[Giveaway] 4Minute made their comeback last week with “What´s Your Name”. To win the 2 CD´s of 4Minute - “Left (The First Album)” and “For Muzik” you have to share this post (facebook, tumblr or twitter)  AND post the link in the comments AND add the reason why you like 4Minute.

Thegiveaway ends May 15.

We will chose 2 winners and each of them will get one of the CDs (our choice). The contest is open worldwide - but at least one of the chosen winners  will be from Europe since we are a magazine based in Europe.

(Quelle: k-magazin.com)

If you are in Berlin- do not miss the opportunity to see the National Dance Company of Korea facebook.com/ColorsOfKorea/… youtube.com/watch?v=xIEzIQ…

— K Magazin(@KColorsOfKorea) May 2, 2013

„Pluto“ – A film about the Korean school system

In our last issue we have discussed the Korean school system in detail and when we found out that the film “Pluto” with Sung June that many know from „Shut Up Flower Boy Band“ was shown at the Berlinale we could not let this opportunity slide. We are very glad that we were able to see this impressive film.

The story starts with a murder. The student Yu-Jin (Sung June) was murdered but the viewer only gets to know more about the perpetrator in the course of the film. The story is told in flashbacks and is about a group of students who are fighting through the daily grind of the last years of highschool.

Good grades are their ticket to the Ivy League hence a better life or at least one that will allow them to guard their status. The best 10 of the year form the elite within the school. They receive privileges and enjoy special treatment. They can study in a private room while the lights are turned off long before it is midnight, making it impossible for their peers to study. These students function like in a sect and is soon clear how broken these youngsters are and how far they would go to maintain their spot in the top 10. Jun (Lee Dawit) comes from a poor family and he initially thinks that he has won the jackpot when he got accepted. He soon realizes that he who has always been working hard, has to work and fight even harder to get a spot at the top and a chance to enter university. When Yu-Jin dies, he seems to know who is responsible for the death and is determined to demonstrate against the prevailing injustice.

“Pluto” starts as a thriller, in most parts mainly a classic drama and ends as a mystery film. The performance and depiction by the actors of the predominantly very young protagonists is outstanding and moving. The contribution of the film director even more than that. As a fascinating film that entertains and let one’s breath stop as well as bringing tears to the eyes- “Pluto” is a film will lead the viewer to think and reflect while being a sharp illustration of the Korean school system. Shin Suwon knows what she is talking about; she has worked as a teacher for years and has a daughter who is in her last years of highschool.

The pressure that the students are being exposed to is inconceivable. The fear to fail, to disappoint teachers and parents alike and not being able to find a place in society is always present. The film leaves a feeling which is depressing and burdensome. A feeling that can be felt in the whole auditorium. A German student is so shocked that she cannot find the words during the discussion. For the viewers who have never dealt with the subject will think that the film is exaggerating, too dramatic and awful to be real but the opposite is the case. The ones however who realize that “Pluto” is very close to reality will be left with numerous questions.

How long can such a system prevail until it annihilates itself? How long can a society wherein the different- minded, the creative- minded are sorted out exist until it collapses?

We had the chance to discuss the questions and the film with the film director, Shin Suwon. We would like to thank her for her time and CJ Entertainment for the cooperation.

K: Your film Pluto left a deep impression with viewers at the Berlinale. Did you expect that many viewers especially the younger ones would react that shocked?
Shin Suwon: I didn’t expect that. For the last screening at the Busan Film Festivals all 1,000 seats were sold out and the finale received a lot of applause from the audience but I had my doubts because Berlin was the first station abroad and I asked myself if people would understand the complex of problems of the entrance exams in Korea. But I am glad that there has been positive feedback.

K: Is there even one single person in Korea who is upset about the educational system or is the general adaption and acceptance too big?
Shin Suwon: There are people who are upset about the current educational system but people get used to it. That is why I believe that “Pluto” can become a film of importance.

K: How would you describe the school system in one accurate sentence?
Shin Suwon: Crumbling general education; no educational system that thinks of the majority but a system where only the minority can survive the competitiveness.

K: With what kind of emotion do you think back to your own schooldays? Has it changed since then?
Shin Suwon: The admission to a university was also important during my schooldays however the private educational actions have worsened. In my opinion, the “preparation” and the exaggerated tutoring take the opportunities from students that have a less privileged background to study at a good university. It is a structure where no dragon can arise from a creek. (Note: This is a Korean saying.)

