Essay Contest Result
Image of Korea from the International Point of View
In a digital age where connections are woven together like a tapestry, countries have struggled with sewing their image into the fabric of global connectivity. Rapid transformations in how we live, learn, and communicate have created a plethora of challenges for national entities when evolving in coalition with the rest of their societal counterparts. A strange juxtaposition of national images has emerged, aided and abetted by the evolution of the concept of “image” itself. The emergence of said juxtaposition has presented hurdles for countries like Korea as they have attempted to solidify their identities in a world trademarked by the ebb and flow of change. In a world dominated by Western perspectives, how can Korea maintain its authenticity while actively participating in its forward-looking development? When trying to find its niche, how can Korea appeal to citizens internationally while keeping its rich essence intact?
This is not the first time these questions have been asked, nor will it be the last. Indeed, asking these questions means that there are still purposeful endeavors to pursue as Korea continues to establish itself within the fabric of global connectivity. For Korea to answer these questions on an international level, two things should occur: programs and literature that promote Korean culture and language should be adjusted for easier accessibility, and the focus of said programs and literature should strive to support the dissemination of Korean culture without being defined using a Western lens.
Current images of Korea purported internationally have been diverse, but they all have one thing in common: constriction within Western parameters. Korea has a rich cultural history, including beautiful Pansori folktales and formidable Taekkyeon techniques. Yet, when Korea points its face to the world, it tends to emphasize only the one that would appeal to the West: K-pop. While it is understandable that, in a world unfairly dominated by Western perspectives, emphasizing what would appeal to mass audiences globally to establish a universal identity seems logical. However, just like the meticulous care done by Korean parents when choosing a name for a child, there should also be meticulous care done when Korea decides what image it wishes to put forth. Identities are not given clearly or easily to nations like the sun gives its warmth to the forests on high mountains as it rises in the early dawn. Identities, instead, must be crafted by hand-- similar to ancient artisans who spent their days carving the Tripitaka woodblocks.
When searching the terms “Pansori” and “K-pop” the stark difference in presentation and emphasis of how Korea is perceived becomes clear. The search term “Pansori” returns two hundred and fifty-five thousand results, while “K-Pop” returns almost seven hundred and eighty-three million results. The Hallyu wave is evidently in high tide and yet-- its seas are brimming with music, food, and film strictly considered most desirable to Western viewers. Numerous Idols have been accused of direct plagiarism of Western music, and the K-pop industry itself has been heavily criticized for monetizing works by black American writers and choreographers without giving said creatives proper compensation or credit. As expressed by one slighted creative Micah Powell, “K-Pop looks to the West for inspiration” and then proceeds (intentionally or unintentionally) to capitalize on a culture that is not theirs. This is disheartening for numerous reasons, but especially because Korea has such a rich and complex cultural history that committing plagiarism as a means to establish a global identity seems frivolous.
Given this context, consider another query: Why would Korea focus on the dissemination of K-Pop, awash with Western elements, instead of promoting cultural aspects that are uniquely Korean? It’s not as if there haven’t been attempts to encourage more holistic perspectives and understandings of Korea. Particularly, in-depth and culturally relevant materials in series such as Understanding Korea developed by the Center for International Affairs have been labeled as “appropriate for average citizens so that more people than ever can come to know about Korea”. Indeed, the information in the Understanding Korea textbooks and pamphlets indicates the significance of Korea’s cultural evolution. However, they are unfortunately not as accessible for average citizens as the writers intended them to be.
When analyzing the vocabulary and sentence structure of excerpts from Understanding Korea Series 11: Korean Cuisine, unless the assumed audience has at least reading abilities comparable to a postgraduate academic level or higher, intentions for cultural expression fall flat. With most text content in the Understanding Korea series landing in the IELTS range of 7.0–8.0, effective promotion loses momentum as the reading level for the Understanding Korea texts surpasses that of most average citizens worldwide. Conversely, information dissemination and promotional efforts regarding K-pop consistently land in a more approachable IELTS range of 4.0–5.0. This range is consistent with the average 7th—8th-grade reading level of Americans and thus has contributed to the successful spread of K-pop as a component of Korea’s identity. The effects of information accessibility are demonstrated by K-pop’s propensity for viral marketing in the modern era. Average internet users also fall in a lower IELTS range and thus are far more likely to engage with content they can digest and successfully interact with.
How can these challenges be overcome? First, to more effectively highlight the cultural complexity of Korea in promotional materials, their content should be adjusted based on more realistic comprehensive reports. Although it would be ideal if the average global citizen could regularly access and comprehend content indicative of postgraduate academic achievement, it is not the current reality. Adjusting content by making it more approachable for certain reading levels does not diminish the quality of the content itself. Instead, it allows the writer to meet the reader where they are so that the reader can explore of their own volition. Future endeavors regarding the production of the Understanding Korea series that show evidence of accessibility adjustment would not only allow Korea to express its pride in its cultural heritage but would also show enlightened comprehension regarding its intended audience. Second, by making Korean historical and informational texts more palpable for various reading abilities, reliance on Western-influenced promotions could be diminished. Efforts within the scope of K-pop don’t have to be eradicated. Instead, Korea could shake the demanding shackles of the Western perspective when the opportunity for self-promotion occurs.
