Written Report

Korea
ED21
The Culture of Korea
Dela Cruz, Melrose A.
FACTS AND STATISTICS

 Location: Eastern Asia, southern half of the Korean Peninsula bordering the East Sea and
the Yellow Sea
 Capital: Seoul
 National anthem: Aegukga
 Nationality: Korean
 Ethnic Make-up: Homogenous (except for small percentage of the population who are
from elsewhere but reside in the country permanently). It is one of the most racially pure
countries in the world.
 Population: 51 million (2019 Est.)
 Population growth rate: 0.53% (2019 Est.)
 Climate: temperate, with rainfall heavier in summer than winter
 Time Zone: Korea Standard Time UTC (UTC+09:00)
 Currency: South Korean ‘won’
 Government: Republic
 Internet penetration: 92.1% (2016)
 Business Culture: Ranked 30th in The Business Culture Complexity Index™

LANGUAGE IN SOUTH KOREA

Koreans share one language, with approximately seventy million people around the globe
speaking Korean. The language structure, grammar and vocabulary are similar to Japanese.
Dialects are regional; differing mainly in accent, but are so similar that comprehension for
speakers, or listeners, is not an issue. Key difference in dialect are also attributed to social status.
Korea has one of the highest literacy rates in the world due to the phonetic nature of the written
language which was invented in the mid-fifteenth century to give one language to Koreans.
 
SOUTH KOREAN CULTURE & SOCIETY

Religion & Beliefs

 South Korea supports religious freedom

 Confucianism, Buddhism and Christianity are the main formal religions
 Many Koreans believe in the ancestral spirit and observe Confucian rituals
 Confucianism is a political and social philosophy that pervades Korean culture

 
Major Celebrations/Secular Celebrations

 There are two main national holidays

 New Year’s Day (second full moon after winter solstice)
 Chuseok (the eighth full moon)
 Celebrations for these festivals are based around ancestors, family, games, harvest
festivals and food.

 
The Family

 The family unit is an integral part of customs and life in South Korea
 Arranged marriages are common
 Marriage is regarded as a rite of passage
 Divorce was rare but has become more common in recent years
 Patriarchal lineage is ubiquitous and links ancestors through the husband’s line
 Traditionally, the eldest son inherited, however, this has recently altered and is now equal
by law
 The eldest son bears extra responsibility to his family and it is supposed that he will care
for his parents in their old age

 
Social Stratification

 Since the Kabo Reforms of 1894 there has been no traditional gentry

 60% of Koreans considered themselves to be middle class
 Class position is often linked to educational attainment
 Industrialisation and urbanisation contribute to class difference
 Family, upbringing, wealth, education and occupation contribute to social standing
 Symbols of status include; large homes, chauffeur driven cars, dress, membership to
certain clubs, and higher educational degrees
 Urbanisation is 82.5% of total population (2015)
 Language is hierarchical and one must address social superiors in a fitting manner

 
  Gender Roles

 Equality of the sexes is constitutional

 Daily life is dominated by male guidance within a primarily patriarchal society
 Social organisation is influenced by gender and age
 47.7% of adult females worked outside the home (1998)
 Women occupied 2.3% of provincial and local seats in (1999)
 Women dominate Shamanism as priestesses but have limited roles within Christian and
Buddhist religions
 Women are expected to be submissive in public situations and at informal gatherings
 Women are considered more independent than their male counterparts

 
Socialisation

 Daily care of infants is primarily parent based for at least the first two years with little, or
no, separation from the mother
 Patriarchal obedience, cooperation, respect for elders, and familial piety are imbued into
early childhood
 Gender specific roles are encouraged within the family and education system
 Sons generally receive the best education and remain more dependent upon their family,
even into marriage

 
The Economy

 South Korea changed from an underdeveloped country, to the 11th largest economy
globally, within one generation
 South Korea is heavily dependent upon exports for its GDP; almost half of its business is
exported through products or services
 48% of all exports are electronic
 31% of exports are transport related (cars, boats, etc)