K: How did you feel to teach in such a system? What would you have changed if you would have had the possibility?
Shin Suwon: I felt the helplessness in teaching. Half of the class is not interested in the lessons. There are many children that give up on English and Mathematics early. It has gotten worse. It is a wall which is too big for a private person like me to be able to change anything. This is the responsibility of politicians.

K: Which intention did you have while writing the script for „Pluto“?
Shin Suwon: You can turn into a star like „Jun Kim“ has but I wanted to tell the story of suppressed and excluded students.

K: Were there any discussions amongst the young actors about their own schooldays on set?
Shin Suwon: Some of them talked about it. The character Jun has made a drastic decision- the actors themselves have talked about such stories since they have also gathered many experiences during their time at school.

K: Why have you chosen the symbol of the planet Pluto and what is the meaning of the finale that takes place during a day of total solar eclipse?
Shin Suwon: In 2006 I leaned to know that Pluto has been deprived of its status as a planet by the International Astronomical Union and I transferred it to the character “Jun Kim”. I thought that this would be applicable given that the children that could turn into stars are being deprived of their individuality and then turn into unknown failures. Jun was a young man who wanted to become a astronomer. Due to the fact that he has observed the planets with his telescope, he thought that the total solar eclipse would be a big event in Korea. The world will be enveloped by the darkness caused by the total solar eclipse. During the dark moment an explosion is generated and when the darkness passes by, the sun comes out of the shadow of the moon- I assumed that this scene would be really impressive. Jun has risked this explosion and committed suicide but the sun gives light to Earth again as if nothing has happened.

K: Would you describe the end of the film as unhopeful and is this end an indication of how you see the situation within the schools?
Shin Suwon: I neither had the intention to give hope nor to take it. I have only hoped that the audience would think about Jun’s decision and death. Above all I have hoped that adults who are leading the children through hell, filled with stress for admission would feel discomfort and grief.

K: On which projects are you working at the moment?
Shin Suwon: I am preparing for a humane drama that will be different from “Pluto” in terms of style. Since there is no script yet I do not know what kind of film will arise..

Credit: www.k-magazin.com

Cafe Oui
329-1 Seokyo-dong, Mapo-gu
+81 2 338 0407

Tucked away cozily in the outskirts of the frequented underground music & art district of Hongdae, Seoul, stands an independent cafe - Cafe Oui. Taken over nearly five years ago in 2008, current owner Ji-Woo Nam bought the quaint brick-walled Hongdae cafe from two acquaintances who were putting it up for sale. After working the routine life of the typical Korean white collar worker at an export company, Nam chose to start a new chapter in her life as a barista and cafe owner. The drastic change to Nam’s course of life and occupation has become a romanticized wish for many busy and stressed Seoulites. In fact, it is a common line of thought that can be heard from people while crossing the crosswalk in this cafe-consumed city after a long hard day of being cooped up in a cubicle: “I should just quit my job and open up a cafe.” Even though most will never be brave enough to leave the stability of office work for entrepreneurial ventures like Nam, for the residents of Seoul, cafes are so embedded in their lives that it is no surprise to hear such a statement.
Fast service, relaxing playlists, and shots of espresso are easily found at any commercialized cafe. However, places like Cafe Oui can provide something that franchises such as Holly’s Coffee, CaffeBene, and Starbucks cannot - intimate experiences. It is why independents such as Cafe Oui have come to define and culturalize the streets and alleys of places like Hongdae, Garosugil, and Insadong. Nam hand roasts and drips all her coffee herself. Every detail of decoration does not go untouched by her hands. Polaroids and printed photographs line the cafe’s clean walls while Oui’s playlist streams from Nam’s own music playlist that is made up of a diverse collection that spans from Korean Indie music to MusiqSoulchild and even Mandy Moore. Moreover, what is unique about Nam’s cafe is that it is a one-woman show. She is the owner, barista, cashier, interior decorator, waitress, and deejay. When a regular customer walks in, she just asks, “How do you want it?” They reply, “Just light today.” No other questions are asked and within minutes she comes out with their regular order and gifts a warm smile along with it.
Just as Nam’s personal touch is equivalent to the essence of Cafe Oui, as a whole, Korean cafe culture itself most certainly has its own fragrance to it.During my time here in South Korea as an exchange student, my identity as a Korean-American has been a thoughtful source and lens to certain aspects of Korean culture like cafe culture that I am unsure local residents ever notice. Despite the changing streams of Korean modern society, it is still considered as collective and conforming to most visitors. Even in this realm of Korean culture, it is still uncommon to find anyone sitting at a cafe, alone. Back home in Southern California, cafes were places that were simply alternatives to the library with great air conditioning. When I stepped into my local Starbucks, most people were alone with computers as their only companion. The purchase of a drink was usually a reluctant price paid for a right to a seat. A seat that would be warmed for several hours. Here, cafes are exasperatingly used for their purpose. One to two hours of conversations, group dates, catching up sessions with friends and studying with a group of your friends is most likely what will be found at your local cafe in Seoul. It is especially difficult to find an empty seat during the weekdays.
Perhaps that is why I was especially drawn to Cafe Oui and other independent roasters that keep the street culture alive. For enthusiasts like Nam, there is no doubt that strings of intimacy and attention to detail may be the only advantages that she has to survive in the oversaturated Korean cafe market which Nam describes as a “red ocean.”

