a Korean man comes from her desire to adapt to the

Korean culture as well as appreciating the cultural value of

honor.I found myself admiring her as I realized that what

could have embittered her (as it had my other friends), actu-

ally gave her greater respect for the man she was to marry.

When I asked Karen what she loved about dating a

Korean man,she replied: “I love the way intercultural

relationships open up our minds to new possibilities and

perspectives.I experienced Korea in a deeper way because

I’ve seen the way Korean families do things,and I’ve fallen

in love with Korean culture.”

So are Korea’s methods for dating, weddings and marria

really so unique? To be honest, I don’t know.But in my que

to learn more about these topics, I found myself growing inappreciation for this culture,and discovering that there rea

are many different ways to find true love. by Ann-Cherise

Simmons | illustrations by Jo Seung-yeon | photograph by Park Jeong-roh

K

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JANUARY

2011

law? How would Karen cope with all the responsibility that is

placed on the daughter-in-law of their eldest son? Would this

foreign woman take her son away to another land? They

weren’t just worried for themselves, and their son — they

were genuinely concerned for her,too. Several months later,

however, Karen is treated as part of the family.

I’ve noticed that many Korean women seem higher

maintenance than the average American girl. I only say

American,because I can’t judge for other countries.My

friend interviewed a male friend of

hers for me, and he mentioned that

as a Korean man, he felt pressure

when he dated a girl to buy herpresents and do things for her.

On a first date,it is not

uncommon for a man to drop a lot

of money for one night.When it

comes to paying in a relationship, it is

normal for a man to pay about 70 percent

and the woman 30 percent. Could it be that

when a guy has to work harder for a girl and save

money for marriage, he appreciates her more? Is it possible

that in cultures where marriage is no longer regarded as

valuable and women insist on meeting men halfway that

women have unknowingly stolen something of their worth

in a man’s eyes? I have no idea what the answers are, but as I

dig into understanding another culture,I increasingly find

myself questioning my own.So what happens when a Korean couple decides to get

married? Most men and women start saving from the time

they get a job for their future marriage. It is common for a

man to save 100 million won and the woman 40 million won.

The 100 million won goes toward the house where they will

live,and the 40 million toward furniture and appliances.

Scrimp-ing and saving for so long may not sound like much

fun, but when I think of it in the long-term — how much

more my husband and I might appreciate the house,and each

other,if we’dsavedfor solong— itreallystartsto makesense.

Marriage is a huge deal in Korean culture.Family and

friends chip in large amounts ofmoney to bless the new

couple.I listened as one of my friends,who I knew wasn’t

exactly rolling in cash,told me she had to provide 100,000

won (US$88) for a friend’s wedding. Shocked,I asked why.

“It’s to honor and help the new couple.”

If you come from a country with an ingrained culture of

gift giving, this may seem normal.However,I know when I’m

stretched financially, giving wads of cash to newlyweds isn’t

good? Is it bad? That depends on who you are talking to.

Before I began writing this assignment, I held a somewhat

blinkered view of Korea’s conservative culture.While I had

many Korean friends that I loved,I di dn’t understand why

Korean parents were so controlling with their adult children.

I didn’t understand why friends were pressured to pay such

large amounts for wedding gifts.Why did my f riend need to

save money for years just to get married? Why were some

parents so harsh with foreign daughters

or sons-in law? From my impeccably

liberal Western point of view,these

things seemed so unnecessary.

The main complaint I heardfrom foreigners who dated

Koreans was regarding the family.

“What difference should a family’s

opinion make?” they would demand. I

know the passionate side of me would say,

“If he loves you, he should fight for you

— no matter what.”However, I feel

there’s an element to this equation that

many of us, myself certainly included, struggle to ever really

understand:honor.

Honor is laced into every aspect ofKorean culture. Because

Korea is more collectivist in nature than most Western

societies,honoring the family is often regarded as more

important even than one’s own feelings — and this certainly

extends to marriage.In researching this piece,I had the pleasure of interviewing

an Australian woman engaged to a Korean man. Several of

my friends had dated Korean men, and it had often ended

suddenly or rather badly. But as I sat down with Karen, I

gained a deeper insight into these international relationships.