Food

 Korean cuisine is based on rice, vegetables and meat

 ‘Kimchi’ is the national dish and is eaten with most meals
 Kimchi is made from a variety of vegetables which are then fermented and can be stored
for long periods of time
 Banchan are side dishes – these are often made in large numbers and are served along
with the main dish
 Food is used in ceremonies, especially at weddings, birthdays and to honour ancestors

 
 Arts, Humanities & Popular Culture

 Historically, Chinese and Japanese influences were seen in South Korean art; aesthetic
concepts and motifs were shared
 Korean music and arts were linked to natural cycles and religion, giving rise to a folk
culture in rural areas that are still considered popular
 ‘Gangnam Style’ by Psy, a South Korean musician, achieved worldwide fame in 2012.
The song refers to the Gangnam District of Seoul, a trendy, classy area, equated with London,
Paris or Hollywood
 Foreign influences have produced a fast food and coffee culture in recent years,
especially within Seoul
 Language has altered with the introduction of some Western phrases such as ‘eye
shopping’ (window shopping)

Jian Marie Cielos

SOCIAL CUSTOMS & ETIQUETTE TIPS FOR SOUTH KOREA
The Concept of Kibun
Kibun is a word with no literal English translation; the closest terms are pride, face,
mood, feelings, or state of mind.
If you hurt someone's kibun you hurt their pride, cause them to lose dignity, and lose
face. Korean interpersonal relationships operate on the principle of harmony.
It is important to maintain a peaceful, comfortable atmosphere at all times, even if it
means telling a "white lie".
It is important to know how to judge the state of someone else's kibun, how to avoid
hurting it, and how to keep your own kibun at the same time.
In business, a manager's kibun is damaged if his subordinates do not show proper respect.
A subordinate's kibun is damaged if his manager criticizes him in public.
Nunchi is the ability to determine another person's kibun by using the eye.
Since this is a culture where social harmony is crucial, being able to judge another person's state
of mind is critical to maintain the person's kibun. Nunchi is accomplished by watching body
language and listening to the tone of voice as well as what is said.
Naming Conventions
In South Korea names operate in the reverse of Western cultures; Family name (surname), a
second family name shared by all of that generation, and finally their given name.
It is considered very impolite to address a Korean with his or her given name. They should be
addressed using their professional titles, or Mr, Mrs Etc, until permission is given otherwise.
Meeting & Greeting
Bowing is the traditional way to greet in South Korea
Handshakes often accompany the bow among men
Your left hand should support your right forearm when shaking hands
Korean women do not always shake hands and may slightly nod instead of a full bow
Always bow to individuals when departing
Communication style
Communication can be complicated in South Korea due to an inherent dislike of saying ‘no’ as it
is considered poor etiquette
Discussions can be prolonged due to the avoidance of declining or refusing
If disquiet is verbally or visibly displayed it is a sure sign that something is amiss
Good posture and positive body language is most beneficial in meetings; patience and politeness
must be maintained throughout
Do not use excessive or overt body language
Use two hands, or support your right arm with your left, when passing on business cards, gifts, or
when receiving an item
Respect, trust and satisfaction are displayed through a deeper bow
Personal Space
It is insulting for Koreans to be touched by someone with whom they are unfamiliar; don’t pat
them on the back or hug them
Prolonged, direct eye contact can be inferred as a challenge and is seen as impolite, especially
when dealing with others of a higher social standing
Keep your body within its own personal space; avoid extended or crossed legs and limit arm
movements when explaining something so as to evade others’ personal space
If calling someone over to you do not point with your index finger, instead use your hand palm
down in a claw movement
In cities (especially Seoul) pushing, shoving and touching are regular occurrences – don’t be
offended by the lack of apologies
Friends, of both sexes, will often walk arm in arm together, especially teenagers and the younger
generations
Gift Giving Etiquette
Koreans are generous people and enjoy giving gifts
Accept the gift with both hands – but never open the gift immediately, wait until the giver is
absent
Return the favour and offer something of a similar value. Koreans enjoy Western gifts and items
so be prepared before leaving home
If giving gifts be sure to wrap and present them in an attractive way. Avoid using dark wrapping
paper, especially red, instead choose bright yellow/green
If invited to a Korean home always take the hostess a gift; chocolates, sweets, cakes or flowers
but preferably not alcohol
Gifts are often given at the first business meeting and the host should present his first. To
reciprocate, give good quality alcohol such as scotch, or desk accessories