“It’s all about the eye… people are drawn to cafes because of the eye. They walk in. They look at the cafe as a whole. They feel the relaxed ambience, the music… it captures their heart. All the hard work and every single detail I put into the drinks and decorations can go unnoticed… but the atmosphere that the details bring all together and the feeling of calm that comes over people… that’s what makes my regulars to keep coming back. People at my cafe often come alone. They come and read a book. They write in their blog. They listen to music. Sometimes they don’t do anything at all.” - Nam Ji Woo

Nam hand-squeezes her lemons for her tart lemon tea and has perfected ratios for her Caramel Macchiato. On top of that, she has a couple dessert specialties like her “Cool Cheesecake” and “Candy Soda” that her regulars often order. With summer now around the corner, Cafe Oui has also brought back its “Pat-bing-soo,” a layered cold dessert of shaved ice, creamy milk, corn flakes, red beans, and powered “misutgaru” (grounded and roasted grains). Despite her lack of confidence that customers do not notice, it most certainly is lovely details that sets Nam apart.

When I asked my roommates, native Koreans, to describe what cafes symbolize in the thread of Seoul’s Korean society, one of them answered, “Cafes… are like parks. People outside of Seoul and abroad may have spacious areas everywhere. We have no place to rest. No space at all. Cafe’s give us a place to rest… kind of like a park.” The other described them as a “healthy replacement.” She said, “In the past, when we got together with our friends, it was always drinking. Always alcohol. But now, we go to cafes. It’s healthier. It’s something that we can’t be without now.”
Within the blur and bustling of the streets of Seoul, cafes are the parks that are inseparable from daily life itself for Seoulites. In this concrete jungle, cafe’s give people the room to breathe and rest, let loose. If the crowded and oversaturated cafe scene stays true to Korean nature, it will pass and the high fever will most likely may calm down a little in the near future. It is a strong wish of mine that survivors such as Nam continue to solidify their relationships with not only their intimate spaces and customers, but with the core of Korean societal strings as well. And as long as the nature of person to person intimacy stays strong within Korea’s core attributes, there is no doubt that Nam will still have her regulars step into her cafe, be able to hear, “Just lightly today,” and seamlessly provide the love that only metaphorical urban parks like Cafe Oui are meant to provide.

Special thanks to Cafe Oui’s Ji-woo Nam, Esther Son, Sujung Yoo, and Yeon Shil Seol

© Emerline Ji, K-Colors of Korea

Korea has one of the most prevalent markets of cosmetic surgery. This includes non-invasive surgery, such as hair removal, blemish removal, and skin whitening. The SAGE journal article entitled Gender, Globalization and Aesthetic Surgery in South Korea studies why South Koreans focus so much on cosmetic surgery, and what the effects are on the individual as well as the whole of society.
There are two modes of looking at cosmetic surgery that the article critiques: in terms of gender roles and feminism, and in terms of ethnic roles and westernization. This article explains that there are deeper, culturally rooted reasons why cosmetic surgery is becoming so customary. The common viewpoints of understanding the reasons behind Korean cosmetic surgery are explained:
“Studies in Korea typically position cosmetic surgery as conformity to patriarchal versions of femininity in order to maximize women’s chances of success in marriage and the economy. Some see women’s desire for aesthetic surgery as a continuation of pre-modern ‘virtuous femininity’ that required (upper-class) women to adhere to a strict Neo-Confucian decorum. Under Neo-Confucianism, men were expected to transcend their bodies (learning, philosophy) to become ‘superior’, while women’s success, bound to the intimate and the domestic, was rooted in their ability to mimic a concealed and deferential ideal, defined by virginity or maternity.”