Rather than being rejections or expressions of bad will, I

discovered that many of the problems I’d heard about could

have been mere misunderstandings.

For my new friend Karen, it took almost two years for her

fiance’s family to give their approval.She told me of her frus-

tration in the beginning when her boyfriend would leave her

to be with his family, or go to family events where she wasn’t

welcome.

The night the mother finally gave her approval for

marriage,she sat them down and warned them about how

hard it would be for them as a couple. Karen began to realize

that what had felt like rejection in the past was actually

concern.With family being such a high priority,how would a

mother be able to communicate with a foreign daughter-in-

PROFILE

Ann-Cherise Simmons is a

American who first came to

Korea in 2001, and later

received a Bachelor’s degr

in Psychology from the

University of Maryland,

Yongsan Army Post. In 200

she moved to the US, and currently back visiting Kore

for a few months. She enjo

traveling, meeting people a

going to coffee shops. She

likes seeing people have a

deeper understanding of th

selves and their importanc

the world around them.

SUMMIT DIPLOMACY



condemning North Korea’s hostile

actions and urging Pyeongyang to

refrain from any further provocations.

In a statement on Nov 23,

Catherine Ashton, the EU’s high

representative for foreign affairs and

security policy, laid the blame for the

incident with North Korea, saying, “I

call on the North Korean authorities to

refrain from any action that risks

further escalation and to fully respectthe Korean Armistice Agreement.”

Julia Gillard, the prime minister of

Australia, said the North Korean

attack was a dangerous provocation,

adding that it “threatens strategic

stability in northeast Asia.”

Stephen Harper, the Canadian

prime minister, also said that the

Yeonpyeongdo shelling was one of a

series of hostile and provocative North

Korean acts that “represent a grave

threat to international security and

stability in northeast Asia.”He reaf-

firmed Canada’s support of South

It has already been more than a

month since North Korea fired artillery

at SouthKorea’sYeonpyeongdo Island.

Almost as soon as the shelling took

place last November, countries around

the world issued statements con-

demning the attack. Soon afterward,

South Korea started devising and then

strengthening a coordinated response

with the United States and Japan.

The eyes of the world are on theSouth Korean government. Though

opinions vary, the overwhelming global

consensus is that South Korea must

engage in multilateral diplomacy as it

seeks to pressurize China, and

ultimately the North itself, into bring-

ing an end to its provocative behavior.

Against this backdrop, all the major

overseas players — Japan, the United

States, Russia and China — are tak-

ing stock of the situation, and figuring

out just how to respond.

With the notable exception of China,

the vast majority of the world has

criticized the North and come out in

support of Seoul. Within hours of the

attacks, the White House was joined

by UN Secretary-General Ban Ki-moon,

the European Union (EU), the Russian

foreign ministry and Brazilian

President Luiz Inácio Lula da Silva in

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2011

Sunset over the DMZ, demilitarized zone between

South Korea and North Korea (opposite). Secretary

of State Hillary Clinton, middle, gestures during a

news conference with South Korea’s Foreign minis-ter Kim Sung-hwan, right, and Japanese Foreign

Minister Seiji Maehara at the State Department in

Washington, December 2010 (below).

Korea and urged North Korea to ha

its reckless and hostile behavior.

Brazil’s President Lula said that h

country was “against any attack on

another country.”

RUSSIA ONSIDE IN DIPLOMATIC

WAR While South Korea was gratef

for all the statements of support, it

was especially pleased by the chan

in tone from one of its closest neigbors, Russia. Besides the stateme

from its foreign ministry, Prime

Minister Vladimir Putin also said: “W

should do everything we can to nor-

malize the situation. China has leve

age, especially in economic terms.

Russia has taken an increasingly

critical line in referring to the attack

on Yeonpyeongdo. After concluding

meetings with visiting North Korean

Foreign Minister Pak Ui-chun in mid

December, the Russian foreign min

istry said in a statement that “the

artillery shelling of South Korean

territory, which resulted in loss of li

deserves condemnation.” It temper

these remarks, however, by adding

that tension on the peninsula was

“fueled, in particular, by a series of

large-scale military exercises,” an

allusion to South Korean military

drills, sometimes in conjunction wit

the United States and Japan, in the

region. Nonetheless, the overall

response — expressing criticism

publicly and also in person to North

Korea’s top diplomat — was unpre

dented for Russia.