Do not give overly expensive gifts as Koreans feel indebted to give as they receive
Avoid gifts such as knives, scissors, sets of four, and red writing (these are seen as ‘cutting ties’
and signifying death respectively)
Dining & Food
Always wait to be seated by your host. If given the seat of honour (looking at the front
door) it is polite to demonstrate a slight objection
Elders are served first and begin the dining process
Food and dining are important parts of Korean culture and are used to build relationships. Be
sociable and work at shaping good associations for pleasure and business as they are interlinked
Don’t pour your own drink, although it is considered good manners to pour another’s. Women
often pour for men but not for other women. Rather than refuse more drink (remember, Koreans
don’t like outright refusal) simply leave your glass part full, as opposed to empty
Do not tip if you see a ‘no tipping’ sign
There are often prolonged periods of silence during Korean meals – socialising can happen once
everyone has feasted
Don’t forget to pass and receive food with two hands or with just your right if it is supported by
your left
When it comes to settling the bill, the invitee may offer to pay but the host will generally pay for
everyone.
If you are invited to continue after dinner with drinks or a party, don’t refuse this invitation.
On occasion you may be asked to sing a solo after dinner. Try not to refuse this request, instead
sing with enthusiasm and spirit
Do not point with your chopsticks, or leave them sticking out of your bowl
The national drink of Korea is ‘Soju’, a clear vodka-like drink that is generally 18-25% alcohol
Visiting a home
Always remove your shoes before entering a Korean home (in recent years there has been an
increase in Western culture and this may not always be the case - follow the lead of your host if
unsure)
It is possible to arrive up to thirty minutes late without causing offence but punctuality is highly
respected
Remember, never pour your own drink. The host will do this in your presence
Being invited into a Korean’s home is considered an honour (especially if it is for a meal) so it is
essential to treat it as such. Be polite, respectful and observe their customs
Bring a gift to reciprocate your host’s kindness
Once the party is over you will usually be escorted to your car or the gate by the host. This is a
sign of respect
Taboos in South Korean Culture
Do not wear your shoes in places of worship or peoples’ homes
Do not put your feet on furniture
Do not eat or drink in public places while walking
Do not place your thumb between your middle and index finger while making a fist as this an
obscene gesture
Do not use red ink. This is a symbol of death and is reserved only for writing the names of the
deceased. It is considered unlucky and suggests you wish death to the recipient
Do not use the number four if at all possible – if giving gifts, do not give four of something. It is
considered unlucky due to the similarity between the Korean word for death and the
pronunciation of the word ‘four’
Do not stand too close to people you are meeting for the first time – keep an arm’s length
between you
Joyce Hernandez
Korean Literature
History
Classical literature
Ancient times
The origins of Korean literature can be traced back to an Old Stone Age art form that
combined dance, music, and literature. Originating in festival activities, this art form served the
political function of unifying society, the religious function of identifying and describing a
supernatural power capable of averting calamity on earth, and the economic function of inspiring
productive activity, especially that related to agriculture. The farming and work songs and the
early forms of myth and narrative poetry that had their basis in the abundant harvests of the New
Stone Age were probably transmitted orally; it is difficult to find examples that have survived
intact. During the Bronze Age the foundation myths and early epics of the Korean people first
coalesced. The foundation legend of Old Chosŏn, the state that dominated the Korean peninsula
in ancient times, is centred on Tangun, the mythological first king of the Koreans, who was born
of Hwanung (who had descended from the heavens) and Ungnyŏ (who had been transformed
from a bear). The legends that explain the origins of the kingdoms that came to dominate the
Korean peninsula include those about Koguryŏ and Puyŏ, in which their royal ancestor Chumong
is born of Haemosu and Yuhwa, as well as those about Silla and Kaya. All these legends praise
the achievements of their protagonists, who are exalted as nation-founding heroes who have
overcome hardship, and glorify their heavenly powers as earthly rulers. For the most part, these
legends were passed down in the form of festival ceremonial observances focused on the worship
of heaven.Also important in early Korean literature were songs, the earliest of which reflected a
historical period in which much was changing. “Hwangjo ka” (17 BCE; “Orioles’ Song”),
composed in Chinese, is a well-known example. “Hwangjo ka,” which is thought to be the first