Korea has a complex history, from the colonization by the Japanese, and now the occupation of the United States. These “Western” influences are associated with the current popular Korean standard of beauty. Korean national identity is a crucial ingredient in Korean “beauty” culture. The article references different surgeries like the double-eyelid, the raising of the bridge of the nose, and jaw reshaping. Procedures like skin whitening are also considered in this group of procedures that may seem to be appealing to Westernized standards of beauty. A traditional Korean face will have smaller eyes than the Western face; so a double eyelid may seem a Western trait. The article states that this is not the intent; the double eyelid sometimes appears on the natural Asian face, and patients undergoing the surgery for double-eyelids will claim that it makes the eyes look “less sleepy.” Others claim it is for medical reasons, and some who have one double eyelid and one without want a symmetrical face. But the article stresses that this double eyelid, or widening of the eyes, is aesthetically youthful, not necessarily Western. A universally beautiful trait is youth (as well as symmetry), and large eyes will embody youth in any ethnic standard, because it is psychologically built into the human psyche.

What is unfortunate, however, is the seeming unattainability of this quintessential “beauty” in the “natural” Korean face. A “high” nose, large, double-lidded eyes, a V-shaped face, and fair skin are attributes much sought after in Korean women as well as men. There are procedures for attaining all of these looks. But if the Korean face is not pursuing a more “Western” beauty, but an augmented “natural” Korean beauty.
“Wider eyes may be desirable, but they must be wider Korean eyes, not western ones. The most important aim of cosmetic surgery is to create a natural look that ‘enhances’ the body without losing the ‘Koreanness’ of the subject who undergoes surgery.” Even men are turning away from the traditional “hard” masculinity and getting procedures to make their faces and bodies more feminine, or “soft.” But this ideal feminine beauty seems to come from a patriarchal standard of maternity, and the self-sacrifice of women. There is even tradition within Confucianism and Korean myths concerning women “enduring pain for beauty.”

“…contemporary discourses of women’s value continue to emphasize self-sacrifice. Park argues that Korean femininity promotes suffering for the greater good, evidenced in women’s willingness to endure pain for beauty.”
The Korean society has a distant, but inescapable relationship with the old traditions, and as women are becoming more powerful in society, there are still roots in Confucian values, which are perhaps the most obviously countering female equality; the focus is more on women’s domestic roles and child rearing. Lately, women become less inclined to marry and have children, and the maternal base for beauty is no longer the reason for adhering to those beauty standards formed by it. However, the feminist movement is still weak, and women still must adhere to other “trendier” standards of beauty to succeed.

Korean society, in contrast to American society, is nationalist, collectivist, and highly homogenous. There is also an intense stress on education, getting a good job, and becoming wealthy to support your family (including your retired parents). This emphasis on economic growth then puts emphasis on Korean individual success, and within a highly populated, homogenous country, competition is impossibly fierce. Cosmetic surgery is also boosting the economy, and the government is even seen encouraging this consumption. Job applications require photos of applicants, and the article states that “around half of all Koreans believe that one can ‘read’ a person’s character by looking at their face” (Kim, 2005). This phenomenon was illustrated to me personally when I was asked to Photoshop my friend’s application photo; she asked me to make her eyes “the same size.” She thought one eye was bigger than the other, so she wanted the left one to look bigger to match the right one. I used a tool that would create the effect, but it had overdone it—she asked to make it a little smaller, so I undid the effect entirely. She said “perfect!” and was satisfied, though I had not actually changed the original picture. This opened my eyes—pardon the irony—of the effect of cosmetic surgery on an individual. It is affecting society’s expectations in many important facets of an individual’s life, as well as negatively affecting the individual’s self-image.

