What's next for Korean democracy? How can Korea advance to the next stage of its development? APARC and Korea Program Director Gi-Wook Shin addresses these and other questions in his new book, The Adventure of Democracy: How to Cross the Era of Conflict and Division. According to Shin, a senior fellow at the Freeman Spogli Institute for International Studies, a professor of Sociology, and the William J. Perry Professor of Contemporary Korea, democracy develops through steady adventures. He considers its evolution in Korea, reflects on Korean politics of division and confrontation and their sources, and seeks alternatives.

The book, which has been released in Korea, is a compilation of Shin's recent series of essays, “Shin's Reflections on Korea,” published by Sindonga (New East Asia), Korea’s oldest monthly magazine. In these essays, Shin explores “Next Korea”— Korea’s vision for the future — and outlines a roadmap for achieving it across the realms of politics, economics, society, culture, and foreign policy. He offers an outside perspective that allows him to see the “forest” of Korea’s path toward the future.

By any measure, Korea has made remarkable achievements in a short time, Shin writes. “It has overcome war, division, and authoritarian rule to become a country with the 10th largest economy in the world in only seven decades. Its soft power is sweeping across the globe, and Korea has world-class talent in every field. This is truly a miracle, and Koreans have every reason to be proud.”

Korea, however, stands at a critical crossroads, according to Shin. Populism and polarization pose challenges to the country’s democracy at a time of leadership crisis, Korean society is remarkably divided, and its aging population presents formidable obstacles to economic growth. Inter-Korean relations are in dire straits, and Seoul confronts a delicate regional balancing act amid intensified Sino-U.S. tensions. Will it settle for the status quo or progress to become a global leader?

Selected coverage of Shin's book in Korean media:

The Korea Times
The Korea Daily
Yonhap News
Busan Ilbo
Chosun
TV Chosun News
Donga Ilbo
Hankook Ilbo
Kookmin Ilbo
Kyosu Shinmun
Kyunghyang Shinmun
Metro Seoul
Munhwa Ilbo
SBS News
Shindonga Magazine (interview) 
Shindona Magazine (book review)

Societies today are hungry for strategies and solutions that scale growth while improving social outcomes. To spur purpose-driven, innovative responses to the challenges before us, young people must develop skills and approaches grounded in agility, creativity, and empathy. Renowned Japanese rock star, composer, entrepreneur, and philanthropist YOSHIKI shared this advice for doing so:

“As long as you try to make the world a better place, you’ll find your passion. If you believe in yourself, you can conquer anything,” he said while headlining the conference The Future of Social Tech, held on February 23 at Stanford University. Speaking in front of a packed audience and thousands of viewers who tuned in to the livestream, YOSHIKI described how he overcame difficult times and what keeps him motivated. He encouraged Stanford students to redefine failure as a stepping stone to propel themselves forward and practice gratitude. “If you think that way, you can do pretty much whatever you want. Be your own rock star.”

Hosted by the Japan Program at the Walter H. Shorenstein Asia-Pacific Research Center (APARC), the conference kicked off a special event series celebrating APARC’s 40th anniversary. Titled Asia in 2030, APARC@40, the series highlights core areas of the center’s expertise, examines Asia’s transformation over the past four decades, and considers the drivers and shapers of the region’s future.

The conference gathered Japanese and American entrepreneurs, investors, content creators, and educators to share lessons and best practices to accelerate innovation for social impact, or “social tech.” It was the first major university keynote venue for YOSHIKI, a composer, classically-trained pianist, rock drummer, and the leader of the rock groups X Japan and The Last Rockstars. A global rock star and a living legend in Japan, YOSHIKI has pioneered a new brand of visual rock and style and has constantly been pushing his career in new directions, launching products and projects across diverse fields, from fashion and winemaking to finance and philanthropy.

Cultivating Japan-U.S. Partnerships

In his welcome remarks, APARC Director Gi-Wook Shin, the William J. Perry Professor of Contemporary Korea, noted that Japan was one of APARC’s primary research areas since its early beginnings and that the conference embraces that original spirit of keen engagement with Japanese affairs and fostering partnerships between Japan and the United States. 

Consul General of Japan in San Francisco Yasushi Noguchi also offered welcoming remarks, expressing his pride in representing Japan in the United States, two key sources of globally successful technological advancements and content development in the past half-century. The Consul General's office has been critical for the growth of APARC’s Japan Program, generously supporting various activities such as student exchanges, research initiatives, conferences and workshops, and other educational and programming engagements.

As he opened the conference, Japan Program Director Kiyoteru Tsustui, the Henri H. and Tomoye Takahashi Professor in Japanese Studies and deputy director at APARC, explained that, when thinking of Japan in 2030, many Japanese envision a country that plays a positive force in a divided world and that once again becomes a leader of technological innovation. But while there is consensus that such innovation should have social benefits, few have offered clear pathways for realizing this direction. “This conference boldly seeks to find ways forward for entities in Japan and the United States to develop social tech,” said Tsutsui.