lyric poem in Korean literature, evokes the personal loneliness of the unfortunate Koguryŏ king
Yuri.
Laorence Beltrano
Traditional Forms and Genres
There are four major traditional poetic forms: hyangga (“native songs”); pyŏlgok
(“special songs”), or changga (“long poems”); sijo (“current melodies”); and kasa (“verses”).
The oldest poetic form is the hyangga, poems transcribed in the hyangch’al system, dating from
the middle period of the Unified Silla dynasty to the early period of the Koryŏ dynasty (935–
1392).
The pyŏlgok, or changga, flourished during the middle and late Koryŏ period. It is characterized
by a refrain either in the middle or at the end of each stanza.
The sijo is the longest-enduring and most popular form of Korean poetry. Although some poems
are attributed to writers of the late Koryŏ dynasty, the sijo is primarily a poetic form of the
Chosŏn dynasty (1392–1910).
The kasa developed at about the same time as the sijo. In its formative stage, kasa borrowed the
form of the Chinese tz’u (lyric poetry) or fu (rhymed prose). The kasa tends to be much longer
than other forms of Korean poetry and is usually written in balanced couplets. Either line of a
couplet is divided into two groups, the first having three or four syllables and the second having
four syllables.
Literary Works of Korea
Cube, Juramae
Important Modern and Contemporary Writers from South Korea
Shin Kyung-sook
Shin Kyung-sook became the first Korean writer to win the Man Asian Literary Prize in
2012 for her novel Please Look After Mother. In Korea, Shin is amongst the most highly
regarded contemporary writers, and she has won major literary prizes including the Manhae
Literature Prize, the Dong-In Literary Award and the Yi Sang Literary Prize. Her prose is
especially prized for its focus on exploring the psychological depths of the human mind. Please
Look After Mother is Shin’s first work to be available in English. The novel’s plot is driven by a
void, an absence that deeply unsettles the peripheral figures as they confront their own
selfishness and hard-heartedness. The novel is driven by the guilt of those closest to ‘Mother’,
the saintly, sacrificial old woman who has gone missing in the center of Seoul. Alternating in
perspective, from first to second to third person, the novel veers from near accusatory to
reflective and explores themes of family in the midst of South Korea’s rapid urbanization and
modernization of the past decade.
Kim Young-ha
Whether delving into noirish detective stories (Photo Shop Murder) or fictionalized
history, Kim Young-ha keeps the reader captivated by his delightful wit and deadpan style. Often
compared to Franz Kafka, Kim’s existential works undercut the normality of everyday life,
drawing our attention to the absurdity of quotidian realities. In the short story Whatever
Happened to the Guy Stuck in the Elevator?, for instance, Kim weaves a story of a hapless
protagonist whose day starts out badly – his razor breaks halfway through his shave and the
elevator breaks down – then grows increasingly, absurdly worse. By the end of the day, safely
back in his flat having weathered a man stuck in the elevator, a bus crash, harassment
accusations, being stuck in an elevator himself, and a presentation gone wrong, the unfortunate
protagonist finds that there’s no hot water and he can’t stop thinking about the man stuck in the
elevator. Kim has garnered acclaim for his works. In 2004, he won all three of Korea’s major
literary awards: the Dong-In Literary Award for Black Flower, the Yi Sang Literary Award for
The Brother is Black and Hwang Sun-won Literature Award for Treasure Ship. Kim’s works that
have been translated into English include Photo Shop Murder, Your Republic is Calling You and
I Have the Right to Destroy Myself.
Kim In-suk
Considered a part of Korea’s new generation of writers born in the 1960s whose
formative years paralleled South Korea’s transition towards democracy, a recurring theme in
Kim In-suk’s works is her focus on the experience of Koreans living abroad. To date, her only
work published in English is The Long Road, which explores the diasporic experiences of
Korean expatriates living in Australia. The characters reflect on their former life in Korea, the
reasons for their leaving and their existence in their adopted country, isolated, alienated and
adrift. In 2003, Kim In-suk won the Yi Sang Literature Prize for Ocean and Butterfly, one of the
most prestigious in the country.
Krys Lee
Born in Seoul, Krys Lee grew up in the US and now lives in Seoul. In her debut
collection of short stories Drifting House, her characters traverse national boundaries physically
and emotionally, yet find themselves adrift, part of nowhere and nothing. Loneliness is pervasive
in the lives of the characters. Lee reveals the true depths of humanity unmoored and
directionless, struggling to survive in a bleak and broken world. Rather than offering protection
against the world, families fractured by Korea’s political turbulence turn inwards to rip each
other apart in their unhappiness with tragic consequences. The brutal world that Lee depicts in
Drifting House is all too real and recognizable. She smacks the reader in the face with her