In Korea, two differently gendered constructions of cosmetic surgery exist: ‘marriage cosmetic surgery’ and ‘employment cosmetic surgery’. Having the ‘right face’ can be crucial in ‘marrying well’. The ‘right face’ can also be a determining factor in gaining employment in a Korean job market.
…under consumer capitalism Korean women’s bodies have entered the public sphere, no longer hidden away but now available for scrutiny and consumption. Thus, visibility produces women as ‘object[s] for alteration’ (2003: 106) evidenced in Korea’s high rates of cosmetic surgery.”

But are these standards of beauty always universal? Whiter (paler) skin in Korea is popular because is a sign of higher class, because it implies a career indoors rather than working in the rice fields. In America, however, it is currently more fashionable to tan, because it implies a higher class able to vacation to warm, luxurious places. It is unclear whether whitening will soon be an out of style trend; but perhaps the same can be said for other standards. The article mentions older forms of beauty, such as a woman’s round face. It is currently the opposite; Korean men and women are grinding down their jawbones to create a narrower chin, or a smaller face. Many times I have heard that I am beautiful because I have “such a small face,” as well as a “high nose” and “big eyes.” I am a Westerner, and I happen to carry the current standard features of beauty. According to the article, however, it is not because I am a Westerner that I am considered beautiful. It is an important difference that Koreans are not actually following the West in trends of beauty. So if beauty is a trend, then Korean men and women reconfiguring their bodies may find that later, their “beauty” is out of style. They may see beautiful features in me, but they also comment that I need to lose weight, or should try laser blemish removal, or get my dark circles taken care of, or my arms are much too hairy and should have it lasered off. The article agrees that cosmetic surgery is an addiction, and one will never be satisfied with his or her looks. And unfortunately, this unattainable “beauty” is a ladder to success in current Korean society, rooted in many complex facets of the unique culture.

Having such a diverse reasoning for the growing necessity of cosmetic surgery makes it a difficult trend to escape. Though it is possible that the standards of beauty will change, it is not at all likely that the culture will cease to pursue it. The standards of beauty are a “trend” but beauty itself is a “classic” in any culture and era. In South Korea, it is also an asset, an investment, and a grip on one’s own auspicious fate.

CITATION:
Holliday, R., &Elfving-Hwang, J. (2012).Gender, Globalization and Aesthetic Surgery in South Korea.Sage Journals, 18(2), 58-81. Retrieved March 23, 2013, from http://bod.sagepub.com/content/18/2/58

(Quelle: k-magazin.com)

„I am not that complex“, Yiruma says in our interview, one day prior to the concert in Berlin. “I like simple things.” When talking about the talented composer and pianist “simple” means: modest, elegant, classy. In Korea Yiruma is able to fill great halls and inspires millions with his music. His music that allows people to say, that it gives them the feeling that time stands still. On this cold day in the first week of April thePassionskirche is almost sold out. The audience is a blend of many Koreans as well as Germans who have gotten to know the artist since his positioning in the German Charts at the beginning of 2011, if they had not known him before. “River Flows in You” is one of his most well-known instrumental pieces and was able to maintain a position in the Charts for 20 weeks, peaking on place 20.

Yiruma touches the stage with a simple entrance and to the attentive observer is clear, that the musician does not set high value on himself but the music that is his. Already in the beginning he is able to win over the audience by introducing himself in German.Moreover, he tries to communicate with the audience.Yiruma explains that the audience cannot wait that he will be able to play his pieces live, just the way he had recorded them. He likes to play freely, carried away by the moment. One can tell that Yiruma attained this moment on this very evening. He says that he feels welcomed and comfortable and the audience thanks him with attentiveness and enthusiasm.

The piano, which he calls his partner, is being accompanied by a cello in some of the chosen songs. It starts with “River Flows in You” and it would not be enough to state that they just accompanied each other. It can rather be said that they complement one another, harmonize and form an inseparable unison that deepens the musical experience.

Yiruma’s music is modern classic, instrumental compositions that often accompany scenes in dramas. At the same time his music is pop, that is displaced from what many will call antiquated and outdated when they think of classical music.This is why Yiruma’s compositions are appreciated by entertainments and he writes songs for idols from time to time, for Ailee and Super Junior amongst others. This way he succeeds to accomplish something that only a few artists manage to achieve. Instead of deciding between commercial and classical music he decides to combine both to one substance.