Investing in Natural Capital

The morning session of the conference opened with a panel on the future of the environment. Attendees heard from Reiko Hayashi, a director and deputy president at Bank of America Securities Japan Co., Ltd, about sustainable finance in the capital markets and efforts to promote sustainable finance in Japan. Hayashi highlighted steps that Japan’s government is taking to meet its 2050 net-zero goal, its multi-step policy on climate transition finance, and its 2021 revision of the corporate governance code to include sustainability.

Panelist Gretchen Daily, co-founder and faculty director of the Natural Capital Project (NatCap) and the Bing Professor of Environmental Science at Stanford, described the NatCap framework that integrates the value nature provides to society into all major decisions. NatCap partners with a network of hundreds of public and private sector institutions around the world. Daily emphasized that now is the time to capitalize on the momentum in climate action and connect government planners, multilateral financial institutions, private sector partners, and other stakeholders to deliver durable social and economic benefits while securing the world’s stock of natural resources.

Educating Social Innovators

The second panel, which focused on the future of sciences and arts education, featured two trailblazers working to equip new generations with skills and mindsets grounded in imagination, empathy, and curiosity. Sachiko Nakajima, an award-winning musician, mathematics researcher, and educator, shared insights from her work to democratize creativity. As the founder and CEO of steAm.Inc, Nakajima educates the public on the inherent connection between math and music and the importance of including the Arts in STEM (science, technology, engineering, and math). In particular, Nakajima aims to reduce gender disparities and pave the way for more women in STEAM in Japan.

Rie Kijima, an assistant professor and director of the Initiative for Education Policy and Innovation at the University of Toronto, noted that one goal we must strive for is to create an environment where young learners believe they can be catalysts of positive social change. Kijima is the co-founder of SKY Labo, an education nonprofit organization that promotes STEAM learning and design thinking in Japan. SKY Labo's definition of STEAM embraces a human-centered approach to tackling solutions in a playful, artful, soulful way that aims to cultivate a sense of purpose and meaning in young learners. “In our education system today, there's so much emphasis on success,” said Kijima, but one of SKY Labo’s messages is that “we need to fail in order to succeed; every time we fail, we fail forward.”

Strengthening Democracy, Combating Digital Echo Chambers

The afternoon panel shifted the focus to the future of democracy and digital media. Attendees heard from Ken Suzuki, CEO and co-founder of SmartNews, an award-winning news app on a mission to “deliver the world’s quality information to the people who need it.” SmartNews uses AI technology to collect trustworthy news from all over the world and organize it for users in simple interfaces. The app, which aims to burst news filter bubbles, includes what it calls a “News From All Sides” slider — a feature that allows users to get a range of perspectives from different publishers across the political spectrum. “We need an ecosystem with incentives to create high-quality content,” said Suzuki. “Democracy is at stake, but I believe that technology can be used for the good of society.”

The following discussion about paths to addressing the threats to democracy included Francis Fukuyama, the Olivier Nomellini Senior Fellow at Stanford’s Freeman Spogli Institute for International Studies (FSI), and Larry Diamond, the William L. Clayton Senior Fellow at the Hoover Institution and the Mosbacher Senior Fellow in Global Democracy at FSI. Fukuyama reminded the audience that technology itself never fully solved any human problems. “It's only to the extent that our political systems and institutions can guide technology and use it for socially beneficial purposes that technology actually ever manages to solve anything.” The real task, according to Fukuyama, is to figure out how to control the power of social media platforms and other big companies to silence and amplify content in a non-transparent way. He called for making it mandatory for internet platforms to enable users to choose the kind of content moderation they are served.

Diamond emphasized the need for more legal and regulatory action to increase transparency in the algorithms used by social media companies. It is also necessary to socialize social media users to seek multiple points of view and to understand that echo chambers are civically and democratically dangerous. Ultimately, said Diamond, robust civic education is the best way to teach young people about inquiry and rational debate and prepare them to use tools like SmartNews.

“The Hero Is Within You”

At the conference closing session, keynote speaker YOSHIKI joined Ichiro Fujisaki, former Japanese Ambassador to the United States, for a conversation about the future of the entertainment industry and content business. YOSHIKI talked about his experiences working in both Japan and the United States and pursuing new challenges in multiple fields. “The hero is within you,” he said. “It’s never too late to start anything.”

Reflecting on the future of society in the age of AI from his perspective as a musician and entrepreneur, YOSHIKI said, “If humanity is meant to destroy us, AI will do it faster; If humanity is meant to support each other, AI will support us. Let’s live to support each other and love one another, so that when the singularity moment comes, AI will support us.”

This essay originally appeared in Korean on August 1 in Sindonga (New East Asia), Korea’s oldest monthly magazine (established 1931), as part of a monthly column, "Shin’s Reflections on Korea." Translated by Raymond Ha. A PDF version of this essay is also available to download.

Can Korea’s soft power, embodied by K-pop and K-dramas, take root as a lasting force? Korea is now an economic powerhouse with the 10th largest economy in the world, but can it also become a cultural powerhouse with global influence? We may look back on the Korean Wave as a passing trend, a flash in the pan. On the other hand, it could be an opportunity for South Korea to overcome the so-called Korea discount, in which the market “prices in” instability arising from the security threat posed by North Korea. The soft power of the Korean Wave could enable South Korea to transform this disadvantage into a “Korea premium” instead.