unsentimental honesty, tearing down any remnants of illusory optimism about the world we live
in.
Yun Ko-eun
Born in 1980, Yun Ko-eun is part of a younger generation of writers whose childhood
coincided with South Korea’s transition to full democracy and whose works reflect the landscape
of contemporary Korea. In Yun Ko-eun’s works, the real and the unreal blur together, as the
strange and absurd breaks into the quotidian lives of utterly ordinary people, pushing them out of
their comfortable conventions. With a Murakami-esque sense, Yun’s world is unstable, and the
normal and abnormal sit side by side and sometimes collide. Through her protagonists who find
themselves trapped in both gently unsettling and increasingly bewildering situations, Yun reveals
the various idiosyncrasies of contemporary society. Yun’s published works include The Zero G
Syndrome and Table For One.
Guillen, Leslie Ann L.
Prose and Poetry
Poetry
There are four major traditional poetic forms: hyangga (“native songs”); pyŏlgok
(“special songs”), or changga (“long poems”); sijo (“current melodies”); and kasa (“verses”).
Other poetic forms that flourished briefly include the kyŏnggi style in the 14th and 15th centuries
and the akchang (“words for songs”) in the 15th century. The most representative akchang is
Yongbi ŏch’ŏn ka (1445–47; “Songs of Flying Dragons”), a cycle compiled in praise of the
founding of the Chosŏn (Yi) dynasty. Korean poetry originally was meant to be sung, and its
forms and styles reflect its melodic origins. The basis of its prosody is a line of alternating
groups of three or four syllables, probably the most natural rhythm to the language.
The oldest poetic form is the hyangga, poems transcribed in the hyangch’al system,
dating from the middle period of the Unified Silla dynasty to the early period of the Koryŏ
dynasty (935–1392). The poems were written in four, eight, or 10 lines; the 10-line form—
comprising two four-line stanzas and a concluding two-line stanza—was the most popular. The
poets were either Buddhist monks or members of the Hwarangdo, a school in which chivalrous
youth were trained in civil and military virtues in preparation for state service. Seventeen of the
25 extant hyangga are Buddhist in inspiration and content.
The pyŏlgok, or changga, flourished during the middle and late Koryŏ period. It is
characterized by a refrain either in the middle or at the end of each stanza. The refrain establishes
a mood or tone that carries the melody and spirit of the poem or links a poem composed of
discrete parts with differing contents. The theme of most of these anonymous poems is love, the
joys and torments of which are expressed in frank and powerful language. The poems were sung
to musical accompaniments chiefly by women entertainers known as kisaeng.
The sijo is the longest-enduring and most popular form of Korean poetry. Although some
poems are attributed to writers of the late Koryŏ dynasty, the sijo is primarily a poetic form of
the Chosŏn dynasty (1392–1910). Sijo are three-line poems in which each line has 14 to 16
syllables and the total number of syllables seldom exceeds 45. Each line consists of groups of
four syllables. Sijo may deal with Confucian ethical values, but there are also many poems about
nature and love. The principal writers of sijo in the first half of the Chosŏn dynasty were
members of the Confucian upper class (yangban) and the kisaeng. In the latter part of the Chosŏn
dynasty, a longer form called sasŏl sijo (“narrative sijo”) evolved. The writers of this form were
mainly common people; hence, the subject matter included more down-to-earth topics such as
trade and corruption as well as the traditional topic of love. In addition, sasŏl sijo frequently
employed slang, vulgar language, and onomatopoeia.
 The kasa developed at about the same time as the sijo. In its formative stage, kasa
borrowed the form of the Chinese tz’u (lyric poetry) or fu (rhymed prose). The kasa tends to be
much longer than other forms of Korean poetry and is usually written in balanced couplets.
Either line of a couplet is divided into two groups, the first having three or four syllables and the
second having four syllables. The history of the kasa is divided into two periods, the division
being marked by the Japanese invasion of 1592–97. During the earlier period the poem was
generally about 100 lines long and dealt with such subjects as female beauty, war, and seclusion.
The writers were usually yangban. During the later period the poem tended to be longer and to
concern itself with moral instruction, travel accounts, banishment, and the writer’s personal
misfortunes. The later writers were usually commoners.
Immediately after the founding of the Chosŏn dynasty at the end of the 14th century and the
establishment of the new capital in Seoul, a small group of poetic songs called akchang was
written to celebrate the beginning of the new dynasty. In its earliest examples the form of
akchang was comparatively free, borrowing its style from early Chinese classical poetry.
Whereas the early akchang are generally short, the later Yongbi ŏch’ŏn ka consists of 125
cantos.