As recently as last March, Russia

issued no official condemnation wh

the North sank the Cheonan, a Sou

Korean warship. For Russia to expr

such open criticism should place S

North Korean ties under greater pre

sure, ultimately benefiting Seoul in

dealings with Pyeongyang. Amid thi

shift, South Korea and North Koreaare engaged in a diplomatic tussle

fully win over Russia. And Moscow’

position could be a huge factor in

post-Yeonpyeongdo diplomacy, alon

with high-level meetings between th

SOUTH KOREAN DIPLOMACY AND

ALLIANCES: BACKING FROM THE

US, JAPAN; SUPPORT FROM RUSSIA

The North Korean shelling of Yeonpyeongdo Island, off South Korea’s west coast,sent shockwaves around the world last November. In an address to the people of South Korea, President Lee Myung-bak vowed a resolute response against theprovocations, and pledged to do all he could to prevent it from happening again.Here, KOREA takes a look at the diplomatic cooperation between South Korea andits neighbors, and what President Lee is doing to prevent attacks like this fromhappening again. by Kwon Kyeong-hui

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T o p i c P h o t o ( a b o v e ) ; S

e o u l E c o n o m y D a i l y ( o p p o s i t e )



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Foreign Minister Kim Sung-hwan, US

Secretary of State Hillary Clinton, and

Japanese Foreign Minister Seiji

Maehara issued a joint warning to

North Korea and implored China to try

and rein in its ally.

The three officials, according to the

document “looked forward to China’s

efforts to urge North Korea to adhere

to its commitments as articulated in

the September 2005 Joint Statement

of the Six-Party Talks.” This position

basically assumed that North Korea

has become increasingly hostile

because of China’s inaction. By

stressing their trilateral cooperation

and a joint response, the foreign

ministers were making a diplomatic

protest to China in all but name.

Additionally, their emphasis of the

importance of the Association of

Southeast Asian Nations (ASEAN) inAsia and their pledge to “enhance

preparatory efforts” for the ASEAN

Regional Forum (ARF) and the East

Asia Summit (EAS) also appear to

have been aimed at China. The

US and China.

In December, at the summit of the

Organization for Security and

Cooperation in Europe (OSCE) in

Astana, Kazakhstan, Kim Sung-hwan,

Seoul’s foreign minister, sat down for

talks with his Russian counterpart,

Sergey Lavrov. Kim expressed his grat-

itude for Russia’s prompt criticism of

the North Korean attack, and the two

men agreed to keep in close contact

over the matter. In Seoul, Wi Sung-lac,

the top nuclear envoy for South Korea,

met with Grigory Logvinov, the deputy

nuclear envoy for Russia, and held in-

depth talks on North Korea’s uranium

enrichment program as well as the

Yeonpyeongdo shelling.

In December, Wi traveled to

Moscow for a meeting with Alexei

Borodavkin, the chief Russian nuclear

representative and the deputy foreign

minister, and sought Russia’s support

for South Korea’s position on the

Yeonpyeongdo attack and North

Korea’s uranium enrichment pro-

grams. Wi also stressed that in order

for the six-party talks to resume, North

Korea must first demonstrate its will-

ingness to forgo its nuclear activities.

PRESSURIZING CHINA TO PRESS

NORTH KOREA Seoul, Washington

and Tokyo held three-way talks in early

December, seeking to strengthen tri-

lateral cooperation. South Korean

ⓒ

S e o u l E c o n o m y D a i l y ( l e f t , t o p , o p p o s i t e b o t t o m ) ; Y o n h a p N e w s A g e n c y ( o p p o s i t e t o p )

unspoken message was that if China

continues to side with North Korea,

then South Korea, Japan and other

Asian states would strengthen their

ties at the expense of China.

At the same time, Kim, Clinton and

Maehara tried not to provoke China

too much. “What Japan intends to do

is bring the five parties together to

deal with North Korea, instead of

creating a situation of three (South

Korea, the US and Japan) versus three

(China, North Korea and Russia),”

Maehara said. While pressurizing

China, the ministers stressed they

want to leave the door open f or China

to come on board at any time.