The View from America: from the Korean War to Anti-Americanism

Historically, the Korean War has been the single most important event in shaping American perceptions of South Korea.[2] “M*A*S*H,” a comedy drama that portrayed the day-to-day experiences of army surgeons and nursing officers in a mobile army surgical hospital located in Uijeongbu during the Korean War, was still on the air when I arrived in Seattle to begin my graduate studies in the 1980s.[3] This show ran for a total of 11 seasons from 1972 to 1983, and it is regarded as one of the best U.S. television dramas of all time. As a result, “M*A*S*H” had a powerful impact on how the American public perceived South Korea, which was seen as a poor, war-torn country that relied on American aid.

The economic growth that occurred during South Korea’s developmental authoritarian era also helped shape American perceptions of the country. People began to speak of the Miracle on the Han River, just as they had labeled Germany’s post-World War II recovery as the Miracle on the Rhine. Clothes and shoes manufactured in South Korea found their way into the U.S. market, followed by Hyundai’s Excel and black-and-white TVs from Samsung Electronics. Academics from various disciplines, including economics, sociology, political science, and anthropology, began to produce research on South Korea. Alice Amsden, a political economist who taught at MIT, predicted in Asia’s Next Giant (1989) that South Korea would become a major economic power in Asia.

However, the prevailing view in the United States was that South Korea would not overtake Japan as Asia’s economic leader. Instead, it was believed that it would seek to emulate Japan as one of several “flying geese.” Ezra Vogel, a leading scholar of East Asia who taught at Harvard for many years, rose to academic prominence with Japan as Number One (1979) and labeled South Korea, Taiwan, Hong Kong, and Singapore as the “four little dragons” in a later work. The historian Carter Eckert published Offspring of Empire (1991), which traces the origins of Korean capitalism to Japanese colonial rule.

Allegations of U.S. culpability in the massacre of civilians during the Gwangju Uprising of May 1980 gave rise to greater interest in South Korea’s politics, social movements, and its ethnic nationalist ideology. Specifically, the emergence of anti-Americanism in South Korea attracted attention from both intellectuals and the general public in the United States.[4]

Even though South Korea experienced a serious financial crisis in the late 1990s, it was recognized by the United States and the broader international community as a country that had successfully achieved both industrialization and democratization in the post-World War II era. It joined the OECD in 1996 and was a founding member of the G20. Once a recipient of foreign aid, it now provides official development assistance to developing countries. Hyundai has grown from producing the Pony to the Genesis. Samsung Electronics has moved on from manufacturing black-and-white TV sets to become one of the leading TV brands across the world and commands a sizable share of the global semiconductor market.

In terms of its political evolution, South Korea is regarded as a leading example of a country that successfully transitioned to democracy during the “Third Wave” of democratization, which began in the 1970s. It is extremely difficult to find examples of countries that underwent both political and economic development in a relatively short period of time since the end of World War II. South Korea’s transformation is an incredible achievement by any measure. Accordingly, U.S. perceptions of South Korea and its people have also gradually improved.

There is an opposing force at play, however. Whenever news about North Korea dominates the headlines in the United States, this reinforces negative views of Korea as a whole. For example, a total of around 5,000 articles about the Korean Peninsula appeared in the New York Times, Washington Post, and Wall Street Journal between 1992 and 2003. Among articles about South Korea, 41% focused on economic issues. For North Korea, 65% of articles addressed national security and 9% focused on human rights. Taken together, the leading topic of discussion among all articles about the Korean Peninsula was North Korea’s weapons of mass destruction (30%). Needless to say, articles about this subject took on a very negative tone. In this way, the emphasis and tone of U.S. media coverage created a highly unfavorable image of both North Korea and the Korean Peninsula.[5]

North Korea’s Nuclear Weapons and the Human Rights Issue

Since the first North Korean nuclear crisis erupted in 1993, there have been growing concerns in the United States about the security threat posed by North Korea’s weapons of mass destruction—specifically, its nuclear weapons and intercontinental ballistic missiles. Before then, North Korea was simply regarded as the Hermit Kingdom, a poor country run by a dictatorship. It was now seen as a serious threat to the security of the Korean Peninsula and the United States, not just by those in the Beltway, but also among the American public. Lectures and seminars about Korean Peninsula issues often gravitated toward North Korea, not South Korea. U.S. interest in North Korea peaked during the Trump administration, when the leaders of the two countries met for the first time in Singapore in 2018.

Among younger Americans in particular, there is also a great deal of interest in North Korea’s human rights situation. Colleges and universities across the United States have hosted lectures and conferences that address this subject, inviting experts and North Korean escapees to come and speak to students. The North Korean human rights issue has also played a role in strengthening negative perceptions of Korea in the United States. While there has been markedly less interest in North Korea during the Biden administration, North Korea’s nuclear weapons and its human rights record remain key issues of interest for the American public.