Prose
Korean prose literature can be divided into narratives, fiction, and literary miscellany.
Narratives include myths, legends, and folktales found in the written records. The principal
sources of these narratives are the two great historical records compiled during the Koryŏ
dynasty: Samguk sagi (1146; “Historical Record of the Three Kingdoms”) and Samguk yusa
(1285; “Memorabilia of the Three Kingdoms”). The most important myths are those concerning
the Sun and the Moon, the founding of Korea by Tangun, and the lives of the ancient kings. The
legends touch on place and personal names and natural phenomena. The folktales include stories
about animals; ogres, goblins, and other supernatural beings; kindness rewarded and evil
punished; and cleverness and stupidity. Because the compiler of the Samguk yusa was a Zen
master, his collection includes the lives of Buddhist saints; the origin of monasteries, stupas, and
bells; accounts of miracles performed by Buddhas and bodhisattvas; and other tales rich in
shamanist and Buddhist elements. The compilations made in the Koryŏ period preserved the
stories of prehistoric times, of the Three Kingdoms, and of the Silla dynasty and have remained
the basic sources for such material. Later compilations made during the Chosŏn dynasty served
as a major source of materials for later Chosŏn dynasty fiction.
Korean fiction can be classified in various ways. First, there is fiction written in Chinese
and that written in Korean. Second, there are the short works of one volume, “medium” works of
about 10 volumes, and long works of more than 10 volumes. Third, there are works of yangban
writers and those of common writers. In respect to the last classification, however, there is also a
group of fictional works in which the viewpoints of the yangban and the commoner are
combined. Most of this fiction was based on the narratives mentioned above, the author adding
incidents and characters to the original story. It is not possible to assign definite dates or authors
to most of these works. The stories are generally didactic, emphasizing correct moral conduct,
and almost always have happy endings. Another general characteristic is that the narratives
written by yangban authors are set in China, whereas those written by commoners are set in
Korea.
The literary miscellany consists of random jottings by the yangban on four broad topics:
history, biography, autobiography, and poetic criticism. Like fiction, these jottings were
considered to be outside the realm of officially sanctioned Chinese prose (e.g., memorials,
eulogies, and records), but they provided the yangban with an outlet for personal expression.
Thus, their portrayal of the customs, manners, and spirit of the times in which they were
composed make these writings an essential part of Korean prose.

Members
Laorence Beltrano
Leslie Ann Guillen
Juramae Cube
Jian Marie Cielos
Melrose Dela Cruz
Joyce Joyce Hernandez