Other North Korean provocations

were discussed at the meeting, includ-

ing its recent admission of having ura-

nium enrichment programs. The three

countries agreed to remain in close

coordination vis-a-vis the North, and

their ties are expected to grow

stronger in the months ahead.

Proposed by Secretary Clinton, this

was the first trilateral foreign ministeri-

al meeting to be held in Washington,

reflecting the US determination to beactively engaged in developments on

the Korean Peninsula. Admiral Mike

Mullen, the chairman of the US Joint

Chiefs of Staff, also traveled to Seoul

in another show of solidarity between

Washington and Seoul.

In a telephone conversation with

Chinese President Hu Jintao on Dec 5,

US President Barack Obama heavily

criticized North Korea, calling its

provocations “unacceptable.” Obama

is also reported to have told Hu that if

China continues to protect North

Korea, it may be putting its own secu-

rity in peril, as well as its standing in

the international community.

China doesn’t seem to have shifted

its North Korea policy yet, but it may

be feeling the heat more than usual.

In joint South Korea-US military drills

in early December, the USS George

Washington, whose previous presence

in joint exercises has been a major

sore point for China, was deployed to

the Yellow Sea. On this occasion, how-

ever, Beijing didn’t issue a statement

criticizing the action. China is also

said to have refused a recent North

Korean request for rice aid.

“At this point, China’s role should

be to quietly deter North Korea from

carrying out any additional provoca-

tions,” said Han Sung-joo, professor

emeritus of international politics at

Korea University in Seoul, and the

head of a diplomatic consultancy

group for the Lee administration. “If

China does anything publicly, then it

might be seen as giving in to South

Korean pressure and North Korea

would be opposed to that. China will

want to move as quietly as possible.”

“ThereasonNorthKoreawentahead

with the shelling of Yeonpyeongdo

after sinking the Cheonan is that the

North had concluded China wouldn’t

be able to criticize it for the attack,”

he added. “By defending North Korea

for building uranium enrichment opera-

tions and other provocations toward

South Korea, China ultimately lost

face and also some clout in the

international community.”

President Lee Myung-bak’s

“telephone diplomacy” is reported

as prompting the international

condemnation of North Korea for

its shelling of Yeonpyeongdo.

A BOUT OF FRIENDLY DIPLOMACY

On the day of the bombardment,

President Lee spoke to the the lead

ers of Britain, the US and Japan. H

expressed gratitude for their conde

nation of North Korea’s provocatio

President Lee’s friendly diplomac

also helped Russia’s decision to ba

South Korea. Since Dmitry Medved

took office in May 2008, Lee and t

Russian president have met every s

months. Most recently, Medvedev m

Lee before the opening of the Grou

of 20 (G20) Summit in Seoul in

November. In September, Lee visite

Yaroslavl, Russia for a keynote

speech at the Global Policy Forum

hosted by Medvedev.

“When President Lee flew to Rus

in September, some political oppo-

nents wondered whether he was tryto divert attention from the Cheona

sinking,” an official at the Blue Hou

said. “But it was that trip and othe

actions that helped Russia take ou

side this time.”

Current Chairman of the ROK JCS (Joint Chiefs of

Staff) Han Min-gu, right, held a joint press confer-

ence with Mike Mullen, Chairman of the US JCS, on

the topic of Korean Peninsula’s security (above).

President Lee Myung-bak received Vladimir Zorkin,

Russian Chairman of the Constitutional Court in

November last year (below).

President Lee holds an urgent inspection confer-

ence regarding security and the economy in

November 2010, just after North Korea’s attack on

Yeonpyeongdo Island (above). US Deputy Assistant

Secretary of Defense for East Asia Michael Schiffer,

left, makes a remark at the 27th Korea-US Security

Policy Initiative in Seoul, December 2010 (below).

GLOBAL KOREA



Two decades of research have yield

around 150 domestic species, incl

ing Pearl Red, Pinky and Magic

Scarlet, whose vivid colors and

longevity after being cut have made

them a big hit with foreign buyers.

At the International Flower Expo2009, the scarlet-colored Pearl Red

fetched 100 yen (US$1.20) per ste

confirming Korea’s place among th

elite of flower-producing countries.