Unfortunately, not all attention toward the Korean Peninsula is good attention. The security threat posed by North Korea has given rise to the so-called Korea discount, which is also known as the Korea risk: when foreign investors determine whether to invest in South Korea, they consider its geopolitical situation in addition to economic factors. If North Korea raises tensions in the region by conducting a nuclear test or launching ballistic missiles, the Korea discount worsens. Even though South Korea is not responsible for creating instability, it suffers the consequences.

K-culture as a Global Phenomenon

In recent years, however, a positive force powerful enough to overwhelm the negative effects of the Korea discount has captured the imagination of the American public: the Korean Wave. The fascination with K-pop and K-dramas is no longer confined to specific demographics, such as young women or Asian Americans. Korean culture is a topic of daily conversation not only on college campuses, but also in restaurants, shops, and on the street.

Before there was K-pop or K-dramas, Korean athletes attracted attention in the United States. Park Chan-Ho had an illustrious career in major league baseball, followed by Kim Byung-Hyun and Ryu Hyun-Jin. In women’s golf, Pak Se-Ri paved the way for Park Inbee and Ko Jin-Young. These athletes made positive contributions by expanding American interest in Korea beyond economic and security issues. While there are only a handful of Korean athletes in the MLB and they do not have a large impact on the league as a whole, Korean golfers dominate the rankings in the LPGA. Commentators have quipped that it should be renamed the KLPGA, and there are even grumblings that the prevalence of Korean players could adversely impact the league in terms of ad revenues and TV ratings.

Compared to sports, Korea’s pop music and dramas have seeped into a much wider cross-section of the American public. There are still certain limits in terms of appealing to U.S. mainstream media, but Korean culture is now recognized as a distinctive culture in its own right, not as an imitation of Chinese or Japanese culture. Psy’s “Gangnam Style” took the music scene by storm in 2012, and BTS has swept the Billboard charts on multiple occasions since then. Bong Joon-Ho won best director at the Oscars for “Parasite” in 2020, and Youn Yuh-Jung won best supporting actress for her role in “Minari” the following year. Netflix is flooded with a variety of Korean content, and BTS’s “Dynamite” and the drama “Crash Landing on You” are brought up in day-to-day conversation among many Americans.

As a result, there has been a surge of interest in Korea among students. K-pop–related student groups have popped up in college campuses across the United States. (Stanford is no exception. XTRM, a K-pop dance team that debuted in 2013, has around 30 members.) Amidst an overall decline in enrollments for foreign language classes, Korean has seen a dramatic increase. According to a 2019 report from the Modern Language Association of America, enrollment in Korean language classes at the undergraduate and graduate levels has increased by 95% between 2006 to 2016. This was the most notable growth during this period for foreign languages with an enrollment of at least 1,000.[6]

The Korean Wave arrived at America’s shores long after it had already swept across other regions. It first surged through Japan, China, and Southeast Asian countries in the late 1990s before spreading to Europe and Latin America. Korean films received accolades at the Cannes Film Festival before Bong Joon-Ho and Youn Yuh-Jung were recognized at the Oscars. At this year’s Cannes, Korean cinema was a force to be reckoned with. Park Chan-Wook won best director for “Decision to Leave,” and Song Kang-Ho won best actor for his performance in “Broker.” K-pop and K-dramas are also extremely popular in India, where few would have expected Korean culture to take root. There, interest in learning Korean is growing rapidly, and the Indian government has added Korean to the list of foreign languages that can be taught at secondary schools.[7] Now that Korean culture has planted a flag even in the United States, which exercises cultural hegemony across the world, it would not be an exaggeration to say that Hallyu has become a truly global phenomenon.

In light of the global ascendance of Korean culture, I began to discuss Hallyu as a key subject in my Korean studies classes two years ago. I also witnessed firsthand the considerable power and potential of Korean dramas and movies, many of which I watched on online streaming services during the pandemic. After Pak Se-Ri appeared on the scene, Korean golfers have continued to dominate the LPGA. It is exciting to imagine a future in which the Korean Wave becomes a lasting force that grows and evolves, thereby enhancing Korea’s soft power across the world.

From Asia to the World

I am not an expert in cultural studies, and I am certainly not a specialist in K-pop or K-dramas. Moreover, the success of K-pop and K-dramas cannot necessarily be explained by a single, overarching narrative. As a sociologist, however, my impressions of the global success of Korean culture are as follows.

The main reason behind the widespread popularity of Korean culture across the world is that it transcends the particularities of Korean society. It reflects the zeitgeist and addresses issues of universal concern in a sophisticated and attractive manner. In its early stages, Hallyu resonated with a primarily Asian audience, including those in Japan and China. In its present form, however, K-culture resonates with a global audience. Following the 2007–09 Great Recession, people across the world contended with problems such as extreme inequality, refugee crises, and a hyper-competitive society. Korea’s artists skillfully dissected these issues. “Parasite” provides a compelling portrait of inequality. The powerful narrative of “Squid Game” represents capitalism as a raw life-or-death contest. BTS has long struck a chord with discontented youth who are worn out by ever-increasing competition. In “Paradise,” a song on their third album “Love Yourself: Tear,” which topped the Billboard 200 Chart, BTS declares that “it’s okay to not have a dream.”