Yiruma loves music, something you can witness when you see him on stage. In the interview he let us know that he wishes his music to become air that surrounds you. Whoever is willing to engage with his music will perceive the ease his music emits and which will wrap you up and carry you away.

After two encores Yiruma leaves the stage of the Passionskirche this evening and leaves his audience with the hope behind that he will find his way back to Berlin soon to gift them with a short vacation from their everyday life.

Credit: www.k-magazin.com

The story of A-Prince started in November 2012 when the group released their first single under the care of New Planet Entertainment. “Hello” is said to be the official debut of the group although they have already released “You’re the only one” in July the same year prior to “Hello”. New Planet seems to put their money on international promotion which suggests itself when taking the Hallyu Wave into consideration. A-Prince has shown a lot of interest in performing in other countries and also a lot of affection towards their European fans from the start, therefore the group wanted to take the chance to introduce themselves to the European fans. In our interview it is going to be magical and the boys will tell you why they are real princes and how their ideal princess should look like.

www.k-magazin.com

In a Korea crowded with idols there are only few groups that debut as an idol-rock band and even less accomplish to be seen as such. LED Apple already debuted in 2010, with a different member line-up. With the change of members by the end of 2011 there was a change in image as well. “Somebody Met By Chance” had the usual rock-fee to it, however the musicvideo impressedwith style, creativity and an elegant science- fiction concept. In addition to that, the outfits and also the instruments of the band received a futuristic look. LED Apple persuades unlike other bands with creativity and in doing so not only the effort and work behind the scenes are being appreciated but also their own.On the one hand there are their music videos that stay true to the futuristic look, where cyborgs learn to love, where people are winded up like watches or LED Apple who are performing as a programmed artificial band. But the five boys also dare a musical journey with their single “Run to You” which shows influences of Swing and the musicvideo many winking moments.

Since the beginning of the year Led Apple started showing an additional side. Every week they upload a cover going from K-Pop songs from their colleagues to songs from international stars. But who assumes that the boys are just going to stand there and record the songs statically will be proven wrong when having a look at “Music Note”. Not only because all earnings from Youtube go to a charity project but also because there is an own, creatively funny and charming music video behind almost every cover.

The potential of LED Apple is not exhausted just yet and with StarKim it seems that they have an entertainment that have their back and gives them the needed freedom to grow musically. It remains to be seen which surprises and concept they have in store for us with their comeback. We definitely hope that the boys will find their way to Europe soon to convince their fans with their skills as a live-band, just as promised.

„The purpose of education is distorted“

Interview with the actor Sung June

Sung June started his career as a model however in 2011 he received the opportunity to play one of the main characters in the KBS drama “White Christmas”. Even back then did his choice of the role as Choi Ji-Hoon indicate that Sung June will never be attracted to simple and one-dimensional characters as well as shallow stories.The only eight episodes of the drama “White Christmas” describe the eight days of winter break between Christmas and New Year at a private elite school which is located in isolation of the mountains. The students who possess the privilege but also the burden to attend this school belong to the top of the country. On December 24 almost all the students return to their homes to spend time with their families. The only few that remain will soon find themselves in a psychologically refined cat-and-mouse game with a killer.

Two years later after Sung June played the role of a musician in the drama „Shut Up Flower Boy Bands“ and could be seen in a handful of other dramas and movies, it feels like it returns to the start of the journey. In “Pluto” he takes the role of a young man in an elite school once again where the students crumble under the psychological pressure of the performance-oriented society. Even the character Yujin played by Sung June becomes a victim of this system.

Sung June is one of the most interesting and diverse young talents that arose over the last years where it has become frequent to cast inexperienced idols to attract more viewers. Sung June on the other hand does not need the hype to keep one interested and asking which role might be his next. In our interview it seems like he does not like to talk about himself. When he says that he looks for as many similarities possible between him and the role in order to prepare himself then one can guess that one has to take a closer look to find out what kind of person is behind all these roles.

It is only left to wish that Sung June will still be drawn to matters with depth and stays bold and adventurous with his choice of jobs because then one will be able to witness the transformation from a young talent to a great actor.

(Quelle: k-magazin.com)