By using more approachable materials indicative of Korea’s individuality, Korea can express its authenticity on a global scale and can preserve and promote its cultural achievements for centuries to come. There is no greater reward for a nation than that of global identity establishment. Korea deserves to do so on its terms.
This is not the first time these questions have been asked, nor will it be the last. Indeed, asking these questions means that there are still purposeful endeavors to pursue as Korea continues to establish itself within the fabric of global connectivity. For Korea to answer these questions on an international level, two things should occur: programs and literature that promote Korean culture and language should be adjusted for easier accessibility, and the focus of said programs and literature should strive to support the dissemination of Korean culture without being defined using a Western lens.
Current images of Korea purported internationally have been diverse, but they all have one thing in common: constriction within Western parameters. Korea has a rich cultural history, including beautiful Pansori folktales and formidable Taekkyeon techniques. Yet, when Korea points its face to the world, it tends to emphasize only the one that would appeal to the West: K-pop. While it is understandable that, in a world unfairly dominated by Western perspectives, emphasizing what would appeal to mass audiences globally to establish a universal identity seems logical. However, just like the meticulous care done by Korean parents when choosing a name for a child, there should also be meticulous care done when Korea decides what image it wishes to put forth. Identities are not given clearly or easily to nations like the sun gives its warmth to the forests on high mountains as it rises in the early dawn. Identities, instead, must be crafted by hand-- similar to ancient artisans who spent their days carving the Tripitaka woodblocks.
When searching the terms “Pansori” and “K-pop” the stark difference in presentation and emphasis of how Korea is perceived becomes clear. The search term “Pansori” returns two hundred and fifty-five thousand results, while “K-Pop” returns almost seven hundred and eighty-three million results. The Hallyu wave is evidently in high tide and yet-- its seas are brimming with music, food, and film strictly considered most desirable to Western viewers. Numerous Idols have been accused of direct plagiarism of Western music, and the K-pop industry itself has been heavily criticized for monetizing works by black American writers and choreographers without giving said creatives proper compensation or credit. As expressed by one slighted creative Micah Powell, “K-Pop looks to the West for inspiration” and then proceeds (intentionally or unintentionally) to capitalize on a culture that is not theirs. This is disheartening for numerous reasons, but especially because Korea has such a rich and complex cultural history that committing plagiarism as a means to establish a global identity seems frivolous.
Given this context, consider another query: Why would Korea focus on the dissemination of K-Pop, awash with Western elements, instead of promoting cultural aspects that are uniquely Korean? It’s not as if there haven’t been attempts to encourage more holistic perspectives and understandings of Korea. Particularly, in-depth and culturally relevant materials in series such as Understanding Korea developed by the Center for International Affairs have been labeled as “appropriate for average citizens so that more people than ever can come to know about Korea”. Indeed, the information in the Understanding Korea textbooks and pamphlets indicates the significance of Korea’s cultural evolution. However, they are unfortunately not as accessible for average citizens as the writers intended them to be.
When analyzing the vocabulary and sentence structure of excerpts from Understanding Korea Series 11: Korean Cuisine, unless the assumed audience has at least reading abilities comparable to a postgraduate academic level or higher, intentions for cultural expression fall flat. With most text content in the Understanding Korea series landing in the IELTS range of 7.0–8.0, effective promotion loses momentum as the reading level for the Understanding Korea texts surpasses that of most average citizens worldwide. Conversely, information dissemination and promotional efforts regarding K-pop consistently land in a more approachable IELTS range of 4.0–5.0. This range is consistent with the average 7th—8th-grade reading level of Americans and thus has contributed to the successful spread of K-pop as a component of Korea’s identity. The effects of information accessibility are demonstrated by K-pop’s propensity for viral marketing in the modern era. Average internet users also fall in a lower IELTS range and thus are far more likely to engage with content they can digest and successfully interact with.
How can these challenges be overcome? First, to more effectively highlight the cultural complexity of Korea in promotional materials, their content should be adjusted based on more realistic comprehensive reports. Although it would be ideal if the average global citizen could regularly access and comprehend content indicative of postgraduate academic achievement, it is not the current reality. Adjusting content by making it more approachable for certain reading levels does not diminish the quality of the content itself. Instead, it allows the writer to meet the reader where they are so that the reader can explore of their own volition. Future endeavors regarding the production of the Understanding Korea series that show evidence of accessibility adjustment would not only allow Korea to express its pride in its cultural heritage but would also show enlightened comprehension regarding its intended audience. Second, by making Korean historical and informational texts more palpable for various reading abilities, reliance on Western-influenced promotions could be diminished. Efforts within the scope of K-pop don’t have to be eradicated. Instead, Korea could shake the demanding shackles of the Western perspective when the opportunity for self-promotion occurs.
By using more approachable materials indicative of Korea’s individuality, Korea can express its authenticity on a global scale and can preserve and promote its cultural achievements for centuries to come. There is no greater reward for a nation than that of global identity establishment. Korea deserves to do so on its terms.
[Encouragement Prize]
O'Hair Hailey Earlene
(Country of Activity: USA)
O'Hair Hailey Earlene
(Country of Activity: USA)