Popular culture is at its most powerful when it honestly confronts and examines contemporary issues in a way that is entertaining and elicits empathy. It captures the thoughts, emotions, and sentiments of those in the audience. It portrays a way of life and represents a set of values that feels authentic to them. British bands such as the Beatles, Pink Floyd, Queen, and Coldplay achieved enormous global popularity precisely because their songs spoke to the issues of the day and reflected the atmosphere of the times. The same holds true for French cinema, which dominated the global movie scene from the 1950s to the 1970s. French movies from this era closely examine the role of the individual and the family in a rapidly changing society. It could be too early to tell, but the expanding global reach of Korea’s movies, dramas, and music can perhaps be explained by their ability to encapsulate the zeitgeist of the 21st century.

Another reason behind the success of Hallyu is its effective use of online platforms. Korean movies and dramas were able to swiftly enter the global media market thanks to platforms such as Netflix and Apple TV. It is difficult to imagine “Squid Game” or “Crash Landing on You” becoming incredibly popular in a short span of time without OTT (over-the-top) media platforms. Such platforms are also dominant in the music industry, where CD albums have become largely obsolete. Consumers can purchase songs online or access streaming services. Korea was well-positioned to compete in this global market with its strong IT sector, and Korean artists soon leaped to the top of the Billboard charts. Furthermore, K-pop groups have created fandoms by communicating with fans through social media platforms such as V Live and Instagram Live. K-pop is now expanding its reach into the metaverse, in step with the current era of artificial intelligence.

The third and final reason for K-culture’s popularity is that it captured a niche market by producing unique works that do not neatly conform with the norms of Western liberal democratic societies or authoritarian societies. K-pop artists—idol groups in particular—have achieved success by deftly combining emotionally resonant songs with brilliant, perfectly synchronized choreography. These artists, who undergo rigorous training from a young age and put in countless hours of practice, are capable of stunning group performances. Combining this element with music seized the attention of fans across the globe. Such group performances are difficult to envision among artists in Western societies, and authoritarian countries such as China or North Korea may be capable of mass choreography, but only for political purposes.

In his keynote speech during the 20th anniversary event for Stanford’s Korea Program, Soo-Man Lee, a K-pop pioneer and the founder and chief producer of SM Entertainment, labeled the process of creating such works of art as “culture technology” (CT). According to Lee, SM Entertainment has developed CT, which is a management system that creates and propagates culture in four steps: casting (identifying talent), training, content producing, and marketing. Other entertainment companies in Korea essentially follow the same template. This ecosystem gives rise to a uniquely Korean style of music and art.

BTS Takes a Break: The Challenges Facing Hallyu

Despite its successes, it is unclear if K-pop and K-dramas will be able to achieve lasting global popularity. BTS’s recent announcement of a break from group activities illustrates some of the challenges facing the K-pop industry. These include prolonged and intensive group training, without regard for individual privacy or mental health; South Korea’s compulsory military service for males; and debates about the equitable distribution of K-pop’s massive revenues. In an article about BTS’s break, Nikkei Asia pointed to the prevailing culture of the K-pop industry as the reason why BTS members openly admitted to suffering from burnout. During the announcement, BTS leader RM did not hold back in saying that “the problem with K-pop and the whole idol system is that they don’t give you time to mature [as a person].”[8] There continue to be doubts and debates about whether the CT system pioneered by SM Entertainment, which has been the driving force behind K-pop’s growth, is a sustainable model. Furthermore, it is vital to foster the next generation of industry leaders. Miky Lee of CJ ENM played a pivotal role in the globalization of Korean dramas, and Soo-Man Lee (SM Entertainment), Yang Hyun-Suk (formerly YG Entertainment), Park Jin-Young (JYP Entertainment), and Bang Si-Hyuk (HYBE) represent the first generation of K-pop pioneers. In the decades to come, there will need to be new leaders who can take their place and carry K-culture into the future.

For Hallyu to remain a core element of Korea’s soft power, it is also important for the government to refrain from undue interference in the cultural sector. It can be tempting for officials to invite K-culture stars to government events or feature them in overseas public diplomacy initiatives. For example, the Moon Jae-In administration included the idol group Red Velvet in a delegation of musicians who performed at a concert in Pyongyang in April 2018. The Yoon Suk-Yeol administration also drew criticism for proposing the idea of featuring BTS at its inauguration ceremony this May. Many of Red Velvet’s global fans did not take kindly to seeing their favorite artists take pictures with a dictator. Similarly, ARMY (BTS’s fandom) did not welcome the idea of BTS performing at the inauguration of a president who is widely regarded as an “anti-feminist.” The government must stay away from such political controversies and quietly support Korea’s artists behind the scenes, enabling K-culture to find its place on the global stage. Consider, for instance, how Beijing set up Confucius Institutes in an effort to promote its soft power, only to fan the flames of anti-China sentiment. The current Yoon administration would also do well to recall how its predecessor prematurely sang the praises of “K-disease control” during the pandemic, which some in the international community saw as nothing more than tooting one’s own horn.