From US$15.56 million in 2009,

exports reached US$30 million last

year — a growth rate of more than

80%.

Another big hit on global flower

markets has been the Magic Flowe

whose petals change color in differ

lights or temperatures. Despite sel

for four to five times the price of

normal roses, the Magic Flower has

also seen stellar rises in its export

numbers, more than tripling from

US$2.3 million in 2009, to over

US$7.35 million last year.By developing new species in Ko

producers are not only able to cate

specific market niches, they can al

make big savings on royalty payme

by cultivating fewer varieties from

K

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2011

Researchers from the Rural Development

Administration check flowers at a laboratory in

Suwon (opposite). Korean cactuses hold more than

70% of the world market (above). Roses grown in

Korea are famous for various colors (below).

Korea began exporting flowers less

than 20 years ago. As it so often is,

the Korean government was soon at

the center of efforts to boost this

fledgling industry, opening a wholesale

flower market in Yangjae, Seoul, in

1991, and designating flowers and

plants as “promising export items.”

As a result, total flower exports surged

from just US$2.4 million in 1992, to

US$5.5 million in 1994, and then to

US$28.88 million in 2000. Exports

continued to soar in the last decade,

reaching US$52.15 million in 2005,

US$76.2 million in 2008, and almost

US$100 million last year.

Perhaps the greatest single factor in

this success has been Korea’s vigor-

ous development of new species.

Among the most popular Korean floral

exports today is the Baekma chrysan-

themum, which Korea’s Rural

Development Administration (RDA)

developed in 2004. A snow-white,

heavily petaled flower, the Baekma is

hardier and easier to breed than many

conventional species, making it ideal

to export. Today, it accounts for more

than 40 percent of Korea’s chrysan-

themum exports.“Conventional chrysanthemums

when cut typically last no longer than

15 days, but our Baekma lasts twice

as long,” says Kim Won-hee, a

researcher in the RDA’s floweringplants department. “Since we started

distributing it in 2007, exports exceed-

ed a million dollars in 2008 and 3.5

million last year, making it a real

treasure of a flower.”

“The Baekma grows well and flow-

ers almost immediately, meaning

shorter growing times. This makes it

very beneficial to farmers,” explains

Go Gwan-dal, manager of the horticul-

ture product department at the

National Institute of Horticultural &

Herbal Science (NIHHS).

“Baekma has already become a

major export item to Japan. Japanese

buyers import more than 10 million

bunches of Baekma every year, mak-

ing it almost impossible for supply tofully meet demand.”

EXPORT KINGS: CHRYSANTHEMUMS

AND ROSES Korean roses are enjoy-

ing similar levels of success overseas.

KOREAN FLOWERS TAKING ROOT

AT HOME AND ABROAD

Korea’s floral exports are blooming. Less than two decades ago,exports of Korea’s indigenous flowers — the full-petaled, snow-whiteBaekma, the enticing scarlet buds of Pearl Red and many more —

totaled just US$2.4 million. Today, that figure has soared to more thanUS$100 million. Korea’s flower industry can thank excellent researchand development, aggressive overseas marketing and a dose of good,old-fashioned hard work. by Seo Dong-cheol | photographs by Kim Nam-heon



NOW IN KOREA



ⓒ

Y o n h a p

N e w s A g e

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2011

S porting D reams

TAKINGWING

From the Vancouver WinterOlympics to the GuangzhouAsian Games,Korean athletesproduced some unforgettableperformances last year. Andwhile many of these took place inKorea’s traditional areas of strength — short track andarchery — the country bumpedup its medal hauls with a stringof victories in other fields too.This success is inspiring a gener-ation of kids and their parents toemulate Korea’s recent sporting

glory, and sports academies arefilling up with young athletes.KOREA sought out some of thesestars in waiting,and found teamsof youngsters with all the dedica-tion and passion of their heroes.by Seo Dong-cheol | photographs by Park Jeong-roh

The 16 th Asian Games’ bronze medalist Son Yeon-jae, one of Korea’s Rhythmic

gymnastics athletes put on an outstanding performance.

K

JANU



Manchester United,Korea has Park Chu-young at AS

Monaco in the top French league;Lee Chung-yong at Bolton

Wanderers in England; and Ki Sung-yueng and Cha Du-ri

playing for Celtic in the Scottish Premier League.