At the same time, Korea’s global stars would do well to raise their own voices on global issues. Their growing influence on the world stage entails a greater sense of responsibility. During my class discussions with Stanford students, who are captivated by K-pop, I often hear comments about this issue. One student found it strange that K-pop artists do not speak out against racism, given K-pop’s global stature. Another asked, “Do Korea’s artists know that pro-democracy protestors in Asian countries like Myanmar are singing K-pop songs?” Some also ask the question that motivated this essay: “Is K-pop sustainable?”

One might counter that these students are viewing K-pop through a distinctly American lens. Nonetheless, their comments and questions are deeply relevant to the future of the Korean Wave. K-pop artists must be able to raise their voice not only on global issues like climate change, but also on issues that are at once universal and distinctly Korean, such as North Korean human rights. In this vein, BTS’s visit to the White House in May to speak out against anti-Asian hate crimes was a welcome turn of events. To engage in such advocacy, artists must be well-informed on global issues so that they are able to formulate their own opinions and speak for themselves. As mentioned above, however, it will be important to strictly avoid undue political entanglements on such occasions going forward.

Finally, there is a need to host forums where artists and industry leaders can exchange views with academics and professionals in relevant fields. For the Korean Wave to become a lasting force that enhances Korea’s soft power, there must be opportunities for artists, industry leaders, and academics to put their heads together and hold extensive discussions about the problems facing K-culture and what direction it should take in the future. It will not be enough to only hold fan meetings. If K-pop fizzles out, there will no longer be enough fans left to attend such events. At the 20th anniversary conference for Stanford’s Korea Program, Suho of Exo and Angela Killoren, the CEO of CJ ENM America, directly engaged with professors and students. Even though this was a small first step, it proved to be a highly informative and productive discussion.

Moreover, it is important for those in academia to discuss how best to capture and rigorously analyze subjects of popular interest. Adequate support should be furnished to students who wish to research the Korean Wave, both in terms of research materials and financial resources. Professorships or postdoctoral fellowships dedicated to the Korean Wave could also be considered. The Korea Foundation or the Academy of Korean Studies could play a meaningful role in this regard.[9]

Can Korea Become a Cultural Superpower?

Korea is a major economic and military power in its own right, but it is in a challenging geopolitical neighborhood. It will be difficult for Korea to surpass China or Japan in terms of hard power. China has replaced Japan as Asia’s leading economic power, and Korea continues to suffer from the disadvantage of the Korea discount. Although Korea was immensely successful in being a “fast follower” in its trajectory of economic development, it now faces significant obstacles in its attempts to become a “first mover.” Samsung’s smartphones, for example, have not been able to leapfrog the iPhone.

The story could be different in the realm of culture, however. The Korean Wave, which has unique characteristics and continues to evolve in intriguing directions, could become a first mover on the global cultural scene. As K-pop, K-dramas, and Korean movies become more prominent, Korea’s soft power is rapidly growing as well. There is nothing better than the power of culture in improving a country’s image in the eyes of the world. For example, Sweden is commonly associated with ABBA and the welfare state. The Netherlands is regarded as a land of canals, and the country of Rembrandt and Van Gogh. Hallyu has now given Korea a golden opportunity to change the Korea discount into a Korea premium.

In his autobiography, Kim Gu, a leader of Korea’s independence movement under Japanese colonial rule, wrote about his hopes for Korea:[10]

“I want our country to become the most beautiful country in the world, not the most rich or powerful country in the world. As we have suffered the pain of invasion, I do not want our country to invade others. We only need to be prosperous enough to sustain the livelihoods of our people, and our military only needs to be strong enough to defend against foreign invasions. The only thing I want our country to possess without bounds is the noble strength of culture. The power of culture brings happiness to our lives, and also to the lives of others.”

The Korean Wave has opened the door for Korea to become a cultural superpower, just as Kim Gu yearned for almost a century ago. I eagerly await the day his dream becomes true.

The second privacy concern is the potential use of health-care facility records to incriminate an institution or its clinicians for providing abortion services. Relevant records could include electronic health records, employee emails or paging information and mandatory reports to state agencies. Clinicians may not realize that if they are using an institutional email address or server, their institution likely has direct access to information and communications stored there, which can be used to search for violations. State Freedom of Information Act (FOIA) laws also allow citizens to request public records from employees of government hospitals and clinics.

“Additionally, state mandatory reporting laws for child abuse might be interpreted to cover abortions — particularly if life is defined as beginning at fertilization,” the authors note.

The third scenario is that information generated from a woman’s online activity could be used to show she sought an abortion or helped someone to do so. Many women use websites and apps that are not HIPAA-regulated or protected by patient-physician privilege, such as period-tracking apps used by millions of women that collect information on the timing of menstruation and sexual activity.

“There are many instances of internet service providers sharing user data with law enforcement, and prosecutors obtaining and using cellphone data in criminal prosecutions,” write Mello and Spector-Bagdady, adding commercially collected data are also frequently sold to or shared with third parties.

“Thus, pregnant persons may unwittingly create incriminating documentation that has scant legal protection and is useful for enforcing abortion restrictions,” they said.

The immediate problem, Mello notes, is in the states that have already banned abortion or passed restrictive laws.

“There could be a problem with states trying to reach outside their borders to prosecute people, but that could well be unconstitutional,” Mello said.

Some states’ laws sweep abortion pills into the definition of illegal abortions, she said, and there are legal obstacles to supplying the pills across state lines.

“There is a lot of energy going into figuring out a workaround right now, but it’s too soon to call,” Mello said.

Recommended Protections

So how can clinicians and health-care facilities protect their patients and themselves?

When counseling patients of childbearing age about reproductive health issues, clinicians should caution their patients about putting too much medical data online and refer them to expert organizations that will help them minimize their digital footprint.

When documenting reproductive health encounters, the authors said, clinicians should ask themselves: “What information needs to be in the medical record to assure safe, good-quality care, buttress our claim for reimbursement, or comply with clear legal directives?” For example, does information about why a patient may have experienced a miscarriage need to be recorded?

Patients and clinicians should be aware that email and texting may be seen by others, so conversations among staff about reproductive health issues may best be conducted by phone or in person.

Finally, if abortion-related patient information is sought by state law enforcement officials, a facility’s attorney should be consulted about asserting physician-patient privilege and determining whether the disclosure is mandated by law.

Expanding the Field of Korean Studies

As he welcomed conference attendees, Stanford sociologist Gi-Wook Shin, the William J. Perry Professor of Contemporary Korea and founding director of the Korea Program, explained that the goal in gathering participants and presenters who represent deep and varied interests in Korea is to highlight the importance of Korean studies programs and build bridges between the United States and Korea, creating a lasting impact well beyond campus.

Shin, who also serves as APARC director, reflected on the efforts made to build a thriving Stanford research hub on contemporary Korea. These include establishing a Korean collection at the East Asia Library, recruiting faculty with expertise in both the social sciences and the humanities, academic publishing, offering training and fellowship opportunities, and events programming.

The conference’s dual focus on North Korea’s geopolitics and South Korea’s Hallyu reflects Shin’s commitment to expanding the range of inquiry about Korea. “To understand contemporary Korea and further Korean studies, it is critical to couple the traditional focus on the Peninsula’s security dilemma with a broader examination of Korean society and culture,” he said.

Professor of International Studies Michael McFaul, director of the Freeman Spogli Institute for International Studies, the parent organization of APARC and the Korea Program, and Professor of Jewish Studies Gabriella Safran, the senior associate dean for humanities and arts, contributed additional welcome remarks, symbolizing the Korea Program’s bridging of both the social science and humanities fields. Safran observed that Korean studies instruction at Stanford has been designed to engage the university community broadly and highlighted the evolution of Stanford students’ understanding of popular culture, thanks in part to the rising popularity of the Korean Wave.

North Korea’s Geopolitics and Society

The morning session of the conference opened with a panel on North Korea. Attendees heard from Siegfried Hecker, professor emeritus in management science and engineering, about the prospects for a renewed diplomacy policy with North Korea; from Kim Sook, former ROK ambassador to the United Nations, about the status of inter-Korean relations and North Korea’s efforts to stave off a COVID-19 crisis; and from Joohee Cho, Seoul bureau chief at ABC News, about the challenges of reporting from and on North Korea and the need to better understand North Korean society beyond the trope of the diplomacy of denuclearization.

Reflecting Back, Looking Ahead

Ambassador Kim, who is also a former fellow with the Korea Program, is one of many Program alumni from the academic, policy, and industry sectors. Speakers on the following panel represented the scope of expertise of the Program’s alumni community and the wide-ranging training and fellowship opportunities the Program facilitates.

The panel brought together Paul Chang, associate professor of sociology at Harvard University, Joon-woo Park, former ROK ambassador to the EU and Singapore, Jong Chun Woo, former president of Stanford APARC-Seoul Forum, and Megan Faircloth, a Stanford Senior in the Department of East Asian Languages and Cultures, to consider the Korea Program’s past, present, and vision for the future.

Hard, Soft, and Smart Power

Delivering the keynote address on the first day of the conference, former UN Secretary-General Ban Ki-moon focused on the paradox of the two Koreas. On the one hand, the Republic of Korea has followed a remarkable national development trajectory to become a powerhouse of cultural and artistic creativity – “a global soft power pace-setter,” said Mr. Ban. On the other hand, North Korea, with its stunted development, is seen as a global pariah, and its fixation on hard power suffocates the creativity, innovation, and culture of its own people through systemic repression, state control, and censorship.

But hard power and soft power are not the only two paths, Mr. Ban stated. He went on to explain that a truly advanced country should embrace a forward-thinking national identity of smart power, combining and ultimately transcending hard power- and soft power-related attributes and characteristics. “In an uncertain future, I am certain that Korea’s ascension into a smart power can advance a common destiny for all, one rooted in peace, sustainability, and prosperity,” said Mr. Ban. The best way to achieve this vision, he concluded, is to educate new generations to embody the principles of global citizenship and help them live in harmony and peace with other human beings, irrespective of their nationality.

The soft and hard power strategies of the two Koreas are also the focus of two new documentaries commissioned by the Korea Program. Focused on K-pop and the North Korean human rights crisis, the films are intended to help scholars in teaching students about these two topics. The conference included the unveiling of the documentaries’ trailers and a discussion with film director Hark Joon Lee. The complete documentaries will be released later this year.