And these aren’t the only Korean athletes making their

nation proud overseas.Choo Shin-soo (Cleveland Indians)

and Park Chan-ho,who played for the Pittsburgh Pirates in

2010,were the two biggest Korean stars in Major League

baseball.Yang Yong-eun,who in 2009 became the first Asian

to win a PGA Tour major,is one of a slew of Korean golfers

excelling on the links. Female golfers,following in the foot-

steps of pioneering women’s star Pak Se-ri, have done well

too.Today,there are five Koreans among the top-10 female

golfers inthe world, and 20 among the top 50.

Such outstanding performances by Korean athletes on the

global stage have given hope and inspirations to youngKoreans.Parents are taking a greater interest too, and going

to great lengths to find the best sporting opportunities for

their kids. And whereas kids once had to be forced to play

sports by their parents, children today often beg to join sports

academies or sign up for school teams.

“I get calls from parents who ask how they can get their

children into archery,” says Lee Dong-min of the Korea

Archery Association.“Today, young students voluntarily pick

up sports that they want to play.”

Thanks to stellar performances by the likes of Park Ji-sung

and Kim Yu-na,soccer and figure skating are perhaps more

popular among Korean kids than they’ve ever been. Since the

2002 FIFA World Cup, soccer academies have sprouted up

across the nation,but demand still exceeds supply. Park’s

football center, which opened last year,is also a popular

destination,with hundreds of children on the waiting list.“We are running a systematic,European style training

program for six to 13 year olds, and we have students that

come from quite far away,” says Lee Young-hoon, who teaches

at the center.“We have three or four dif ferent classes per age

group.There are more than 20 on the waiting list per each

class.After the 2002 FIFA World Cup, the Korea Football

Association has worked hard at nurturing coaches. That has

raised quality of teaching at the youth level and made train-

ing programs more systematic.Parents never stop calling.”

The “Kim Yu-na”effect has seen ice rinks around Korea

caught up in a figure skating craze. And Mokdong Ice Rink,

where about 100 short track speed skaters and figure skaters

train, is no exception. “After the Vancouver Winter Olympics,

we received a lot of calls about figure skating,” says Jang Ho-

sung,a coach at Mokdong.“In short track, we have enough

coaches for everyone.But in figure skating, we have more

than 50 children waiting to be picked up.”

Sports academies,where children can experience many

different sports,are becoming popular,too. They offer

swimming,soccer, golf, baseball and inline skating,and they

have separate programs for children showing special talent.

“We don’t grind children to the ground, trying to make

them become professional athletes.Instead, we work to

develop them socially,physically and mentally,” says Bae

Sung-min,head of the Little Kids Children’s Sports Club in

Uijeongbu,Gyeonggi-do Province.“With golf,we do also run

a special program for those that show particular promise.”

Korean athletes newfound success in a wider range of

sports is serving as a big source ofinspirations and hope for

children.Somewhere, at this very moment. the next Park Ji-

sung,Kim Yu-na, Park Tae-hwan or Choo Shin-soo is givingtheir all to realize their dreams. Certainly,not every one of

them will end up as a sports hero — but between them,

they’re lighting up the future of Korean sports.

48

KOREA

JANUARY

2011

A middle school student practicing shooting (top). Archers from an elementary

school shoot arrows during their lesson (above).

ⓒ

K o r e a A r c h e r y A s s o c i a t i o n ( a b o v e ) ; K o r e a

S h o o t i n g F e d e r a t i o n

( t o p )

I B



P r i o r i t y / P r i o r i l a i r e

B y a i r m a i l / P a r a v i o n

BR S / C C R I N° : 1 0 0 2 4 -4 0 7 3 0

NEP A S AFFR AN CHIR

N O S T A MP R E Q UI R E D

R E P L Y P A I D / R E P O N

S E P A Y E E

K O R E A ( S E O UL )

K O C I S

1 5 H y o j a -r o , J o n g n o - g u

S e o ul ( 1 1 0 - 0 4 0 )

R e p u b l i c o f K o r e a

`

`

ⓒ

C h o i J i - y o u n g



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