Hallyu Has No Borders

There is no doubt that the speaker who most charmed conference attendees and the multitudes of global viewers who watched the event livestream was SUHO, leader of K-pop group EXO. “Today, I am here as the guardian of EXO and K-pop,” SUHO said at the start of his speech, referring to the meaning of his stage name.

He went on to talk about his decade-long experience as a K-pop artist and the hard work and level of detail that go into the complex choreography of the K-pop dances, emphasizing the special, social media-driven emotional bond K-pop artists share with their global fanbase and noting how many fans take a deeper interest in Korean culture because they follow EXO.

Hallyu has no borders and no longer stops at one specific art form, concluded SUHO. “We are witnessing its expansion into our society from every angle: music, dramas, movies, food, education, and more. K-culture is more than a passing trend. It’s a global phenomenon that will continue to grow and evolve,” he said.

Joining SUHO for a discussion of the Korean Wave were Stanford’s Marci Kwon, assistant professor of art and art history, and Angela Killoren, CEO of CJ ENM America, Inc., who oversees U.S. operations for the South Korean entertainment conglomerate that is known for its multiple Academy Award-winning movie “Parasite” and popular K-dramas such as “Crash Landing on You.”

Killoren described the evolution of the global adoption of K-dramas, largely made possible by their distribution through Netflix, and offered insights into the drivers and shapers of the rise of Korean entertainment. According to Killoren, unlike the predominantly male gaze-driven entertainment forms in other cultures, Korean entertainment content caters to the female gaze, as befitting the consumer side of the Korean economy that has been driven by the purchasing power of women

From Immediate Interest to Long-Term Commitment

The second day of the conference convened leading academics to examine how to translate the wide interest in North Korea and K-pop into Korean studies. Panelists included Michelle Cho, assistant professor of East Asian studies at the University of Toronto, David Kang, professor of international relations and business at USC, and Stanford’s own Yumi Moon, associate professor of history, and Dafna Zur, associate professor of East Asian languages and cultures and director of the Center for East Asian Studies.

The panelists agreed on the importance of funding and supporting the study of Korean language in higher education, providing students with tools to articulate their knowledge and experience and help them arrive at insights that are personal, meaningful, and constructive; and fostering and supporting junior faculty. The discussion was followed by a lively Q&A session that engaged many student attendees.

Future Visions of K-pop

The conference concluded with a keynote speech by Soo-Man Lee, founder and chief producer of SM Entertainment. SM is one of South Korea's largest entertainment companies and is famous for fostering and popularizing the careers of a myriad of K-pop groups and stars — including the likes of aespa, NCT, Red Velvet, SUPER JUNIOR, and EXO — and for leading the worldwide K-pop phenomenon and the musical side of Hallyu

Lee recounted his roots as “K-pop’s first mover,” explaining how K-pop music expanded globally and how it demonstrates the power of content amid exponential technological revolution. “It connects the hearts of people around the world beyond generations and ideologies,” he said.

Lee described SM’s systematic production and management system, which he coined “Culture Technology (CT)” and which includes casting, training, content production, and marketing. This so-called CT system is the “growth engine of K-pop,” he noted.

He elaborated on his vision for a future of K-pop that centers on the “Play2Create” (P2C) ecosystem and combines metaverse technology. Within this blockchain-based ecosystem, which Lee says forms part of a new creator economy, fans, or “prosumers” can proactively use the original SM intellectual property to enjoy and create new content through recreation. The ultimate vision of K-pop and Hallyu is to contribute to human creativity, concluded Lee.

The conference made headlines in Korean media and elsewhere. Explore selected media coverage, the event press release, conference agenda, and YouTube playlist including the full livestream recordings via the links below

Selected Media Coverage

• The Stanford Daily - May 26
• Yonhap News - May 22
• Yonhap News - May 21
• Yonhap News - May 20
• Yonhap News - May 20
• SPOTV News - May 21
• Rappler - May 20

Event page and complete agenda 
Event press release 

In the last two weeks, I received far more than I bargained for. Mr. Lee opened his doors to our camera crew of three, and gave us access to himself, as well as to artists such as EXO’s leader Suho (who will be on campus for the May conference); NCT’s Mark, Johnny, and Jaehyun; and aespa (who just returned from a wildly successful appearance at Coachella).

We toured recording studios and dance spaces and were given an opportunity, nearly unheard of, to enter the “Chamber of Secrets” of SM to see the sinipsaeng, K-pop megastars-in-training. These trainees are the chosen few who survived countless rounds of cutting and selection, and who have made it to the top by virtue of talent and sheer grit. In addition, we interviewed executives and creative culture technology entrepreneurs who are working at the cutting edge of the next level of Korean pop culture: the metaverse.

The preliminary results of our fieldwork will be aired during the two-day conference, where Suho will speak on a panel and Mr. Lee will give a speech discussing future visions for K-pop. Audience members not able to attend in person (seating is extremely limited) can participate virtually through the streaming service provided by the Korea Program. Tune in to the Shorenstein Asia-Pacific Research Center's YouTube channel for the livestream.